Something about this painting is reminiscent of the way I(and I'm sure many others) would paint my comic-book heroes at around that age, albeit perhaps lacking some of Michelangelo's talents and skills.
This painting makes me feel like the bible was pretty much a comic book to the adolescent Michelangelo, and I like that thought. He later went on to paint the ceiling of a huge temple dedicated to his equivalent of Charles Xavier.
He hated painting the Sistine Chapel ceiling because he saw himself primarily as a sculptor. You can read some of the graphic language he used to describe his perspective of having to do it. Also, he was constantly in pain and would go temporarily blind from holding his head in certain positions for hours at a time.
There were two St. Anthony's. The one in this painting is the first St. Anthony. He was celebrated by Athanasius in a widely read biography and was famous for fighting off demons in the Egyptian desert. He lived from ~251-356 AD. (But yes, a post-Biblical figure.)
my father made reading The Agony and The Ecstasy a requirement to go to Italy when I was a sophomore in high school. It's a thick tome, but a great read if you're a curious kid.
as the others said Michelangelo hated doing that painting. He's a very tragic, albeit heroic to me, man. I'd recommend that book if you're at all fascinated by him.
This painting is a masterstudy of Schongauer's engraving "Saint Anthony Tormented by Demons". If you look closely you can see how its a study but not a 1:1 copy, but aside from some color and light all of this "style" was michaelangelo copying Schongauer as he learned.
It seems like we do know the year it was painted fairly reliably, but we don't know that it was Michelangelo specifically that painted it (the article exudes more confidence that I would give based on the inherent uncertainty of these identifications).
Why? There were other talented people who produced masterful works at an early age. From the same time as this there's a Dürer self-portrait, also aged 12-13:
The article/video only points to this being proven by research done by Giorgio Bonsanti. If you're curious, you'll have to investigate that angle.
It is frustrating that the article is so coy about the evidence around the premise of the article! But, this website and the youtube video this article is based around both lean more towards pop than investigative.
It's mentioned in the article that this is a (really good!) painted version of The Torment of Saint Anthony, an engraving by Martin Schongauer.
Michelangelo would go on to find his first patron, a Cardinal named Raffaele Riario, by forging a sculpture and artificially aging it (which, back then, was a conventional practice to demonstrate expertise and skill: https://www.atlasobscura.com/articles/how-a-forged-sculpture...)
Dishonesty aside, both stories are reminders that there's a power to doing stuff with your own two hands (not genning it), as well as not to let today's emphasis on originality take away from using imitation/transcription to practice your craft: https://herbertlui.net/in-defense-of-copycats/
Do they mean that he grabbed a paintbrush one day and painted this out of the blue? Or does "painting" here mean "specifically painted on a canvas" or whatever?
>... it became "the only painting by Michelangelo located anywhere in the Americas, and also just one of four easel paintings attributed to him throughout his entire career," during most of which he disparaged oil painting itself.
It is less obvious than you think. Obvious to you and me, perhaps. But a significant portion of the population genuinely believes that you are born with the talent to just do this like it's nothing, or born with the talent to be a piano prodigy, etc, and as a result never bother to apply themselves, even though with the wealth of educational resources available today anyone[1] could make paintings of this quality if they were to put in the effort to learn. I think that article headlines that reinforce this popular misconception are rather damaging.
[1] Given the level of pedantry on this site, I suppose I should say "almost anyone", since a small minority of people with severe disabilities may not be able to.
Cmon, even famous virtuosos still have to go through a period of being children without fine motor control.
I won’t argue about the obviousness as that’s a tarpit of comparing each others social circles, but let say it’s reasonable to assuming this wasn’t his first ever brush stroke to touch canvas.
What a crazy coincidence... I had not been to the Kimbell art musesum that is only about 20 minutes away from me in many years. We had a family outing this weekend to go see the Torlonia Collection exhibit there and this painting was just sitting there in their permanent collection! I even got to listen to the guided tour group that happened to be at that painting as I was walking by.
