Art & Critique » Michelangelo

Michelangelo: The Sistine Chapel Ceiling, The Prophet Jeremiah

elijah — Sun, 21 Oct 2007 22:38:15 +0000

To me, Jeremiah is the most human of all the prophets on the Sistine Chapel Ceiling. The prophet exhibits weakness, weariness and despair, his posture reveals diffidence and inner suffering. This is a potent psychological portrait, and the artist channels every surrounding element towards bringing out the mentioned traits, to make it such. I think that looking at this old man may be particularly gratifying, because every human being can sympathize with anguish, finding similar sentiments inside their souls. This figure epitomizes emotional pain, and demonstrates universal appeal as a consequence. Michelangelo chose the most basic device to establish the general mood: almost every loose object in this scene points down, as if symbolically echoing Jeremiah’s torment and “down” feelings; the man himself hangs his head, his gaze is downcast, his right shoulder is drooping. Furthermore, his beard points directly downwards, as is his under clothing and the fingers of his left hand. The prophet’s mirror companion replicates his position, with the lock imitating the beard.

Sistine Chapel Ceiling: the Prophet J…

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Unlike in the other prophets, who display broad hand movements, Jeremiah’s limbs perform actions that provide insight into their owner’s inner state. The right hand covers the mouth, as if blocking harsh words or even cries — the man would not speak because he has already said everything he could. The left hand plays with the clothing, a clear sign of insecurity and absent-mindedness. Finally, the legs are crossed to form an “X,” an evidence of low self-esteem or reticence. I once read a guide on psychology of bodily positions, and most of my knowledge is derived from there. I doubt that Michelangelo had the benefit of reading the same guide, but he was obviously well familiar with its contents. He was as sensitive a psychologist as a stylist; I imagine that this is an indispensable quality for any all-round artist, particularly of the caliber of Michelangelo. Overall, it seems that thematically, Jeremiah’s portrayal is the closest of the prophets to a portrait.

The Sistine Chapel: The Prophet Jerem…

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Perhaps, symbolically, it is. The portrait of a nation which has just witnessed the destruction of its capital and temple, the portrait of the people who lost everything they cherished and loved. Have you noticed the pathos? I am merely trying to find a verbal equivalent to what I see in front of me. It seems that the pre-restored version adds a crude realistic touch: the feet appear blackened — and it is easy to conjure up the black of the debris and scorched ruins of Jerusalem covering the other colors, instead of the candle smoke accumulating on the fresco. In fact, the process of restoration may withhold a symbolic prediction — a prophecy — of what is to occur in the future. This hypothesis marks Jeremiah as a still active prophet, at least in the minds of concerned people. But I will quietly walk out of this theological conundrum. From purely artistic point of view, this figure stands out as the least pretty physically, yet the most accomplished psychologically. Michelangelo proved himself to be as keen an observer of internal events as he was of the external.

Michelangelo: The Sistine Chapel Ceiling, The Prophet Joel

elijah — Fri, 19 Oct 2007 21:14:28 +0000

This prophet displays yet another step towards religious self-consciousness. The biblical prophets, from Ezekiel to Jeremiah (to be reviewed next) describe the full arch of intellectual and conceptual religious development, distancing themselves inversely from pure hedonistic physicality of the sibyls, in a quintessential, step by step, side effect . In Ezekiel we witness the readiness to partake in polemics and argue God’s word with rhetorical ardor and physical force — this is the stage of conquering; Joel dwells in an already familiar and occupied territory, and, as brute force becomes unnecessary, he widens the mental scope by focusing more on thought and letters, which his figure clearly denotes; Jeremiah embodies the tragedy of disillusionment, Solomon’s wisdom and personal moral devastation in the face of the destruction of Jerusalem. These prophets act out the rise and the fall of Judaism and Judaic tradition.

The Sistine Chapel; Ceili…

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This thesis can be further explored by examining the harmonies created in Joel and Jeremiah: the former scene displays a lateral spreading while the latter expands vertically. But I will not deprive Joel of the solo act he rightly deserves. There are several inner horizontal lines, formed by the scroll, the cloak folds on the knees and the belt; the hands of the boys in the back and the pedestal form the outer boundaries. To my mind, the purpose of this gradual stratification is twofold. On the one hand, it calms the atmosphere, preparing and softening the viewer to relate to the prophet’s tense expression, on the other hand it reflects the depths of Joel’s inquiry — we cannot see what is written in the scroll, but we may conceive it via a visual association. But perhaps I rush into the interpretation: these lines are rhythmically and visually entertaining without it, forming the basis that allows for it.

