UNIVERSITY OF EAST LONDON
School of Digital Arts and Visual Communication
Student mane: Samuel Goitom
Student number: 1015645
Module title: Study Skills for academic learning
Module code: VT1013
Module Leader: H. Robers
Assignment Title: “Visual Description and Analysis”
Submission Date: 12TH November 2010.
Artist: Michelangelo Buonarroti
Style: High Renaissance
Title: The Last Judgement
Original size: 1370 × 1220 cm
Medium/Technique: Fresco Date of creation: 1535 - 1541
Location: Sistine Chapel, Vatican City
Michelangelo was a master draughtsman who’s sticking and powerful drawings and painting is not only an important part of his artistic heritage in their own right but is also a means of viewing his designs that have not otherwise survived. One of the most fumes and the master of art in history Michelangelo in one of the master of art in his painting is a amazing work. The last judgment – laying painting is the one of it is not to the best myablates. It will haunt my life especially when I see it .he remember me there is a great massage in his work. This painting is a greatest work of art. There are so much every detail from the position of the angels and the interpreter the words of bible. How he created image after image on ever increate scales. He eventually exerted all the power of mind and spirit. His painting is an amazing work of art.
The greatest project of the last judgment is not picking up a ruler and makes carefully execute demy an architectural drawing before they start painting.
As in so many of his architectural drawings, Michelangelo’s first step was to draw a vertical line down the centre of the sheet. Then he proceeded to his drawings of the profile of the cupola. But we should note that these are for a section, not an elevation proper. Some of these profiles were drawn with a compass and others, which probably followed, were made free hand. Then the artist turned to the drum, first ruling in the many horizontal line as his guide. The drum drawing is an elevation but it is not drawn in orthogonal projection. Its articulation of round windows and the coupled columns, and the free hand sketches of features like the statues on the attic, were all drawn in perspective, recession, like it may be added, the drum elevation in the woodcut of Bramante’s cupola reproduced in selrlio’s Third book, published in 1544. The free hand sketch of the lantern, probably the last detail of the main study to be added, it also drawn in the same way. As indeed, are more elaborate studies for the lantern on a related subsequent sheet at Haarlem (corpus 596 recton) Michelangelo abandoned not only pen and ink but it also red chalk for drawing from the model. All the known drawings of this kind made for figures in the last judgment are, i like the Haarlem St Lawrence with black chalk. The drawings made for the last judgment is can be supplemented by two life studies of the same period which Michelangelo made to help Sebastian paint an altarpiece of Christ mourned by HIS Mother, made as a present for the secretary of Charles V.
One strange aspect of drawings by the old masters is the quality of the lines they use to describe the planes and roundness of surfaces. It is rare ever to see a mark. Every line is drawn deliberately. It has a clean beginning and a clean end. There are no lumps, no smudges, no tick marks left by the pen as it goes back to produce the next stroke. Where the lines are meant to be parallel they are parallel. Where meant to be curved they are all curved with regularity.
Michelangelo was in his 60s when he was called back to the chapel, again against his wishes, to paint The Last Judgment (1535-1541) on the altar wall. The work was commissioned by Pope Clement VII (1523-1534) shortly before his death, and Clements’s successor, Pope Paul III Farnese (1534-1549), forced Michelangelo to completed it quickly. The Last Judgment is more than the figure of its imaginative. A cording to Michelangelo’s own account the pope gave him a free hand to design it as he would. True to his normal practice, he does not mention anyone who might have assisted him with the planning of the content of the ceiling .but the notion that he himself draw up the scheme of decoration from the iconographical standpoint may be dismissed, for all conidia’s claims that Michelangelo know the Bible.
There are three different techniques of wall painting painting.
The last judgment was completed with water- based paint in semi dry plaster called mezzo fresco. The other two are buon –fresco water-based paint in wet plaster and secca.
The Last Judgment is located in the Sistine Chapel (Vatican City), above the altar. It took six years to complete (Michelangelo began working on it three decades after finishing the ceiling of the Chapel).
Michelangelo uses natural colours .the figures are creative .I like the way that he painting the figures in the different position. I like the way he models the banes and the muscles of the figures .their arms, legs, and hands and the movement of the bodes and the faces shows the figures in action and expressive. You can see very clearly how the figures he paints feel. Their expression facial .he shaves people crying, angry, thoughtful frightened. each figure they have a message. There is a story in his paintings. He paints from his mind, spirit. Michelangelo translated the world his imagination idea vision of the world in to paint. Michelangelo is created a world for us to look to enjoy and that world -his interpretation of the bible – is made visible in paint. Michelangelo painting is look like animation painting look as they are moving. The work is massive and spans the entire wall behind the altar of the last judgment. It was executed from 1535 to 1541. The Last Judgment is a depiction of the second coming of Christ and the apocalypse. The souls of humans rise and descend to their fates, as judged by Christ and his Saintly entourage. The Last Judgment was an object of a heavy dispute between Cardinal Carafe and Michelangelo. The Michelangelo was accused of immorality and intolerable obscenity, having depicted naked figures, with genitals in evidence, inside the most important church of Christianity.
In the last judgment there is a huge circulating movement, the figures emerge from the lift at the trumpet of the summon angels in the middle, and rise towards the menacing figure of Christ in judgment in the centre, and the fall away into the damned in hell on the right, where charon drives them forward from his barque with savage blows of his oar. In the centre of the fresco, at the bottom, immediately behind the altar is the mouth of hell itself and the imagery of salvation is completed by the cross on the altar, the cross of the redeemer alone stand between the mankind and hell the minatory figure of Christ is surrounded by the saints who have suffered for the reward of their faith against the impious, the unjust, the wrongdoers. Huge and threatening. They cry for justice while blow them the sinners fall headlong to their destiny. In the two lunettes at top of the fresco are athletic angels crying the instrument of Christ’s passion, as vivid reminders of the sacrifice which the sinners have rejected. No one here is tormented by fantastic demons in grotesque mixtures of animal and human. The devils are human in form and man is not dragged to punishment without being able to understand the cause of his damnation. The consciousness of his own acts. The realization –too late- that he is the sole author of his own disaster, is the most emotional, the most terrifying lesson that Michelangelo’s vision of hell forces upon the despair upon the spectator. And is tragically exemplified by the horrified face of the depressed man carried off by the demon, and the wonder apprehension in the expression of the skeletal figure emerging from the ground the echoes of the dies Irate thunder through this apocalyptic vision, with the passionate and fearful urgings of the requiem mass eternal light shine upon them, land with the saints forever.
Michelangelo's work is for the future generations to appreciate and for revealing the vibrancy of his paint. The last judgment is one of the large paint of the century of Vatican City and is still an indisputable work of art.
The strange talent of Michelangelo Buonarroti (1475-1564), the Sistine Chapel (Cappella Sistine) in Vatican City has become one of the most famous art galleries in the western world.
REFERENCES:
Name of author, (year), title, edition [if it is not first edition], and place of publication: publisher.
v Lutz Heusinger, (1989), Michelangelo, Florence: instituto fotografico editorial S.p.A. Antenella.
v Ludwig Goldscheider, (1951), Michelangelo drawings, Great Britain, the British museum.
v Rolf Schott, Michelangelo, Thames and Hudson 30 Bloomsbury street London.
v Howard Hibbard, (1975),Michelangelo, Allen lane, penguin books, London,
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