Although he did not consider himself a painter, Michelangelo created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling
of the Sistine Chapel in Rome, and The Last Judgment on its altar wall.
One of them, by Giorgio Vasari, proposed that Michelangelo’s work transcended that of any artist living or dead, and was “supreme in not one art alone but in all three.
According to Condivi, Lorenzo di Pierfrancesco de’ Medici, for whom Michelangelo had sculpted St. John the Baptist, asked that Michelangelo “fix it so that it looked as if
it had been buried” so he could “send it to Rome … pass [it off as] an ancient work and … sell it much better.”
 In 1520, the Medici came back to Michelangelo with another grand proposal, this time for a family funerary chapel in the Basilica of San Lorenzo.
 In his “Lives of the Artists”, Giorgio Vasari observed: “But infinitely more than any of the others he loved M. Tommaso de’ Cavalieri, a Roman gentleman, for whom, being
a young man and much inclined to these arts, [Michelangelo] made, to the end that he might learn to draw, many most superb drawings of divinely beautiful heads, designed in black and red chalk; and then he drew for him a Ganymede rapt to Heaven
by Jove’s Eagle, a Tityus with the Vulture devouring his heart, the Chariot of the Sun falling with Phaëthon into the Po, and a Bacchanal of children, which are all in themselves most rare things, and drawings the like of which have never
On 4 July of the same year, he began work on a commission for the banker Jacopo Galli, for his garden, an over-life-size statue of the Roman wine god Bacchus.
 Although Michelangelo worked on the tomb for 40 years, it was never finished to his satisfaction.
Michelangelo was asked by the consuls of the Guild of Wool to complete an unfinished project begun 40 years earlier by Agostino di Duccio: a colossal statue of Carrara marble
portraying David as a symbol of Florentine freedom to be placed on the gable of Florence Cathedral.
 Michelangelo achieved fame early; two of his best-known works, the Pietà and David, were sculpted before the age of thirty.
This was for the painting of two large frescos in the Cappella Paolina depicting significant events in the lives of the two most important saints of Rome, the Conversion of
Saint Paul and the Crucifixion of Saint Peter.
 Michelangelo persuaded Pope Julius II to give him a free hand and proposed a different and more complex scheme, representing the Creation, the Fall of Man, the
Promise of Salvation through the prophets, and the genealogy of Christ.
 According to Condivi’s account, Bramante, who was working on the building of St. Peter’s Basilica, resented Michelangelo’s commission for the pope’s tomb and convinced
the pope to commission him in a medium with which he was unfamiliar, in order that he might fail at the task.
Florence, 1499–1505 Main article: David (Michelangelo) David, completed by Michelangelo in 1504, is one of the most renowned works of the Renaissance.
 For several generations, his family had been small-scale bankers in Florence; but the bank failed, and his father, Ludovico di Leonardo Buonarroti Simoni, briefly took
a government post in Caprese, where Michelangelo was born.
 Michelangelo responded by completing his most famous work, the statue of David, in 1504.
The longest sequence, displaying deep romantic feeling, was written to the young Roman patrician Tommaso dei Cavalieri (c. 1509–1587), who was 23 years old when Michelangelo
first met him in 1532, at the age of 57.
 His poetry includes the following closing lines from what is known as poem 285 (written in 1554): “Neither painting nor sculpture will be able any longer to calm my soul,
now turned toward that divine love that opened his arms on the cross to take us in.
On 7 December 2007, a red chalk sketch for the dome of St Peter’s Basilica, possibly the last made by Michelangelo before his death, was discovered in the Vatican archives.
 During the half-year he spent in Florence, he worked on two small statues, a child St. John the Baptist and a sleeping Cupid.
 Between 1493 and 1494, he bought a block of marble, and carved a larger-than-life statue of Hercules, which was sent to France and subsequently disappeared sometime
in the 18th century.
 He also may have painted the Madonna and Child with John the Baptist, known as the Manchester Madonna and now in the National Gallery, London.
 Also during this period, Michelangelo was commissioned by Angelo Doni to paint a “Holy Family” as a present for his wife, Maddalena Strozzi.
