Michelangelo

Early life, 1475–1488 Michelangelo di Lodovico Buonarroti Simoni was born on 6 March 1475 in Caprese, known today as Caprese Michelangelo, a small town situated in Valtiberina, near Arezzo, Tuscany. For several generations, his family had been small-scale bankers in Florence; but the bank failed, and his father Ludovico briefly took a government post in Caprese. The Buonarrotis claimed to descend from the Countess Matilde di Canossa—a claim that remains unproven, but which Michelangelo believed. Several months after Michelangelo's birth, the family returned to Florence, where he was raised. During his mother's later prolonged illness, and after her death in 1481 (when he was six years old), Michelangelo lived with a nanny and her husband, a stonecutter, in the town of Settignano, where his father owned a marble quarry and a small farm. Michelangelo showed no interest in his schooling, preferring to copy paintings from churches and seek the company of other painters. Art was sponsored by the (the town council), the merchant guilds, and wealthy patrons such as the Medici and their banking associates. The Renaissance, a renewal of Classical scholarship and the arts, had its first flowering in Florence. The sculptor Lorenzo Ghiberti had laboured for 50 years to create the north and east bronze doors of the Baptistry, which Michelangelo was to describe as "The Gates of Paradise". The exterior niches of the Church of Orsanmichele contained a gallery of works by the most acclaimed sculptors of Florence: Donatello, Ghiberti, Andrea del Verrocchio, and Nanni di Banco. During Michelangelo's childhood, a team of painters had been called from Florence to the Vatican to decorate the walls of the Sistine Chapel. Among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing and portraiture who had the largest workshop in Florence. The next year, his father persuaded Ghirlandaio to pay Michelangelo as an artist, which was rare for someone that young. When in 1489, Lorenzo de' Medici, de facto ruler of Florence, asked Ghirlandaio for his two best pupils, Ghirlandaio sent Michelangelo and Francesco Granacci. From 1490 to 1492, Michelangelo attended the Platonic Academy, a Humanist academy founded by the Medicis. There, his work and outlook were influenced by many of the most prominent philosophers and writers of the day, including Marsilio Ficino, Pico della Mirandola and Poliziano. At this time, Michelangelo sculpted the "flattened reliefs", Madonna of the Stairs and Battle of the Centaurs, Michelangelo worked for a time with the sculptor Bertoldo di Giovanni. When he was 17, another pupil, Pietro Torrigiano, struck him on the nose, causing the disfigurement that is conspicuous in the portraits of Michelangelo. Bologna, Florence, and Rome, 1492–1499 Lorenzo de' Medici's death on 8 April 1492 changed Michelangelo's circumstances. He left the security of the Medici court and returned to his father's house. In the following months he carved a polychrome wooden Crucifix (1493), as a gift to the prior of the Florentine church of Santo Spirito, which had allowed him to do some anatomical studies of the corpses from the church's hospital. This was the first of several instances during his career that Michelangelo studied anatomy by dissecting cadavers. Between 1493 and 1494, Michelangelo bought a block of marble, and carved a larger-than-life statue of Hercules. In the same year, the Medici were expelled from Florence as the result of the rise of Savonarola. Michelangelo left the city before the end of the political upheaval, moving to Venice and then to Bologna. Towards the end of 1495, the political situation in Florence was calmer; the city, previously under threat from the French, was no longer in danger as Charles VIII had suffered defeats. Michelangelo returned to Florence but received no commissions from the new city government under Savonarola. He returned to the employment of the Medici. During the half-year he spent in Florence, he worked on two small statues, a child St. John the Baptist and a sleeping Cupid. 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." Both Lorenzo and Michelangelo were unwittingly cheated out of the real value of the piece by a middleman. Cardinal Raffaele Riario, to whom Lorenzo had sold it, discovered that it was a fraud, but was so impressed by the quality of the sculpture that he invited the artist to Rome. 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. at the age of 21. On 4 July of the same year, he began work on a commission for Cardinal Riario, an over-life-size statue of the Roman wine god Bacchus. Upon completion, the work was rejected by the cardinal, and subsequently entered the collection of the banker Jacopo Galli, for his garden. 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. 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. 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". Contemporary opinion was summarised by Vasari: "It is certainly a miracle that a formless block of stone could ever have been reduced to a perfection that nature is scarcely able to create in the flesh." Michelangelo's only work known to have been signed, his name on Mary's sash, it is now located in St Peter's Basilica. Florence, 1499–1505 Michelangelo returned to Florence in 1499. The Republic was changing after the fall of its leader, anti-Renaissance priest Girolamo Savonarola, who was executed in 1498, and the rise of the gonfaloniere Piero Soderini. 