The Torlonia collection was recently in Chicago and had some truly stunning pieces. The Ostia relief was tucked away in a corner and I nearly missed it. The traveling exhibition is well worth seeing for anyone remotely interested in ancient history.
Of course it's much better, Schongauer was ~25 when he did the engraving. Michelangelo was 12 when he copied it. Likewise, it goes without saying that Haydn's symphonies circa 1765 were much better than Mozart's from the same time, since Haydn was ~30 years old and Mozart was ~10 years old.
The remarkable thing about the early painting/symphonies isn't the absolute quality of the work, it's that they showcase the artists' intrinsic baseline talents, which they would then leverage as their skills improved with maturity to become some of the greatest artists of all time.
I am by no means an expert art historian but I'm not sure I 100% follow the logic of their conclusion.
"pentimenti, or correction marks, a common indication that “a painting is not a copy, but an original work created with artistic freedom.”"
How often are they analyzing copies made by 12 year old. Is a 12 year old more likely to have made errors or drifted from the source during the process of the copy? Could the corrections be attempts to bring the painting closer to its source, because it wasnt close enough?
If you're copying from another painting, you don't paint a figure and then decide to move it a centimeter to the left. But original paintings often have such changes.
there's a cool background to Dali's Temptation of St. Anthony.
In 1946, 11 surrealist painters were asked to submit a painting to be used in a film (Albert Lewin's "The Private Affairs of Bel Ami"). Among the contestants were Max Ernst (who won), Leonora Carrington, Dalì, Stanley Spencer, Dorothea Tanning. Among the judges was Marcel Duchamp. The painting is then shown in color - the only color scene in an otherwise black and white movie.
I think the reason why they specifically wanted the temptation of Saint Anthony had to do with censorship, but sadly I can't remember the details
At this point in his life, Michaelangelo was probably apprenticed to Ghirlandaio. This wasn't a freeform doodle, but likely something of a homework assignment. It was common for young artists to be given famous works to copy, or common religious scenes to remake.
It's just a reflection of his education. Even today, many children are raised with religious education that includes stories of demons attacking people. Kids love scary stuff; monsters, battle, etc.
It makes me wonder what his home environment was like where he could put such detail into a painting. Something like that isn't made in an afternoon or weekend; and it definitely requires parents to provide resources and moral support.
In modern representations, I think you'd be hard-pressed to find red-dude-with-horns. Seems like we shifted towards hot-dude-with-something-off (Lucifer series, Good Omens), when we do see red-dude-with-horns I feel like it's meant to be somewhat ironic/on-the-nose (south park, preacher).
Hehe, not that that hard pressed. IMDB has a whole horned-demon category keyword: https://m.imdb.com/search/title/?keywords=horned-demon&explo.... And those results don’t even include South Park, nor Hellboy. If I Google image search for “Satan” I get nothing but red horned demons for pages.
There have always been wolf-in-sheep’s-clothing stories about The Devil too, it’s just a separate category.
12 years old is pretty old for a kid. I remember trying to reason through my grandparents’ religious beliefs at or before age 9, and they had taught me about lots of different demons, gods, etc.
I also didn't expect that, but then I realized that's the work of a teenage boy with a catholic education!
Teenage boys love badass, edgy stuff. And what's badass and edgy in Catholicism? Demons! As for the art style, it is the style that was popular at the time.
In a sense, it is not so different from today's kids drawing scenes inspired from their favorite comic. Of course, the painting here shows incredible talent, he is Michelangelo after all, but that doesn't make him less of a kid.
Not his first painting. Nobody picks up a brush for the first time and paints like that. Not an original work either. Just a practice masterstudy, one of many many many he'd made up to that point I'm sure.
It's impressive that he did it at 12, but like you said, he had years of focused practice under his belt before he did this one. Anyone can do this level of work - they just need to actually learn it. It doesn't require someone be born with talent.