The commission for the tomb forced the artist to leave Florence with his planned Battle of Cascina painting unfinished.
 The next year, his father persuaded Ghirlandaio to pay Michelangelo as an artist, which was rare for someone of fourteen.
 By this time, Michelangelo was established as an artist; both he and Julius II had hot tempers and soon argued.
Michelangelo was the first Western artist whose biography was published while he was alive.
 Several months after Michelangelo’s birth, the family returned to Florence, where he was raised.
 St Peter’s Basilica, 1546–1564 Main article: St Peter’s Basilica § Architecture The dome of St Peter’s Basilica While still working on the Last Judgment, Michelangelo
received yet another commission for the Vatican.
 • The Madonna of the Stairs (1490–1492) • The Taddei Tondo (1502) • Madonna of Bruges (1504) • The Doni Tondo (1504–1506) Male figure Candlestick angel by Niccolò dell’Arca
The kneeling Angel is an early work, one of several that Michelangelo created as part of a large decorative scheme for the Arca di San Domenico in the church dedicated to that saint in Bologna.
 Works Madonna and Child The Madonna of the Stairs is Michelangelo’s earliest known work in marble.
Like the Last Judgment, these two works are complex compositions containing a great number of figures.
 Feuds with other artists In a letter from late 1542, Michelangelo blamed the tensions between Julius II and himself on the envy of Bramante and Raphael, saying of the
latter, “all he had in art, he got from me”.
The hypothesis on Michelangelo’s possible involvement in the creation of the profile is based on the strong resemblance of the latter to a profile drawn by the artist,
datable to the beginning of the 16th century, now preserved in the Louvre.
Michelangelo transformed the plan so that the western end was finished to his design, as was the dome, with some modification, after his death.
 [d] This apparent success in selling his sculpture abroad as well as the conservative Florentine situation may have encouraged Michelangelo to accept the prelate’s invitation.
 Michelangelo worked on a number of architectural projects at this time.
 On 17 April 1506, Michelangelo left Rome in secret for Florence, remaining there until the Florentine government pressed him to return to the pope.
 The interiors of the older churches were covered with frescos (mostly in Late Medieval, but also in the Early Renaissance style), begun by Giotto and continued by Masaccio
in the Brancacci Chapel, both of whose works Michelangelo studied and copied in drawings.
 It was soon to be regarded as one of the world’s great masterpieces of sculpture, “a revelation of all the potentialities and force of the art of sculpture”.
 In Bologna, he was commissioned to carve several of the last small figures for the completion of the Shrine of St. Dominic, in the church dedicated to that saint.
Despite Michelangelo’s support of the republic and resistance to the Medici rule, he was welcomed by Pope Clement, who reinstated an allowance that he had previously granted
the artist and made a new contract with him over the tomb of Pope Julius.
 Apprenticeships, 1488–1492 The Madonna of the Stairs (1490–1492), Michelangelo’s earliest known work in marble As a young boy, Michelangelo was sent to Florence to study
grammar under the Humanist Francesco da Urbino.
Life Early life, 1475–1488 Michelangelo was born on 6 March 1475[a] in Caprese, known today as Caprese Michelangelo, a small town situated in Valtiberina, near Arezzo,
He spent three years creating drawings and models for the façade, as well as attempting to open a new marble quarry at Pietrasanta specifically for the project.
His successor, Pope Paul III, was instrumental in seeing that Michelangelo began and completed the project, which he laboured on from 1534 to October 1541.
 In the same period of placing the David, Michelangelo may have been involved in creating the sculptural profile on Palazzo Vecchio’s façade known as the Importuno di
Attempts by subsequent artists to imitate The expressive physicality of Michelangelo’s style contributed to the rise of Mannerism, a short-lived movement in Western art
following the High Renaissance.
The Madonna of Bruges was, at the time of its creation, unlike other such statues depicting the Virgin proudly presenting her son.
 Michelangelo left the security of the Medici court and returned to his father’s house.