The Prophet Joel

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Once again, the details in the background mirror, interact and comment on the events in the foreground. The head on the right of Joel replicates that of the prophet’s, only in smaller size, and age. It appears like a satellite attached to the main body by invisible forces. The figure on the left provides visual balance, and some additional insight on Joel’s activity — holding a book, he participates in a discussion with the other boy, who also reads — and debate is an essential component of communal studying. I think that the pinnacle of this scene is the face of the main figure. It captivates the viewer immediately, showing a very animated expression, it reveals wisdom, disdain and intense focus at once. It is said that the one person in the room that draws most attention to him or herself is someone with a lively face that reveals a constant thinking process. Michelangelo’s Joel might just have the edge to make viewers turn their heads. Although, this is quite a spacious room, and there is a strong competition.

Michelangelo: The Sistine Chapel Ceiling, the Prophet Ezekiel

elijah — Tue, 16 Oct 2007 21:57:47 +0000

No more sluggish grace: Ezekiel exhibits a poignancy of movement that proclaims a strong spiritual direction. His posture differs significantly from that of the sibyls, as he sits firmly on his throne, with both feet fixed on the ground. The prophet’s feet are shown without the embellishments we witness in his female counterparts; sturdy, simple members, they were meant for walking, and they reveal the day-to-day routine of the biblical prophet as physically demanding and even grueling. At last we see a gaze that is prepared to confront an opposition; there is generally something violent in the way Ezekiel looks to his right. In fact, all of his frame appears rather intimidating. The red of his main apparel further stresses the aggressiveness and the contained energy, ready to spill out in the form of words, as his pouting lips show, or blows, as his callous right palm unequivocally implies.

The Sistine Chapel; Ceili…

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This is a man of action. It seems that besides the movement, Michelangelo sought to express this trait by accentuating the physical properties of the prophet’s figure. First, there are the feet mentioned earlier. Second, the red cloth covers incredibly massive thighs. Third, the arms, the biceps and the shoulders also seem very strong and muscular. The almost inhumanly thick neck brings a final touch to overall impression of solidity and power ready to be channeled into any — the prophet’s right in this case — direction. The scroll that he holds in his left hand associates much better with a weapon than with letters and education, as if the man is prepared to literally beat the truth into the minds of his opponents. The monograph in my possession says that the depicted zeal reflects Ezekiel’s biblical image as a denunciator.

Sistine Chapel Ceiling: t…

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The two heads in the background add some balance and harmony to the upper part of the scene. Pictorially, they encompass the prophet’s head, softening its bulky shape. Allegorically, they resonate with Ezekiel’s mood, the boy on the right expressing fear and anxiety, and the boy on the left showing compliance (he is the one with downcast eyes!) and readiness to further communicate God’s words — his hands pointing in both the upper and Ezekiel’s direction. There are a few interesting compositional tricks: the serpentine line of the scroll is mirrored several times, in a larger proportion, in the white cloth that covers the right part of the prophet’s body. The scarf, waving to the left of the figure, countervails the general tendency. The contours of the composition form a rectangle — a stable, though arguably less pretty geometrical figure, which reaffirms Ezekiel’s spiritual certitude. Eventually, it may also reflect the conceptual simplicity of monotheism as opposed to paganism, implied by the multitude of more refined figures that constitute the sibyls.

The Sistine Chapel: Creat…

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Michelangelo: The Sistine Chapel, Libyan Sibyl

elijah — Sat, 13 Oct 2007 19:49:21 +0000

The Libyan Sibyl also turns away from the book she holds, in what seems like a characteristic display of learned ignorance: having the knowledge, but being unable to use it in the right direction — that of the Christian creed. By reiterating the gesture, though in a different form, Michelangelo forwards a broad allegory on paganism. He exposes two sides of pagan spiritualism; on the one hand it deserves credit for the wisdom it developed and cultivated but, on the other, it can only be considered as an intermediate stage on the way to a loftier religious truth. To my mind the symbolism is quite obvious, and though interesting, it is the actual pictorial elements that make this figure fascinating. Once again, the artist reaches the highest levels of complexity and sophistication by introducing a series of rhythms, repetitions and movements.

The Sistine Chapel; Ceili…

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First there is a series of triangles: the legs form two between themselves, there is one delineated by the torso and the left hip, one by the torso and the right arm, and both arms also outline triangles, which together with the book produce a rectangle as well. There is a further correspondence between the boy’s and the sibyl’s hands — they mirror each other. The main figure describes a heap of various geometrical figures, which enhance the viewing experience by prompting the observer to decode them one by one, in a selective process. The process itself translates to aesthetic interest and curiosity in the mind of the viewer. The scene is visually and mentally demanding, as is also quite crowded — besides the lady, we can also see two boys that accompany her, and a few children in the pictorial bas-relief.

