The Early Modern Times brought a lot of innovations into the people’s life. It was the epoch of the great discoveries when Columbus found the way to American and Ferdinand Magellan managed to sail across the Earth. Leonardo Da Vinci’s drawings depicted the possible advancements in the technology. Besides, it was the time for great thinkers and philosophers: Martin Luther, Jean Calvin, and many other participants of the Reformation shed light on the contradictory aspects of the institution of church and change the perception of religion in the whole Europe. The art also flourished during the Early Modern. This period is sometimes called the Renaissance because many artists rediscovered the standards of the Latin and Roman antiquity and implemented those ideals in their paintings and sculptures. Michelangelo Buonarotti was one of the most talented sculptors and painters of his time and in his artworks he demonstrated the contemporary views on good and evil, beauty and other values. With the help of his artworks Michelangelo Buonarotti contributed to the formulation of the identity of the Early Modern individual as well as influenced the development of the philosophical thought of his time.
Michelangelo belongs to one of the most famous sculptors and artists of all times. His artworks are considered to be the perfect examples of the Early Modern period. Moreover, his works did not only demonstrate the reconsideration of the ideals of ancient times but also provided an insight into the understanding of the author’s and individual’s identity. Michelangelo’s sculpture David serves as a perfect illustration of these principles. It was carved in 1501 when the sculptor received a huge block of marble to work with. The result of his work was supposed to be placed in Florence on a buttress of the north tribune of the main cathedral and accompany other figures erected there before (Paoletti 294). In his book Michelangelo's David: A Search for Identity Charles Seymour points out on the symbolical and philosophical meaning of the figure. He “illustrates the multiple meanings of the David as prophet, as symbol of freedom for the Florentine citizens, as Adam, as Hercules, as colossus, and as self-portrait” (Paoletti 295). On the one hand, David is the biblical character who managed to gain a victory over giant Goliath. On the other hand, he is the symbol of the Florentine success in the relations with Medici family. Further, he is a hero and symbolizes the fame and dignity with his posture. Therefore, David is a representation of the changed identity of the Early Modern personality.
The symbolic meaning can be seen not only in the form of sculptures and paintings but also in such s big form as architecture. For example, Burroughs in his article “Michelangelo at the Campidoglio: Artistic Identity, Patronage, and Manufacture” writes how the political, artistic and philosophical views of Michelangelo are combined in the buildings: “The giant order itself, finally, serves to pull together the two stories; when the facade is viewed at a raking angle, the Ionic order disappears from sight among the protruding bases of the Corinthian pilasters” (101). This example of deconstruction means that the dualistic identity of the author is clearly reflected in his works. Besides, the building of the Palazzo dei Conservatori described above, shows the ambiguous position of the Roman citizen elite, which was considered to be in solidarity with the common people but on the other hand, was acknowledged and treated as the aristocracy. This dualism was depicted in construction of the building by Michelangelo. Moreover, this moment also demonstrates that the artistic identity of the author cannot be viewed without the consideration of other part which creates it: the political, the philosophic, etc.
The interpretation of the individual’s role in the history and his/her own life can be seen in the other artwork by Michelangelo, Creation of Adam. According to many scholars, the painting shows how God imparts the soul in the human body with his divine touch. However, after the careful analysis Boyle offers another theory to explain the hidden symbolism if the episode. According to her, the Lord with his gesture requests the human being to stand erect (992). This theory demonstrates highlights two main religious features which were remarkable during the Early Modern Age. God does not have his fists clinched, so he is considered to be a commander and adviser for people. This implies the changes in the people’s attitude to the church. As it is known the power of the religious institution became less and was not absolute as it was during the medieval time. Another important thing which is implied in the picture is that the human being is standing in front of the Lord. This episode demonstrates the dignity and the respect which was proclaimed by the representatives of the Renaissance.
The artworks of Michelangelo, mainly, his sculptures provide another insight into the development of the philosophical thought of the Early Modern Period. When the sculptor was asked how he created his carving he replied that everything is done by “chipping away the excess in order to release the figure that was already there trapped in the stone” (Forbes 130). According to Carabell, “Michelangelo's method of carving involved modeling contours into the depth of the stone, always pushing back from a frontal position” (93). Both these description refer not only to the way the sculptor worked, but also reflect a deep philosophic idea – everything a person wants to be is already inside him/her. The individual needs only to find the excessive features of his/her character and work with the virtues. This simple idea demonstrates that Michelangelo considered that the identity of a person can be realized with the help of the constant work by eliminating all the possible disadvantages and by highlighting the positive elements. This thought is close to the desire for perfection. The perfection, in turn, is something that Early Modern artists strived to achieve and show in their works. Carabell writes that for Michelangelo “identity is established as an ongoing process that must, by definition, remain unfinished” (100). Therefore, the artist formulates another philosophic idea with the help of his works: the identity of individual cannot be fully completed.
Michelangelo is a great example of a man of the Early Modern period. He was the talented sculptor, artist and architect. The significance of his works can hardly be overestimated. Michelangelo formulated the high standards for the art of sculpture. Moreover, his works imply a deep philosophic thought behind them. Therefore, it can be said that the genius of Michelangelo provides a great contribution to the development and understanding of identity. His sculptures and frescoes are filled with humanistic values and principles. In every piece of his artwork he showed dignity and respect to the people. This position contrasted to the one which proposed the disdainful attitude to people from the clergy and authorities. The artworks of Michelangelo prove the value of every human life and thus proclaim the humanistic views and the change in the artistic identity as well as in the perception of self among other human beings. The humanistic values which were offered by Michelangelo made his contribution valuable even in the modern times. His assumption that craving shoud remove everything except the most important can be applied to the modern business and ideas of self-development. Therefore the impact of Michelangelo on the identity can be traced and should be used even in 21st century.
Works Cited
Boyle, Marjorie O'Rourke. Senses of Touch: Human Dignity and Deformity from
Michelangelo to Calvin. Vol. 71. Brill, 1998.
Burroughs, Charles. "Michelangelo at the Campidoglio: Artistic Identity, Patronage,
and Manufacture." Artibus Et Historiae 14.28 (1993): 85. Web.
Carabell, Paula. "Image and identity in the unfinished works of Michelangelo." RES:
Anthropology and Aesthetics 32 (1997): 83-105.
Forbes, Raymond L. "Michelangelo's Message." Journal of Arts and Humanities 1.1
(2012): 130.
Paoletti, John T. Rev of Michelangelo's David: A Search for Identity, Seymour,
Charles, Jr. The Art Bulletin 51.3 (1969). Web