 The dome, not completed until after his death, has been called by Banister Fletcher, “the greatest creation of the Renaissance”.
Some of the objects of Michelangelo’s affections, and subjects of his poetry, took advantage of him: the model Febo di Poggio asked for money in response to a love-poem, and
a second model, Gherardo Perini, shamelessly stole from him.
According to Gian Paolo Lomazzo, Michelangelo and Raphael met once: the former was alone, while the latter was accompanied by several others.
It is extremely rare, since he destroyed his designs later in life.
Michelangelo returned to Florence but received no commissions from the new city government under Savonarola.
 In the early 15th century, the architect Filippo Brunelleschi, having studied the remains of Classical buildings in Rome, had created two churches, San Lorenzo’s and
Santo Spirito, which embodied the Classical precepts.
“ Personal habits Michelangelo was abstemious in his personal life, and once told his apprentice, Ascanio Condivi: “However rich I may have been, I have always lived
like a poor man.
At this time Michelangelo studied the robust reliefs carved by Jacopo della Quercia around the main portal of the Basilica of St Petronius, including the panel of The Creation
of Eve, the composition of which was to reappear on the Sistine Chapel ceiling.
 The sculptor Lorenzo Ghiberti had laboured for fifty years to create the north and east bronze doors of the Baptistry, which Michelangelo was to describe as “The Gates
Michelangelo used his own discretion to create the composition of the Medici Chapel, which houses the large tombs of two of the younger members of the Medici family, Giuliano,
Duke of Nemours, and Lorenzo, his nephew.
 In 1542, Michelangelo met Cecchino dei Bracci who died only a year later, inspiring Michelangelo to write 48 funeral epigrams.
The work is part of a larger scheme of decoration within the chapel that represents much of the doctrine of the Catholic Church.
 The city of Florence was at that time Italy’s greatest centre of the arts and learning.
 Tomb of Julius II, 1505–1545 Main article: Tomb of Pope Julius II Tomb of Julius II, 1505–1545 In 1505 Michelangelo was invited back to Rome by the newly elected Pope
Julius II and commissioned to build the Pope’s tomb, which was to include forty statues and be finished in five years.
 The poems to Cavalieri make up the first large sequence of poems in any modern tongue addressed by one man to another; they predate by 50 years Shakespeare’s sonnets
to the fair youth: I feel as lit by fire a cold countenance That burns me from afar and keeps itself ice-chill; A strength I feel two shapely arms to fill Which without motion moves every balance.
 As construction was progressing on St Peter’s, there was concern that Michelangelo would pass away before the dome was finished.
The subject, which is not part of the Biblical narrative of the Crucifixion, was common in religious sculpture of Medieval Northern Europe and would have been very familiar
to the Cardinal.
 The lively form of the child was later adapted by Raphael in the Bridgewater Madonna.
 In November 1497, the French ambassador to the Holy See, Cardinal Jean de Bilhères-Lagraulas, commissioned him to carve a Pietà, a sculpture showing the Virgin Mary grieving
over the body of Jesus.
With the Rebellious Slave, it is one of two such earlier figures for the Tomb of Pope Julius
 Sistine Chapel ceiling, 1505–1512 Main article: Sistine Chapel ceiling Michelangelo painted the ceiling of the Sistine Chapel; the work took approximately four years
to complete (1508–1512) During the same period, Michelangelo painted the ceiling of the Sistine Chapel, which took approximately four years to complete (1508–1512).
Several other artists had worked on the scheme, beginning with Nicola Pisano in the 13th century.
[b] He showed no interest in his schooling, preferring to copy paintings from churches and seek the company of other painters.
[‘o Wells, John (3 April 2008). Longman Pronunciation Dictionary (3rd ed.). Pearson Longman. ISBN 978-1-4058-8118-0.
o ^ Jump up to:a b c Michelangelo at the Encyclopædia Britannica
o ^ Symonds, John (9 January 2019). The Life of Michelangelo. BookRix.