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 responded by completing his most famous work, the statue of David, in 1504. The masterwork definitively established his prominence as a sculptor of extraordinary technical skill and strength of symbolic imagination. A team of consultants, including Botticelli, Leonardo da Vinci, Filippino Lippi, Pietro Perugino, Lorenzo di Credi, Antonio and Giuliano da Sangallo, Andrea della Robbia, Cosimo Rosselli, Davide Ghirlandaio, Piero di Cosimo, Andrea Sansovino and Michelangelo's dear friend Granacci, was called together to decide upon its placement, ultimately the Piazza della Signoria, in front of the Palazzo Vecchio. It now stands in the Accademia, and in 1910 a marble replica was raised in its place in the square. 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 Michelangelo. The hypothesis of 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. With the completion of the David came another commission. In early 1504 Leonardo da Vinci had been commissioned to paint The Battle of Anghiari in the council chamber of the Palazzo Vecchio, depicting the battle between Florence and Milan in 1440. Michelangelo was then commissioned to paint the Battle of Cascina. The two paintings are very different: Leonardo depicts soldiers fighting on horseback, while Michelangelo has soldiers being ambushed as they bathe in the river. Neither work was completed and both were lost forever when the chamber was refurbished. Both works were much admired, and copies remain of them, Leonardo's work having been copied by Rubens and Michelangelo's by Bastiano da Sangallo. Also during this period, Michelangelo was commissioned by Angelo Doni to paint a "Holy Family" as a present for his wife, Maddalena Strozzi. It is known as the Doni Madonna and hangs in the Uffizi Gallery, still in its original magnificent frame, which Michelangelo may have designed. 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. 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. Under the patronage of the pope, Michelangelo experienced constant interruptions to his work on the tomb in order to accomplish numerous other tasks. By this time, Michelangelo was established as an artist; both he and Julius II had hot tempers and soon argued. which took approximately four years to complete (1508–1512). 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. Michelangelo was originally commissioned to paint the Twelve Apostles on the triangular pendentives that supported the ceiling, and to cover the central part of the ceiling with ornament. Michelangelo persuaded Pope Julius II to give him a free hand and proposed a different and more complex scheme, The composition stretches over 500 square metres of ceiling and contains over 300 figures. Adam and Eve in the Garden of Eden, the Deluge, the Prophet Jeremiah, and the Cumaean Sibyl. Florence under Medici popes, 1513 – early 1534 In 1513, Pope Julius II died and was succeeded by Pope Leo X, the second son of Lorenzo de' Medici. Pope Leo then had Michelangelo stop working on the tomb, and commissioned him to reconstruct the façade of the Basilica of San Lorenzo in Florence and to adorn it with sculptures. 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. In 1520, the work was abruptly cancelled by his financially strapped patrons before any real progress had been made. The basilica lacks a façade to this day. 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 1976, a concealed corridor was discovered with drawings on the walls that related to the chapel itself. Pope Leo X died in 1521 and was succeeded briefly by the austere Adrian VI, and then by his cousin Giulio Medici as Pope Clement VII. In 1524, Michelangelo received an architectural commission from the Medici pope for the Laurentian Library at San Lorenzo's Church. In 1527, Florentine citizens, encouraged by the sack of Rome, threw out the Medici and restored the republic. A siege of the city ensued, and Michelangelo went to the aid of his beloved Florence by working on the city's fortifications from 1528 to 1529. The city fell in 1530, and the Medici were restored to power, Despite Michelangelo's support of the republic and resistance to the Medici rule, Pope Clement reinstated an allowance that he had previously granted the artist and made a new contract with him over the tomb of Pope Julius. Rome, 1534–1546 '' (1534–1541) In Rome, Michelangelo lived near the church of Santa Maria di Loreto. It was at this time that he met the poet Vittoria Colonna, marchioness of Pescara, who was to become one of his closest friends until her death in 1547. Shortly before his death in 1534, Pope Clement VII commissioned Michelangelo to paint a fresco of The Last Judgment on the altar wall of the Sistine Chapel. 