Articles like this contribute towards the gatekeeping feeling people get about the arts in my opinion.
I'm not educated in painting but will just assume it's similar to music and someone like Mozart. I genuinely believe you wouldn't get as many as you'd imagine. There were few people making music at that time and only a small portion of the population ever had the chance to listen to it (.5-1% around 1750, 5-10% around 1850). We didn't get 10x the number of Mozarts. We got some people who were as talented as him for sure and pushed boundaries and some got famous for it We also got many talented people who wrote very great music which doesn't get played at all anymore, many of those didn't push the boundaries.
Even with people like Beethoven who're seen as disruptors and wildly popular by general audiences there were talented disruptors at the time who actually did things he's 'known' for and they don't get played at all. Bach himself had largely fallen into obscurity for +-100 years. There's probably only so many Michelangelos or Mozarts people can be taught about in middle school, high school, university.... I believe it's more about the institutions that basically allowed someone like mozart or michelangelo some kinda 'patronage oligopoly', something which barely exists these days. Free market didn't really exist here well into the 1800s, even then you still had gatekeepers. In the end history picked a few winners very loosely related to their 'musical worth'.
Most of human history we didn't have electronic distraction devices and we have one Michelangelo; the answer is probably not as many as the question implies.
The same as any other century. The whole point of Michelangelo is that he went beyond the limits of his time. To be the Michelangelo of today you need to go beyond the limits/tastes of today, not of Michelangelo's time. And the Michelangelo of today would not be identifiable in any way with Michelangelo given where modern art ended up in terms of style.
It's like that quote about it taking Picasso 4 years to learn to paint like Raphael but a lifetime to learn how to paint like a child.
Or think of it this way: Your average math PhD today is way better at math than Galois, Bernoulli, Gauss, etc. But they are nowhere near them because the field moved into a different stratosphere entirely.
Children today are expected to go to school and get a well rounded education. They don’t start specializing as apprentice to some master at an early age
I don't think there is that significant amount of artists that do not draw because entertainment. Artist communities online are doing pretty fine. There might not be enough money for all of them, but drawing is still popular enough hobby.
Also consider the tools and materials available today. I don't know much about Michelangelo, but I imagine people's opportunity for sheer iteration (due to availability of qualitys pens, pappers, ink etc) is magnitudes higher (and cheaper) today.
This painting makes me feel like the bible was pretty much a comic book to the adolescent Michelangelo, and I like that thought. He later went on to paint the ceiling of a huge temple dedicated to his equivalent of Charles Xavier.
I bet that felt pretty cool for him =)
Edit: as below a more famous and earlier St Anthony was indeed much closer to the time of the gospels
as the others said Michelangelo hated doing that painting. He's a very tragic, albeit heroic to me, man. I'd recommend that book if you're at all fascinated by him.
https://www.dutchfinepaintings.com/michelangelos-sistine-cha...
I could believe even quite a bit younger, there are some wildly talented children and it's easy to believe Michaelangelo to have been one.
Why? There were other talented people who produced masterful works at an early age. From the same time as this there's a Dürer self-portrait, also aged 12-13:
https://en.wikipedia.org/wiki/Self-Portrait_at_the_Age_of_13
> We don't have any really reliable records from that time.
Uh, no. There's no documented attribution of that painting to Michelangelo; that doesn't mean that other things weren't reliably recorded.
It is frustrating that the article is so coy about the evidence around the premise of the article! But, this website and the youtube video this article is based around both lean more towards pop than investigative.
Michelangelo would go on to find his first patron, a Cardinal named Raffaele Riario, by forging a sculpture and artificially aging it (which, back then, was a conventional practice to demonstrate expertise and skill: https://www.atlasobscura.com/articles/how-a-forged-sculpture...)