ISBN 9783736804630 – via Google Books.
o ^ Vasari, Giorgio (14 August 2008). The Lives of the Artists. Oxford University Press. ISBN 9780199537198 – via Google Books.
o ^ Hughes, A., & Elam, C. (2003). “Michelangelo”. Oxford Art Online. Retrieved
14 April 2018, from Oxford Art Online
o ^ Smithers, Tamara. 2016. Michelangelo in the New Millennium: Conversations about Artistic Practice, Patronage and Christianity. Boston: Brill. p. vii. ISBN 978-90-04-31362-0.
o ^ Emison, Patricia. A (2004).
Creating the “Divine Artist”: from Dante to Michelangelo. Brill. ISBN 978-90-04-13709-7.
o ^ Art and Illusion, E. H. Gombrich, ISBN 978-0-691-07000-1
o ^ Unione Montana dei Comuni della Valtiberina Toscana, www.cm-valtiberina.toscana.it
Jump up to:a b c J. de Tolnay, The Youth of Michelangelo, p. 11
o ^ Jump up to:a b C. Clément, Michelangelo, p. 5
o ^ A. Condivi, The Life of Michelangelo, p. 5
o ^ Jump up to:a b A. Condivi, The Life of Michelangelo, p. 9
o ^ Jump up to:a
b Coughlan, Robert; (1978), The World of Michelangelo, Time-Life; pp. 14–15
o ^ Jump up to:a b c Coughlan, pp. 35–40
o ^ Giovanni Fanelli, (1980) Brunelleschi, Becocci Firenze, pp. 3–10
o ^ H. Gardner, p. 408
o ^ Jump up to:a b Coughlan, pp.
o ^ R. Liebert, Michelangelo: A Psychoanalytic Study of his Life and Images, p. 59
o ^ C. Clément, Michelangelo, p. 7
o ^ C. Clément, Michelangelo, p. 9
o ^ J. de Tolnay, The Youth of Michelangelo, pp. 18–19
o ^ Jump up to:a b A. Condivi,
The Life of Michelangelo, p. 15
o ^ Coughlan, p. 42
o ^ Jump up to:a b J. de Tolnay, The Youth of Michelangelo, pp. 20–21
o ^ A. Condivi, The Life of Michelangelo, p. 17
o ^ Laurenzo, Domenico (2012). Art and Anatomy in Renaissance Italy:
Images from a Scientific Revolution. Metropolitan Museum of Art. p. 15. ISBN 1588394565.
o ^ Zeybek, A.; Özkan, M. (August 2019). “Michelangelo and Anatomy”. Anatomy: International Journal of Experimental & Clinical Anatomy. 13 (Supplement 2): S199.
Coughlan, Robert (1966). The World of Michelangelo: 1475–1564. et al. Time-Life Books. p. 67.
o ^ Bartz and König, p. 54
o ^ Miles Unger, Michelangelo: a Life in Six Masterpieces, ch. 1
o ^ Jump up to:a b J. de Tolnay, The Youth of Michelangelo,
o ^ A. Condivi, The Life of Michelangelo, pp. 19–20
o ^ J. de Tolnay, The Youth of Michelangelo, pp. 26–28
o ^ Avery, Charles, Florentine Renaissance Sculpture, pp. 176-177, 1970, John Murray Publishing, ISBN 0719519322
o ^ Jump
up to:a b Hirst and Dunkerton pp. 47–55
o ^ Vasari, Lives of the painters: Michelangelo
o ^ Paoletti and Radke, pp. 387–89
o ^ Goldscheider, p. 10
o ^ Marinazzo, Adriano (2020). “Una nuova possible attribuzione a Michelangelo. Il Volto Misterioso”.