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. Once completed, the depiction of Christ and the Virgin Mary naked was considered sacrilegious, and Cardinal Carafa and Monsignor Sernini (Mantua's ambassador) campaigned to have the fresco removed or censored, but the Pope resisted. At the Council of Trent, shortly before Michelangelo's death in 1564, it was decided to obscure the genitals and Daniele da Volterra, an apprentice of Michelangelo, was commissioned to make the alterations. An uncensored copy of the original, by Marcello Venusti, is in the Capodimonte Museum of Naples. Michelangelo worked on a number of architectural projects at this time. They included a design for the Capitoline Hill with its trapezoid piazza displaying the ancient bronze statue of Marcus Aurelius. He designed the upper floor of the Palazzo Farnese and the interior of the Church of Santa Maria degli Angeli, in which he transformed the vaulted interior of an Ancient Roman bathhouse. Other architectural works include San Giovanni dei Fiorentini, the Sforza Chapel (Capella Sforza) in the Basilica di Santa Maria Maggiore and the Porta Pia. St Peter's Basilica, 1546–1564 While still working on the Last Judgment, Michelangelo received yet another commission for the Vatican. 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. Like the Last Judgment, these two works are complex compositions containing a great number of figures. They were completed in 1550. In the same year, Giorgio Vasari published his Vita, including a biography of Michelangelo. In 1546, Michelangelo was appointed architect of St. Peter's Basilica, Rome. The dome, not completed until after his death, has been called by Banister Fletcher, "the greatest creation of the Renaissance". As construction was progressing on St Peter's, there was concern that Michelangelo would die before the dome was finished. However, once building commenced on the lower part of the dome, the supporting ring, the completion of the design was inevitable. ==Personal life==

'' fresco from 1509 on the Sistine Chapel ceiling . Faith Michelangelo was a devout Catholic whose faith deepened at the end of his life. Along with Raphael, he was enrolled in the Secular Franciscan Order. 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." Personal habits Michelangelo was moderate 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." Michelangelo's bank accounts and numerous deeds of purchase show that his net worth was about 50,000 gold ducats, more than many princes and dukes of his time. Condivi said he was indifferent to food and drink, eating "more out of necessity than of pleasure" This, however, may not have affected him, as he was by nature a solitary and melancholy person, , a man who "withdrew himself from the company of men." Relationships and poetry {{poemquote|Love for a lady's different. Not much in that for a wise and virile lover's trouble. Michelangelo wrote more than three hundred sonnets and madrigals. About sixty are addressed to men – "the first significant modern corpus of love poetry from one man to another". In his Lives of the Artists, 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 been seen." But since John Addington Symonds translated the poems into English in 1893, restoring the original genders, it has become more accepted that Michelangelo's poems should be understood at face value, that is, as indicating his personal feelings and a preference for young men. Late in life, Michelangelo nurtured a friendship with the poet and noble widow Vittoria Colonna, whom he met in Rome in 1536 or 1538 and who was in her late forties at the time. They wrote sonnets for each other and were in regular contact until she died. These sonnets mostly deal with the spiritual issues that occupied them. Condivi, who in his biography was preoccupied with downplaying Michelangelo's attraction to men, alleged Michelangelo said his sole regret in life was that he did not kiss the widow's face in the same manner that he had her hand. ==Works==

Madonna and Child The Madonna of the Stairs is Michelangelo's earliest known work in marble. It is carved in shallow relief, a technique often employed by the master-sculptor of the early 15th century, Donatello, and others such as Desiderio da Settignano. While the Madonna is in profile, the easiest aspect for a shallow relief, the child displays a twisting motion that was to become characteristic of Michelangelo's work. The Taddei Tondo of 1502 shows the Christ Child frightened by a Bullfinch, a symbol of the Crucifixion. The Doni Tondo, depicting the Holy Family, has elements of all three previous works: the frieze of figures in the background has the appearance of a low-relief, while the circular shape and dynamic forms echo the Taddeo Tondo. The twisting motion present in the Madonna of Bruges is accentuated in the painting. The painting heralds the forms, movement and colour that Michelangelo was to employ on the ceiling of the Sistine Chapel. Although the two angels form a pair, there is a great contrast between the two works, the one depicting a delicate child with flowing hair clothed in Gothic robes with deep folds, and Michelangelo's depicting a robust and muscular youth with eagle's wings, clad in a garment of Classical style. Everything about Michelangelo's Angel is dynamic. Michelangelo's Bacchus was a commission with a specified