Gemälde ID:: 62904
Last Judgment 1370 x 1220 cm Cappella Sistina, Vatican This fresco was commissioned by Pope Clement VII (1523-1534) shortly before his death. His successor, Paul III Farnese (1534-1549), forced Michelangelo to a rapid execution of this work, the largest single fresco of the century. The first impression we have when faced with the Last Judgment is that of a truly universal event, at the centre of which stands the powerful figure of Christ. His raised right hand compels the figures on the lefthand side, who are trying to ascend, to be plunged down towards Charon and Minos, the Judge of the Underworld; while his left hand is drawing up the chosen people on his right in an irresistible current of strength. Together with the planets and the sun, the saints surround the Judge, confined into vast spacial orbits around Him. For this work Michelangelo did not choose one set point from which it should be viewed. The proportions of the figures and the size of the groups are determined, as in the Middle Ages, by their single absolute importance and not by their relative significance. For this reason, each figure preserves its own individuality and both the single figures arid the groups need their own background. The figures who, in the depths of the scene, are rising from their graves could well be part of the prophet Ezechiel's vision. Naked skeletons are covered with new flesh, men dead for immemorable lengths of time help each other to rise from the earth. For the representation of the place of eternal damnation, Michelangelo was clearly inspired by the lines of the Divine Comedy: Charon the demon, with eyes of glowing coal/Beckoning them, collects them all,/Smites with his oar whoever lingers. According to Vasari, the artist gave Minos, the Judge of the Souls, the semblance of the Pope's Master of Ceremonies, Biagio da Cesena, who had often complained to the Pope about the nudity of the painted figures. We know that many other figures, as well, are portraits of Michelangelo's contemporaries. The artist's self-portrait appears twice: in the flayed skin which Saint Bartholomew is carrying in his left-hand, and in the figure in the lower left hand corner, who is looking encouragingly at those rising from their graves. The artist could not have left us clearer evidence of his feeling towards life and of his highest ideals. The painting is a turning point in the history of art. Vasari predicted the phenomenal impact of the work: "This sublime painting", he wrote, "should serve as a model for our art. Divine Providence has bestowed it upon the world to show how much intelligence she can deal out to certain men on earth. The most expert draftsman trembles as he contemplates these bold outlines and marvellous foreshortenings. In the presence of this celestial work, the senses are paralysed, and one can only wonder at the works that came before and the works that shall come after". Artist: MICHELANGELO Buonarroti Title: Last Judgment Date: 1501-1550 Italian , painting : religious b Caprese 1475 d Rome 1564
Gemälde ID:: 62913
Last Judgment 1537-41 Fresco Cappella Sistina, Vatican The picture shows the Archangel St Michael with the Book of Elects. Artist: MICHELANGELO Buonarroti Title: Last Judgment (detail) Date: 1501-1550 Italian , painting : religious b Caprese 1475 d Rome 1564
Gemälde ID:: 62914
Last Judgment 1537-41 Fresco Cappella Sistina, Vatican The picture shown is a detail of the lower right part depicting Charon. Artist: MICHELANGELO Buonarroti Title: Last Judgment (detail) Date: 1501-1550 Italian , painting : religious b Caprese 1475 d Rome 1564
Gemälde ID:: 62959