Art e Dossier. 379: 76–81.
o ^ “Avant Banksy et Invader, Michel-Ange pionnier du street art dans les rues de Florence”. LEFIGARO (in French). 22 November 2020. Retrieved 11 April 2021.
o ^ Paoletti and Radke, pp. 392–93
o ^ Jump up to:a b c
Goldscheider, p. 11
o ^ Hirst and Dunkerton, p. 127
o ^ Hirst and Dunkerton, pp. 83–105, 336–46
o ^ Jump up to:a b c Goldscheider, pp. 14–16
o ^ Chilvers, Ian, ed. (2009). “Michelangelo (Michelangelo Buonarroti)”. The Oxford Dictionary of
Art and Artists (4th ed.). Online: Oxford University Press. doi:10.1093/acref/9780199532940.001.0001. ISBN 978-0-19-953294-0.
o ^ Jump up to:a b c Campbell, Gordon, ed. (2005). “Michelangelo Buonarroti or Michelagnolo Buonarroti”. The Oxford Dictionary
of the Renaissance (Online ed.). Oxford University Press. doi:10.1093/acref/9780198601753.001.0001. ISBN 978-0-19-860175-3.
o ^ Jump up to:a b c d Osborne, Harold; Brigstocke, Hugh (2003). “Michelangelo Buonarroti”. In Brigstocke, Hugh (ed.). The
Oxford Companion to Western Art (Online ed.). Oxford University Press. doi:10.1093/acref/9780198662037.001.0001. ISBN 978-0-19-866203-7.
o ^ Pater, Walter (1893). The Renaissance: Studies in Art and Poetry (4th ed.). Courier Corporation [2005, 2013
reprint]. p. 55. ISBN 978-0-486-14648-5.
o ^ Jump up to:a b c d e f g h i Bartz and König, p. 134
o ^ Marinazzo, Adriano (2018). “La Tomba di Giulio II e l’architettura dipinta della volta della Sistina”. Art e Dossier. 357: 46–51. ISSN 0394-0179.
Coughlan, p. 112
o ^ Jump up to:a b c d e Goldscheider, pp. 12–14
o ^ Bartz and König, p. 43
o ^ Miles Unger, Michelangelo: a Life in Six Masterpieces, ch. 5
o ^ Coughlan, pp. 135–36
o ^ Goldscheider, pp. 17–18
o ^ Peter Barenboim, Sergey
Shiyan, Michelangelo: Mysteries of Medici Chapel, SLOVO, Moscow, 2006. ISBN 5-85050-825-2
o ^ Peter Barenboim, “Michelangelo Drawings – Key to the Medici Chapel Interpretation”, Moscow, Letny Sad, 2006, ISBN 5-98856-016-4
o ^ Coughlan, pp. 151–52
Bartz and König, p. 87
o ^ Coughlan, pp. 159–61
o ^ Jump up to:a b A. Condivi (ed. Hellmut Wohl), The Life of Michelangelo, p. 103, Phaidon, 1976.
o ^ Jump up to:a b Bartz and König, pp. 100–02
o ^ Bartz and König, pp. 102, 109
o ^ Goldscheider,
o ^ Goldscheider, pp. 8, 21, 22
o ^ Bartz and Kŏnig, p. 16
o ^ Ilan Rachum, The Renaissance, an Illustrated Encyclopedia, Octopus (1979) ISBN 0-7064-0857-8
o ^ Gardner, pp. 480–81
o ^ Banister Fletcher, 17th ed. p. 719
o ^ “Michelangelo
‘last sketch’ found”. BBC News. 7 December 2007. Retrieved 9 February 2009.
o ^ Buck, Stephanie (2010). Michelangelo’s Dream. Stephanie Buck, Tatiana Bissolati, Courtauld Institute Galleries. London: Courtauld Gallery in association with Paul
Holberton. p. 81. ISBN 978-1-907372-05-6. OCLC 551673496.
o ^ Joannides, Paul (2003). Michel-Ange, élèves et copistes (in French). Véronique Goarin, Catherine Scheck, Musée du Louvre. Département des arts graphiques, Musée d’Orsay. Paris: Réunion
des musées nationaux. p. 253. ISBN 2-7118-4044-1. OCLC 53434968.
o ^ “Crucifixion by Michelangelo, a drawing in black chalk”. The British Museum. Archived from the original on 15 October 2015. Retrieved 24 October 2018.
o ^ “Michelangelo, Selected
Poems” (PDF). Columbia University. p. 20. Retrieved 24 October 2018.