subject, the youthful God of Wine. The sculpture has all the traditional attributes, a vine wreath, a cup of wine and a fawn, but Michelangelo ingested an air of reality into the subject, depicting him with bleary eyes, a swollen bladder and a stance that suggests he is unsteady on his feet. While the work is plainly inspired by Classical sculpture, it is innovative for its rotating movement and strongly three-dimensional quality, which encourages the viewer to look at it from every angle. In the so-called Dying Slave, Michelangelo again utilised the figure with marked contrapposto to suggest a particular human state, in this case waking from sleep. With the Rebellious Slave, it is one of two such earlier figures for the Tomb of Pope Julius II, now in the Louvre, that the sculptor brought to an almost finished state. These two works were to have a profound influence on later sculpture, through Rodin who studied them at the Louvre. The Atlas Slave is one of the later figures for Pope Julius' tomb. The works, known collectively as The Captives, each show the figure struggling to free itself, as if from the bonds of the rock in which it is lodged. The works give a unique insight into the sculptural methods that Michelangelo employed and his way of revealing what he perceived within the rock. File:Autori vari, arca di san domenico, angelo reggicandelabro di michelangelo, 1494, 02.jpg|Angel by Michelangelo, early work (1494–95) File:Michelangelo Bacchus.jpg|Bacchus by Michelangelo, early work (1496–1497) File:'Dying Slave' Michelangelo JBU001.jpg|Dying Slave, Louvre (1513) File:Michelangelo - Atlas.jpg|Atlas Slave (1530–1534) Sistine Chapel ceiling The Sistine Chapel ceiling was painted between 1508 and 1512. Michelangelo, who was reluctant to take the job, persuaded the Pope to give him a free hand in the composition. The scheme is of nine panels illustrating episodes from the Book of Genesis, set in an architectonic frame. On the pendentives, Michelangelo replaced the proposed Apostles with Prophets and Sibyls who heralded the coming of the Messiah. Michelangelo began painting with the later episodes in the narrative, the pictures including locational details and groups of figures, the Drunkenness of Noah being the first of this group. The figure reproduced may be seen in context in the above image of the Separation of Light from Darkness. In the process of painting the ceiling, Michelangelo made studies for different figures, of which some, such as that for The Libyan Sibyl have survived, demonstrating the care taken by Michelangelo in details such as the hands and feet. The prophet Jeremiah, contemplating the downfall of Jerusalem, is a self-portrait. File:Michelangelo libyan.jpg|Studies for The Libyan Sibyl File:Michelangelo the libyan.jpg|The Libyan Sibyl (1511) File:Michelangelo Buonarroti 027.jpg|The Prophet Jeremiah (1511) File:'Ignudo' by Michelangelo JBU33.jpg|Ignudo Figure compositions Michelangelo's relief of the Battle of the Centaurs, created while he was still a youth associated with the Medici Academy, is an unusually complex relief in that it shows a great number of figures involved in a vigorous struggle. Such a complex disarray of figures was rare in Florentine art, where it would usually only be found in images showing either the Massacre of the Innocents or the Torments of Hell. The relief treatment, in which some of the figures are boldly projecting, may indicate Michelangelo's familiarity with Roman sarcophagus reliefs from the collection of Lorenzo Medici, and similar marble panels created by Nicola and Giovanni Pisano, and with the figurative compositions on Ghiberti's Baptistry Doors. The composition of the Battle of Cascina is known in its entirety only from copies, as the original cartoon, according to Vasari, was so admired that it deteriorated and was eventually in pieces. with many different postures, and many being viewed from the back, as they turn towards the approaching enemy and prepare for battle. In The Last Judgment it is said that Michelangelo drew inspiration from a fresco by Melozzo da Forlì in Rome's Santi Apostoli. Melozzo had depicted figures from different angles, as if they were floating in the Heaven and seen from below. Melozzo's majestic figure of Christ, with windblown cloak, demonstrates a degree of foreshortening of the figure that had also been employed by Andrea Mantegna, but was not usual in the frescos of Florentine painters. In The Last Judgment Michelangelo had the opportunity to depict, on an unprecedented scale, figures in the action of either rising heavenward or falling and being dragged down. In the two frescos of the Pauline Chapel, The Crucifixion of St. Peter and The Conversion of Saul, Michelangelo has used the various groups of figures to convey a complex narrative. In the Crucifixion of Peter soldiers busy themselves about their assigned duty of digging a post hole and raising the cross while various people look on and discuss the events. A group of horrified women cluster in the foreground, while another group of Christians is led by a tall man to witness the events. In the right foreground, Michelangelo walks out of the painting with an expression of disillusionment. File:Michelangelo, centauromachia, 