Anatomy Sketches (Libyan …

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The musculature of the back, portrayed by a series of shadows and light reflections, demonstrates the artist’s thorough knowledge of anatomy. Though we can only see the muscles bulging and swelling by the relief they leave on the skin, it becomes obvious that the man knew what was going on beneath it. This reminds me of today’s animation technology — this is an anachronistic example, but the premise remains the same — ans how digital artists programme the skeleton, the muscles and only then the skin of an animal or a human into the code. They encipher the surface to reflect all of the movements and changes that would take place under it. To my mind, it makes sense that the artist would be one step ahead of the art consumer. Michelangelo’s ordeal in studying anatomy was first and foremost a crucial step in retaining artistic integrity.

Sistine Chapel Ceiling an…

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In a way, what happens in the scene is that the figure as a whole becomes subordinate to the artist’s conception of the theatrical movements of its parts. As a result, though everything appears to coordinate perfectly, the figure itself moves uncomfortably (this unease is most obvious in the first impression, and the last, after some time of brooding on this part of the ceiling) — the whole becomes too perfect, the grace goes over the top and spills in the form of refined awkwardness, a paradoxical in-between. Apparently, Michelangelo had found and drawn the distinction between moderation and excess, often oscillating between the two to keep his compositions within the limits of good taste — something other mannerists, or so many art historians claim, failed to achieve. On the other hand, some would not consider the ceiling of the Sistine Chapel to contain any mannerist elements at all.

Michelangelo: The Sistine Chapel Ceiling, Delphic Sibyl

elijah — Thu, 11 Oct 2007 22:20:37 +0000

What captures the eye in the central figure is the emphasized elegance and ease of movement — and how these found their way into the depicted body. Michelangelo’s technique never ceases to amaze; his foreshortenings are uncompromising and consequently the illusion of space is overwhelming. He uses both architecture and human form to forge a three dimensional presence: the stony perspectives provide the rigor, while the soft, fluent motions enliven the angular lines. The artist creates a complex interplay between the architectonic and human elements, and that they both cover a part of a structure to be filled by people — and supposedly God — only adds to the complexity.

The Sistine Chapel; Ceili…

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I suppose that already here we witness the first elements of mannerism, the hand motions being overtly theatrical. There is an intricate harmony between the legs, the arms and the neck and the face of the sibyl. Moreover, some of her body parts harmonize with the figure behind her, to consolidate the scene into a unified composition — though any claims to have found a local composition have to stand the test of the larger context, that of the whole ceiling of the Sistine Chapel. This is what happens concerning the balance of the figure: most of the limbs (the knees and the left hand) point towards one direction. The cloak and the back balance them out — but not entirely. In order to give some more stability to the subject, Michelangelo turns her head (including the glance!) and the left foot to the right (both correlate for this purpose), while the right arm weighs the whole configuration down, working as a stabilizing axis. Displaying a complicated series of angles and resting points, this sibyl can take hours upon hours of studying.

Delphic Sibyl

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The right thigh of the boy behind the oracle is parallel to her left leg, and their right and left arms correspond similarly. His back (along with the scroll) is arched in the opposite direction of her back, to enclose the scene and unify it. The head of the other boy provides more depth and interest to the background scene. Still, it lacks the color that lavishly adorns the main actor, as not to distract the viewer from the center. The clothing consists of three parts, the cold blue for the head, the warmer green for the body and the hot orange and gold for the lower extremities. The color of the head-dress may refer to the state of mind in which prophecies are foretold, whereas the color that covers the legs may imply the dances and violent rituals that were performed to achieve it.

Sistine Chapel Ceiling: Delphic Sibyl

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The white of the book an the scroll fail to draw the attention of the viewer; the artist avoids symbolism of intellectual capacity and focuses on the physique. I will also add that her face, though beautiful, seems rather blank and weak-willed. She looks away from what is written, uninterested and only slightly concerned — she speaks of fate to others, but perhaps her own fate worries her more than anything else. It also seems that she sits uncomfortably in the architectural surroundings, trapped and stifled by the walls. There is something over the top and overripe in the sibyl’s appearance, a quality removed from the biblical prophets shown on the same ceiling. Thus, perhaps Michelangelo might have been offering a more subtle religious commentary, alongside the grand one, of the fresco itself as a whole.

Art & Critique » Michelangelo

Michelangelo: The Sistine Chapel Ceiling, The Prophet Jeremiah

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