For the first time the three Pieta (Image of the Virgin Mary mourning the funeral of Christ) by Michelangelo performed together in the Tribune at Opera del Duomo museum (Piazza Duomo 9) The Three Pietàs of Michelangelo: No one thought how much blood cost. will be able to visit from 24 February to 1 August 2022open to the public on the occasion of the meeting ‘Mediterranean, Frontier of Peace 2022’ brings together bishops and mayors of the Mediterranean.
restored original Bundini Pieta (Thanks for the work from Friends of Florence) and the cast of Vatican Pieta and Rondanini Pieta will be explored through a religious lens with references to Dante’s heaven XXXX, Do not think how much the bloodThe exhibit provides an opportunity to study the evolution of Michelangelo’s art as well as his spiritual prosperity. Three plaster pieces of the original Pietà will be on display in the redesigned Sala delle Cariatidi at Milan’s Palazzo Reale next fall.
Supervised by the Museum Director Barbara Jutta (Vatican Museums), Sergio Risaliti (Novecento Museum) Claudio Salsi (Director of the castle district archaeological museum and the History Museum) and Timothy Verdon (Museum Opera del Duomo) Projects involving the Vatican Museums, the Opera del Duomo Museum, the Museo Novecento in Florence, Castello Sforzesco in Milan, Opera di Santa Maria del Fiore, the Municipality of Florence, the Municipality of Milan and the Fabbrica di San Pietro in Huge cooperation between Florence, Rome and Milan.
“The actors don’t look any different from the Florence originals,” explains. Barbara JuttaDirector of the Vatican Museums “Not only because they were perfected a few decades ago by skilled craftsmen. But above all, because at a time when there was a lot of controversy surrounding NFT (Non-Fungible Token) and DOC.NFT (digital copy of the original NFT), they testified to the need to replicate the results. A masterpiece of universal belief and art. in order to be able to distribute to a wider audience.”
Timothy VerdonThe director of the Opera del Duomo Museum commented on the comparison between the three works. “It helps us measure Buonarroti’s growth over the 50 years that separates the young Pietà from the other two works…it also gives us insight into maturity. Michelangelo’s ideas on sacred subjects between the late 15th and mid-16th centuries emphasized the connection between life and art in the faithful sculptor, most of his career. He served the pope and was a privileged interpreter. of the Church’s need for dynamic change.”
Vatican Pieta (1498-99)
Cardinal Jean Bilhèers de Lagraulas commissioned young Buonarroti to paint. The “Body of Mary with Christ naked in her arms” was completed near the 1500’s anniversary. to The mystery of the incarnation impresses at that moment for the beauty of the work. It also prompted criticism for her portrayal of Mary as inappropriately young. The masterpiece was placed in the church of Santa. Petronilla was shortly before 1500 and was later transferred to St. Peter’s Church. It was moved to the right of the 18th-century cathedral, which can still be viewed today.
Bandini Pieta (since 1547)
From the first Pieta to when Michelangelo revisited the matter, Rome was expelled, the Republic of Florence fell. and the Medici returned to the city. Michelangelo left Florence in 1534 and settled in Rome. with greater emphasis on the destiny of man, the death and resurrection of Christ. He began working on marble blocks around 1547, but was completed by his principal assistant, Tiberio Calgani, before being sold to Francesco Bandini in 1561. Michelangelo intended the work. It will be used as a memorial to his own burial in Santa Croce in Florence. But the work remains in the Bandini Villa in Montecavallo and was bought by Cosimo III de’ Medici in 1674, placing it in the basement of San Lorenzo. In 1722, Florentine Pietà was moved to Santa Maria del Fiore and set up. It’s been in the Opera del Duomo since 1981.
Rondanini Pieta (1552-53)
Dating back to 1552 and 1553, Michelangelo is said to have worked on this work until the end of his life. This work can be interpreted as the result of a long journey through art and faith that comes to the end of the dreadful depiction of Jesus and Mary. Both figures appear almost off the ground and reaching up seemingly reflect resurrection and assumption. In 1744 Pieta was purchased from Marquis Giuseppe Rondi. Nini and came to Milan which has been kept at Castello Sforzesco since 1952.