1492 ca. 01 crop.JPG|Battle of the Centaurs (1492) File:La batalla de Cascina - Sangallo.jpg|Copy of the lost Battle of Cascina by Bastiano da Sangallo File:Michelangelo, giudizio universale, dettagli 33.jpg|The Last Judgment, detail of the Redeemed (see whole image above) File:Michelangelo, paolina, martirio di san pietro 01.jpg|The Crucifixion of St. Peter Architecture in Florence Michelangelo's architectural commissions included a number that were not realised, notably the façade for Brunelleschi's Church of San Lorenzo in Florence, for which Michelangelo had a wooden model constructed, but which remains to this day unfinished rough brick. At the same church, Giulio de' Medici (later Pope Clement VII) commissioned him to design the Medici Chapel and the tombs of Giuliano and Lorenzo Medici. Pope Clement also commissioned the Laurentian Library, for which Michelangelo also designed the extraordinary vestibule with columns recessed into niches, and a staircase that appears to spill out of the library like a flow of lava, according to Nikolaus Pevsner, "... revealing Mannerism in its most sublime architectural form". In 1546 Michelangelo produced the highly complex ovoid design for the pavement of the Campidoglio and began designing an upper storey for the Farnese Palace. In 1547 he took on the job of completing St Peter's Basilica, begun to a design by Bramante, and with several intermediate designs by several architects. Michelangelo returned to Bramante's design, retaining the basic form and concepts by simplifying and strengthening the design to create a more dynamic and unified whole. Although the late 16th-century engraving depicts the dome as having a hemispherical profile, the dome of Michelangelo's model is somewhat ovoid and the final product, as completed by Giacomo della Porta, is more so. The last sculpture that Michelangelo worked on (six days before his death), the Rondanini Pietà, could never be completed because Michelangelo carved it away until there was insufficient stone. The legs and a detached arm remain from a previous stage of the work. As it remains, the sculpture has an abstract quality, in keeping with 20th-century concepts of sculpture. Michelangelo died in Rome on 18 February 1564, at the age of 88. His body was taken from Rome for interment at the Basilica of Santa Croce, fulfilling the maestro's last request to be buried in his beloved Florence. His heir Lionardo Buonarroti commissioned Vasari to design and build the Tomb of Michelangelo, a monumental project that cost 770 scudi, and took over 14 years to complete. Marble for the tomb was supplied by Cosimo I de' Medici, Duke of Tuscany, who had also organized a state funeral to honour Michelangelo in Florence. ==Legacy==

in Santa Croce, Florence Michelangelo, with Leonardo da Vinci and Raphael, is one of the three giants of the Florentine High Renaissance. Although their names are often cited together, Michelangelo was younger than Leonardo by 23 years, and eight years older than Raphael. Because of his reclusive nature, he had little to do with either artist and outlived both of them by more than 40 years. Michelangelo took few sculpture students. He employed Granacci, who was his fellow pupil at the Medici Academy, and became one of several assistants on the Sistine Chapel ceiling. some of his other works have had perhaps even greater impact on the course of art. The twisting forms and tensions of the Victory, the Bruges Madonna and the Medici Madonna make them the heralds of the Mannerist art. The unfinished giants for the tomb of Pope Julius II had profound effect on sculptors such as Rodin and Henry Moore. Michelangelo's vestibule of the Laurentian Library was one of the earliest buildings to use classical forms in a plastic and expressive manner. This dynamic quality was later to find its major expression in his centrally planned St. Peter's, with its giant order, its rippling cornice and its upward-launching pointed dome. The dome of St. Peter's was to influence the building of churches for many centuries, including Sant'Andrea della Valle in Rome and St Paul's Cathedral, London, as well as the civic domes of public buildings and state capitals across the United States. Artists who were directly influenced by Michelangelo include Raphael, whose monumental treatment of the figure in the School of Athens and The Expulsion of Heliodorus from the Temple owes much to Michelangelo, and whose fresco of Isaiah in Sant'Agostino closely imitates the older master's prophets. Other artists, such as Pontormo, drew on the writhing forms of the Last Judgment and the frescoes of the Cappella Paolina. The Sistine Chapel ceiling was a work of unprecedented grandeur, both for its architectonic forms, to be imitated by many Baroque ceiling painters, and also for the wealth of its inventiveness in the study of figures. Vasari wrote: ==In popular culture==

• Vita di Michelangelo (1964) • The Agony and the Ecstasy (1965), directed by Carol Reed and starring Charlton Heston as Michelangelo • A Season of Giants (1990) • Michelangelo - Endless (2018), starring Enrico Lo Verso as Michelangelo • Sin (2019), directed by Andrei Konchalovsky ==See also==