Last Judgment 1306 Fresco, 1000 x 840 cm Cappella Scrovegni (Arena Chapel), Padua This extensive depiction of the Last Judgment in the west of the church is dominated by the large Christ in Majesty at its centre. The twelve apostles sit to His left and to His right. Here the two levels divide: the heavenly host appears above, people plunge into the maw of hell below, or are led by angels towards heaven. The way this large fresco is divided into registers is traditional. But if we look at Giotto's invention in detail, then his novel attempts at visualizing different spheres, as well as abstract beliefs, become particularly apparent. In the center of the representation, Christ is enthroned as supreme Judge in a rainbow-colored mandorla. The deep, radiant gold background, the style of painting, and the delicate substance give the impression that the heavens have opened in order to reveal the powerful, extremely solidly modelled figure of Christ. Different levels are likewise alluded to when the choirs of angels disappear behind the real window, or when the celestial watch in the upper area of the picture rolls back the firmament, behind which the golden-red doors of the heavenly Jerusalem shine forth. The black and red maw of hell, which seems to anticipate Dante's "Inferno", is different again in its impact. The way in which Giotto establishes a connection between the present-day world of the faithful and the world beyond all time, the world of the Last Judgment, contains another interesting detail. The donor Scrovegni, still alive at the time, kneels next to those being resurrected and offers "his" church to the three Marys, assisted by a priest. The latter is portrayed in a most lively manner: his robes hang - painted quite illusionistically - over the arch of the portal. Artist: GIOTTO di Bondone Painting Title: Last Judgment , 1301-1350 Painting Style: Italian , , religious Italian Early Renaissance Painter, 1267-1337
Gemälde ID:: 62964
Last Judgment 1306 Fresco Cappella Scrovegni (Arena Chapel), Padua This detail represents angels located below the Apostles on the left side of the fresco. Artist: GIOTTO di Bondone Painting Title: Last Judgment (detail) , 1301-1350 Painting Style: Italian , painting Italian Early Renaissance Painter, 1267-1337
Gemälde ID:: 62965
Last Judgment 1306 Fresco Cappella Scrovegni (Arena Chapel), Padua The Blessed, men and women, representatives of the secular and the sacred, are accompanied on their ascent by angels. The differently formed, thoroughly individual heads seen in profile, the gazes, the posture of the hands and the whole bodies are focused as if spellbound on the higher goal. Artist: GIOTTO di Bondone Painting Title: Last Judgment (detail) , 1301-1350 Painting Style: Italian , , religious Italian Early Renaissance Painter, 1267-1337
Gemälde ID:: 62966
Last Judgment 1306 Fresco Cappella Scrovegni (Arena Chapel), Padua The ground has opened up and the naked people clamber out of their coffins. Some are still completely occupied with themselves or are helping one another; others have already raised their hands in prayer. They appear as full of hope as the ranks of the Blessed above them. There, men and women, representatives of the secular and the sacred, are accompanied on their ascent by angels. The differently formed, thoroughly individual heads seen in profile, the gazes, the posture of the hands and the whole bodies are focused as if spellbound on the higher goal. Artist: GIOTTO di Bondone Painting Title: Last Judgment (detail) , 1301-1350 Painting Style: Italian , , religious Italian Early Renaissance Painter, 1267-1337
Gemälde ID:: 62968
Last Judgment 1306 Fresco Cappella Scrovegni (Arena Chapel), Padua Artist: GIOTTO di Bondone Painting Title: Last Judgment (detail) , 1301-1350 Painting Style: Italian , , religious Italian Early Renaissance Painter, 1267-1337
Gemälde ID:: 62970
Last Judgment 1306 Fresco Cappella Scrovegni (Arena Chapel), Padua Artist: GIOTTO di Bondone Painting Title: Last Judgment (detail) , 1301-1350 Painting Style: Italian , , religious Italian Early Renaissance Painter, 1267-1337
Gemälde ID:: 62972
Last Judgment 1306 Fresco Cappella Scrovegni (Arena Chapel), Padua The Prince of Hell, a giant monster, is enthroned on a dragon. He grabs the damned and eats them. Artist: GIOTTO di Bondone Painting Title: Last Judgment (detail) , 1301-1350 Painting Style: Italian , , religious Italian Early Renaissance Painter, 1267-1337
(1534?C1592) was a Dutch Renaissance painter from Amsterdam who traveled to Italy in his youth to learn from the Italian masters, most notably Titian.
Gemälde ID:: 71738
Last Judgment Date 1561
(1534?C1592) was a Dutch Renaissance painter from Amsterdam who traveled to Italy in his youth to learn from the Italian masters, most notably Titian.