o ^ “Michelangelo’s Poetry”. Michelangelo Gallery. Translated by Longfellow, H.W. Studio of the South. Retrieved 24 October 2018.
o ^ Jump up to:a b c Condivi, The Life of Michelangelo,
o ^ Shirbon, Estelle. “Michelangelo more a prince than a pauper”. LA Times.
o ^ Paola Barocchi (ed.) Scritti d’arte del cinquecento, Milan, 1971; vol. I p. 10.
o ^ Condivi, p. 102.
o ^ Hughes, Anthony, “Michelangelo”, p. 326. Phaidon,
o ^ Scigliano, Eric: “Michelangelo’s Mountain; The Quest for Perfection in the Marble Quarries of Carrara” Archived 30 June 2009 at the Wayback Machine, Simon and Schuster, 2005. Retrieved 27 January 2007
o ^ Zöllner, Frank; Thoenes, Christof
(2019). Michelangelo, 1475–1564: The Complete Paintings, Sculptures and Architecture. Translated by Karen Williams (2nd ed.). Cologne: Taschen. pp. 381, 384, 387–390. ISBN 978-3-8365-3716-2. OCLC 1112202167.
o ^ Bredekamp, Horst (2021). Michelangelo
(in German). Verlag Klaus Wagenbach. Berlin. pp. 466–486. ISBN 978-3-8031-3707-4. OCLC 1248717101.
o ^ Gayford 2013
o ^ Vasari, Giorgio (1914). Lives of the most eminent painters, sculptors, and architects. Vol. IX. Translated by Gaston du C.
De Vere. London: Medici Society. pp. 105–106.
o ^ According to Gayford (2013), “Whatever the strength of his feelings, Michelangelo’s relationship with Tommaso de’Cavalieri is unlikely to have been a physical, sexual affair. For one thing, it
was acted out through poems and images that were far from secret. Even if we do not choose to believe Michelangelo’s protestations of the chastity of his behaviour, Tommaso’s high social position and the relatively public nature of their relationship
make it improbable that it was not platonic.”
o ^ Jump up to:a b c Hughes, Anthony: “Michelangelo”, p. 326. Phaidon, 1997.
o ^ Rictor Norton, “The Myth of the Modern Homosexual”, p. 143. Cassell, 1997.
o ^ Walter G. Andrews; Mehmet Kalpakli
(2005). The Age of Beloveds: Love and the Beloved in Early-Modern Ottoman and European Culture and Society. Duke University Press Books; Illustrated edition. p. 56. ISBN 978-0822334248.
o ^ Vittoria Colonna, Sonnets for Michelangelo. A Bilingual
Edition edited and translated by Abigail Brundin, The University of Chicago Press 2005. ISBN 0-226-11392-2, p. 29.
o ^ Salmi, Mario; Becherucci, Luisa; Marabottini, Alessandro; Tempesti, Anna Forlani; Marchini, Giuseppe; Becatti, Giovanni; Castagnoli,
Ferdinando; Golzio, Vincenzo (1969). The Complete Work of Raphael. New York: Reynal and Co., William Morrow and Company. pp. 587, 610.
o ^ Bartz and König, p. 8
o ^ Bartz and König, p. 22
o ^ Jump up to:a b Goldscheider, p. 9
o ^ Hirst and
Dunkerton, pp. 20–21
o ^ Bartz and König, pp. 26–27
o ^ Bartz and König, pp. 62–63
o ^ Yvon Taillandier, Rodin, New York: Crown Trade Paperbacks, (1977) ISBN 0-517-88378-3
o ^ Coughlan, pp. 166–67
o ^ Goldscieder p. 12
o ^ Jump up to:a
b c d e Paoletti and Radke, pp. 402–03
o ^ Vasari, et al.
o ^ Bartz and König
o ^ Coughlan
o ^ J. de Tolnay, The Youth of Michelangelo, p. 18
o ^ “Michelangelo Buonarroti”. Retrieved 20 September 2022.
