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Michelangelo Sistine Ceiling GATTA Notes

The beginning
When Julius II suspended work on his tomb, the pope gave the bitter Michelangelo the commission to paint the ceiling of the Sistine Chapel in 1508.
Why Michelangelo said ok
The artist, insisting that painting was not his profession (a protest that rings hollow after the fact, but Michelangelo's major works until then had been in sculpture, and painting was of secondary interest to him), assented in the hope that the tomb project could be revived.
Technical difficulties
Michelangelo faced enormous difficulties in painting the Sistine ceiling. He had to address the ceiling's dimensions (some 5,800 square feet), its height above the pavement (almost 70 feet), and the complicated perspective problems the vault's height and curve presented, as well as his inexperience in the fresco technique.
In 4 short years
Yet, in less than four years, Michelangelo produced an unprecedented work—a monumental fresco incorporating his patron's agenda, Church doctrine, and the artist's interests. Depicting the most august and solemn themes of all, the creation, fall, and redemption of humanity—themes most likely selected by Julius II with input from Michelangelo and a theological adviser, probably Cardinal Marco Vigerio della Rovere (1446-1516)—Michelangelo spread a colossal decorative scheme across the vast surface.
300 Figures
He succeeded in weaving together more than 300 figures in an ultimate grand drama of the human race. A long sequence of narrative panels describing the creation, as recorded in Genesis, runs along the crown of the vault, from God's Separation of Light and Darkness (above the altar) to Drunkenness of Noah (nearest the entrance to the chapel).
Thus, as viewers enter the chapel, look up, and walk toward the altar, they review, in reverse order, the history of the fall of humankind. The Hebrew prophets and pagan sibyls who foretold the coming of Christ appear seated in large thrones on both sides of the central row of scenes from Genesis, where the vault curves down.
In this corner
In the four corner pendentives, Michelangelo placed four Old Testament scenes with David, Judith, Haman, and Moses and the Brazen Serpent. Scores of lesser figures also appear. The ancestors of Christ fill the triangular compartments above the windows, nude youths punctuate the corners of the central panels, and small pairs of putti in grisaille (monochrome painting using shades of gray to imitate sculpture) support the painted cornice surrounding the entire central corridor.
Chronology of design
The overall conceptualization of the ceiling's design and narrative structure not only presents a sweeping chronology of Christianity but also is in keeping with Renaissance ideas about Christian history. These ideas included interest in the conflict between good and evil and between the energy of youth and the wisdom of age. The conception of the entire ceiling was astounding in itself, and the articulation of it in its thousands of details was a superhuman achievement. Unlike Andrea Mantegna's decoration of the Camera Picta in Mantua, the strongly marked unifying architectural framework in the Sistine Chapel does not produce "picture windows" enframing illusions just within. Rather, the viewer focuses on figure after figure, each sharply outlined against the neutral tone of the architectural setting or the plain background of the panels.
Here, as in his sculpture, Michelangelo relentlessly concentrated his expressive purpose on the human figure. To him, the body was beautiful not only in its natural form but also in its spiritual and philosophical significance. The body was the manifestation of the soul or of a state of mind and character. Michelangelo represented the body in its most simple, elemental aspect—in the nude or simply draped, with no background and no ornamental embellishment. He always painted with a sculptor's eye for how light and shadow communicate volume and surface. It is no coincidence that many of the figures seem to be tinted reliefs or freestanding statues.