(1882); Happy Mother (1883); Piano in the Country (1884).—Bellier, ii. 87.
MICHEL, FRANÇOIS ÉMILE, born at
Metz; contemporary. Landscape painter,
pupil of Maréchal and Migette. Medal,
1868. Works: Banks of the Orne (1853),
Nantes Museum; Olive Harvest (1861),
Hunt on the Cliff (1868), Metz Museum;
Summer Night (1872), Nancy Museum; Autumn
Sowing (1873), formerly in Luxembourg
Museum; First Shoots, December
(1881); Bois de Meudon in November, View
in the Vosges (1883); Pool of Breuil-Lorraine,
Summer Night (1884); Downs near
Haarlem, Environs of Brederode (1885).—Bellier,
ii. 87.
MICHEL-LÉVY, HENRI, contemporary.
Genre and portrait painter, pupil of Barrias
and Vollon. Medal, 3d class, 1881. Works:
Regatta, Reverie (1879); Flower Girl (1880);
Nurse (1881); Ceres (1882); Violoncello
Player, Public Sale (1884); Train of Versailles
(1885).
MICHELANGELO DELLE BAMBOCCIATE.
See Cerquozzi.
MICHELANGELO DELLE BATTAGLIE.
See Cerquozzi.
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MICHELANGELO DI LODOVICO
BUONARROTI SIMONE,
born at the
Castle of Caprese in
Casentino, March 6,
1475, died in Rome,
Feb. 18, 1564. Florentine
school; became
the pupil of
Domenico Ghirlandajo,
April 1, 1488,
and also studied at
the Academy in the Gardens of St. Mark,
where he attracted the notice of its founder,
Lorenzo de' Medici, who gave him a home
at the Medici Palace until his death (April
8, 1492). By the advice of Politian he selected
the Battle between Hercules and the
Centaurs as the subject of his first bas relief,
preserved in the Casa Buonarroti. After
the death of his patron, he for a time
returned to his father's house and devoted
himself to anatomical studies, but feeling
bound by ties of gratitude to the Medici,
he accepted the invitation of Piero de'
Medici, and resided in his palace until 1494.
His departure for Venice, shortly before Piero's
expulsion, closes the first period in his
life, during which he probably painted a
Deposition from the Cross, which has been
attributed to Luca Signorelli and to Baccio
Bandinelli, and a very fine unfinished Madonna
with Angels, National Gallery, London.
In the autumn of 1494 Michelangelo
came from Venice to Bologna, where he
spent a year in the house of Gian Francesco
Aldrovandi, working little, and impatient to
return to Florence. Having sculptured an
angel for the altar shrine of St. Dominick, he
returned to his native city before July 15,
1495. As this notice of Michelangelo relates
only to his work as a painter, his sculpture
is only casually referred to. Early in 1496
he went to Rome and remained there four
years, during which time he sculptured the
famous Pietà at St. Peter's. At Florence,
before 1504, he painted for Angelo Doni a
Holy Family, now in the Tribune of the
Uffizi, one of the least interesting of all celebrated
pictures. In October of the same
year he began a cartoon of Soldiers summoned
to Battle while bathing in the Arno
near Pisa, intended for a fresco which was
to have been painted in the Great Hall of
the Palazzo Vecchio. It was finished in
Aug., 1505 or 1506, and hung in the hall
side by side with the rival work of Leonardo
da Vinci, admired by all and studied by
young artists until its intentional or accidental
destruction during a popular tumult
about 1512, though there are reasons for
thinking that it survived a few years longer.
In 1505 Michelangelo entered the service of
Pope Julius II., and from early in that year
until May, 1506, when he spent three months
at Florence, he was either employed at Rome
in designing the Pope's monument or at
Carrara in superintending the extraction
and shipment of marbles to be used in its