o ^ Goldscheider, p. 8
o ^ Jump
up to:a b Giorgio Vasari, Lives of the Artists: Michelangelo
o ^ J. de Tolnay, The Youth of Michelangelo, p. 135
o ^ Goldscheider
o ^ Nikolaus Pevsner, An Outline of European Architecture, Pelican, 1964
o ^ Jump up to:a b Gardner
o ^ Maiorino,
Giancarlo, 1990. The Cornucopian Mind and the Baroque Unity of the Arts. Penn State Press. p. 28. ISBN 0-271-00679-X.
o ^ Di Cagno, Gabriella. 2008. Michelangelo. Oliver Press. p. 58. ISBN 1-934545-01-5.
o ^ Tolnay, Charles de. 1960. Michelangelo.:
V, The Final Period: Last Judgment. Frescoes of the Pauline Chapel. Last Pietas Princeton: Princeton Univ. Press. p. 154. OCLC 491820830.
o ^ Crispina, Enrica. 2001. Michelangelo. Firenze: Giunti. p. 117. ISBN 88-09-02274-2.
o ^ Coughlan, p. 179
Jump up to:a b “Michelangelo’s tomb: five fun facts you probably didn’t know”. The Florentine. 12 October 2017. Retrieved 20 May 2021.
o ^ Ettlinger, Leopold David, and Helen S. Ettlinger. 1987. Raphael. Oxford: Phaidon. pp. 91, 102, 122. ISBN
o ^ Acidini Luchinat, Cristina. 2002. The Medici, Michelangelo, and the Art of Late Renaissance Florence. New Haven: Yale University Press in association with the Detroit Institute of Arts. p. 96. ISBN 0-300-09495-7.
o ^ “Vita di
Michelangelo”. imdb.com. 13 December 1964. Retrieved 29 November 2019.
o ^ Stone, Irving (1961). The Agony and the Ecstasy: A Biographical Novel of Michelangelo. ISBN 0451171357.
o ^ Ken Tucker (15 March 1991). “A Season of Giants (1991)”. Entertainment
Weekly. Archived from the original on 14 July 2014. Retrieved 11 July 2014.
o ^ Hal Erickson (2014). “A Season of Giants (1991)”. Movies & TV Dept. The New York Times. Archived from the original on 16 July 2014. Retrieved 11 July 2014.
o ^ VV.AA.
(March 1994). Variety Television Reviews, 1991–1992. Taylor & Francis, 1994. ISBN 0824037960.
o ^ “Michelangelo – Endless”. filmitalia.org. Retrieved 29 November 2019.
o ^ “Il Peccato, 2019” (in Russian). kinopoisk.ru. Retrieved 29 November 2019.
Gabriele; Eberhard König (1998). Michelangelo. Könemann. ISBN 978-3-8290-0253-0.
• Clément, Charles (1892). Michelangelo. Harvard University: S. Low, Marston, Searle, & Rivington, ltd.: London. michelangelo.
• Condivi, Ascanio; Alice Sedgewick
(1553). The Life of Michelangelo. Pennsylvania State University Press. ISBN 978-0-271-01853-9.
• Goldscheider, Ludwig (1953). Michelangelo: Paintings, Sculptures, Architecture. Phaidon.
• Goldscheider, Ludwig (1953). Michelangelo: Drawings. Phaidon.
Helen; Fred S. Kleiner, Christin J. Mamiya, Gardner’s Art through the Ages. Thomson Wadsworth, (2004) ISBN 0-15-505090-7.
• Hirst, Michael and Jill Dunkerton. (1994) The Young Michelangelo: The Artist in Rome 1496–1501. London: National Gallery
Publications, ISBN 1-85709-066-7
• Liebert, Robert (1983). Michelangelo: A Psychoanalytic Study of his Life and Images. New Haven and London: Yale University Press. ISBN 978-0-300-02793-8.
• Paoletti, John T. and Radke, Gary M., (2005) Art in
Renaissance Italy, Laurence King, ISBN 1-85669-439-9
• Tolnay, Charles (1947). The Youth of Michelangelo. Princeton, NJ: Princeton University Press.
Photo credit: https://www.flickr.com/photos/seven_of9/4604238410/’]