Dishonesty aside, both stories are reminders that there's a power to doing stuff with your own two hands (not genning it), as well as not to let today's emphasis on originality take away from using imitation/transcription to practice your craft: https://herbertlui.net/in-defense-of-copycats/
Still impressive of course, but remember that it's not straightforward to compare how things are today with other time periods.
All of that misses the forest for the trees, which is he did it at an incredibly young age!
[1] Given the level of pedantry on this site, I suppose I should say "almost anyone", since a small minority of people with severe disabilities may not be able to.
I won’t argue about the obviousness as that’s a tarpit of comparing each others social circles, but let say it’s reasonable to assuming this wasn’t his first ever brush stroke to touch canvas.
So he was re-rendering a religious folk story.
Or the massive chemical swings we self-induce, and how those might tear at (or help??) our soul?
https://en.wikipedia.org/wiki/The_Temptation_of_St_Anthony_(...
The remarkable thing about the early painting/symphonies isn't the absolute quality of the work, it's that they showcase the artists' intrinsic baseline talents, which they would then leverage as their skills improved with maturity to become some of the greatest artists of all time.
"pentimenti, or correction marks, a common indication that “a painting is not a copy, but an original work created with artistic freedom.”"
How often are they analyzing copies made by 12 year old. Is a 12 year old more likely to have made errors or drifted from the source during the process of the copy? Could the corrections be attempts to bring the painting closer to its source, because it wasnt close enough?
In 1946, 11 surrealist painters were asked to submit a painting to be used in a film (Albert Lewin's "The Private Affairs of Bel Ami"). Among the contestants were Max Ernst (who won), Leonora Carrington, Dalì, Stanley Spencer, Dorothea Tanning. Among the judges was Marcel Duchamp. The painting is then shown in color - the only color scene in an otherwise black and white movie.
I think the reason why they specifically wanted the temptation of Saint Anthony had to do with censorship, but sadly I can't remember the details
There have always been wolf-in-sheep’s-clothing stories about The Devil too, it’s just a separate category.
Teenage boys love badass, edgy stuff. And what's badass and edgy in Catholicism? Demons! As for the art style, it is the style that was popular at the time.
In a sense, it is not so different from today's kids drawing scenes inspired from their favorite comic. Of course, the painting here shows incredible talent, he is Michelangelo after all, but that doesn't make him less of a kid.
Without anyone wanting to buy this and spend resources on that, finding claims to proof the contrary might be a quite futile task.
The whole board of the Museum is non-experts. Nobody has any interest in devaluing that expense.
In that era even attributing works definively to a single artist and not a school or workshop just feels a bit off.
https://kimbellart.org/content/nuestro-kimbell
absurdly well citing reddit comment on the provenance:
https://www.reddit.com/r/museum/comments/x6k3mm/comment/in89...
Articles like this contribute towards the gatekeeping feeling people get about the arts in my opinion.
Even with people like Beethoven who're seen as disruptors and wildly popular by general audiences there were talented disruptors at the time who actually did things he's 'known' for and they don't get played at all. Bach himself had largely fallen into obscurity for +-100 years. There's probably only so many Michelangelos or Mozarts people can be taught about in middle school, high school, university.... I believe it's more about the institutions that basically allowed someone like mozart or michelangelo some kinda 'patronage oligopoly', something which barely exists these days. Free market didn't really exist here well into the 1800s, even then you still had gatekeepers. In the end history picked a few winners very loosely related to their 'musical worth'.
Either that or genius has coincidentally clustered around where the resources have been.
The world could be so much more vibrant if everyone was supported and nurtured.
In such a world, many might find much less need to distract themselves with trivialities.
It's like that quote about it taking Picasso 4 years to learn to paint like Raphael but a lifetime to learn how to paint like a child.
Or think of it this way: Your average math PhD today is way better at math than Galois, Bernoulli, Gauss, etc. But they are nowhere near them because the field moved into a different stratosphere entirely.
Movies, video games, music.