The Sistine Chapel

Question: Describe about the Sistine Chapel? Answer: Upon viewing the Sistine Chapel through the Vatican Website, it is evident that Sistine Chapel is possibly the most amazing work of art produced by Michelangelo; even today, his remarkable and diverse masterpieces continue to inspire several artists all over the world. While viewing the art work, I noticed that Michelangelo had managed to paint all walls, including the ceiling that is said to be at a height of 60 feet. His use of bright and vibrant colours is clearly evident along with his choice of painting the lower ceiling with Christs ancestors. Michelangelo seems to have painted alternated female and male prophets along with Jonah over the altar. In addition to this, nine stories were painted onto the highest section, from the book of Genesis. On a closer look, it seems that Michelangelo has used male models for the purpose of representing females. Throughout the work piece, he has managed to maintain equal symmetry among and within the paintings, clearly emphasizing the importa nce of size scale and its impact on viewers which obviously is invincible. It is incredible how Michelangelo managed to paint, while suspended in the air, and making sure that the perspective (as one looks up) was maintained throughout the painting on the ceiling. Usually viewers view paintings at eye level, however, he has painted his piece by taking into account that viewers will be looking up rather than front; to me, this is a rather extraordinary accomplishment for Michelangelo. Research states that in order to paint the ceiling, Michelangelo had to create his own new techniques and styles so that the ceiling would look flawless when looked at. A technique known as fresco was used which included plastering pieces of limestone and affixing them to the wall. Initially, the theme was planned to consist of 12 Apostles since the ceilings simply showcased individual figures rather than dramatic scenes (King, 2003). Michelangelo has distinctively added twelve of such large figures i.e. five sibyls or female prophets and seven prophets to the edges of the ceiling; his inclusion of female prophets was considered rather unusual however had not been completely unprecedented. While, the centre was painted with a total of nine scenes from the Genesis; three stories depicted the Worlds creation, three had been stories of Noah and the rest three were of stories of Adam Eve. To add to the painting, Michelangelo painted 40 generations of ancestors of the Christ, where he st arted with Abraham (Vatican Museums Management, 2007). The nine stories are known to communicate or represent a timeline for the development of Church; his use of stories from the Genesis simply reflect and demonstrate the effect of Church politics that lead to corruption of faith by embezzling the Old Testament as the basis for Christs life. It can be said that he painted the ceiling so as to remind everyone of the roots of Christianity (Blech, 2008). Additionally, this project was completed over a time period of approximately four years; some of written works (poems) describe the painting process as being stressful and how it had given him back and neck problems for the rest of his life. When considering the findings made during the research, Michelangelos use of male models for representing females seemed more logical due to their rareness and expense. We know that he painted biblical scenes of his own choice and by the end of his work; there were 300 figures rather than just 12. Despite the fact that he was a sculptor, Michelangelo managed to gain himself an identity that was more than just a sculptor; his internal drive of being an artist simply fuelled him. This is essential because it encourages modern day artists to take up more challenges and leverage their skills with new applications and in new ways. Similarly, Michelangelos emphasis on maintaining viewer perspective while painting the ceiling also encourages modern day artists to work and operate in complex environments that not only is essential for their professional growth but also allows them to contribute to their role of creating a vibrant and healthy organization (Catherine, 1999). It is important to understand that several modern day artists are not given the freedom or the license to create art freely as Michelangelo was since they environments they operate may differ depending on their art style and intention. Similar to Michelangelo, their challenge lies in maximizing their time and leveraging all the resources available to them as a means of becoming efficient at their work. Bibliography 1. Blech, Benjamin, Doliner, R., 2008, The Sistine Secrets: Michelangelos Forbidden Messages in the Heart of the Vatican. New York: Harper One, Print.2. Camesasc, Ettore, 1965, "Apprendix: The Sistine Chapel, Vol. 1. New York: Harry N Abrams, Print.3. Berlin, A., Brettler, M, Z., 2004, The Jewish Study Bible,New York: Oxford U P, Print.4. Catherine, Mariam, 1999, Biography on related architectural contexts. New York: Harper one, Print5. King, Ross, 2003, Michelangelo and the Popes Ceiling, New York: Penguin, Print.6. Miles, Jack, 1995, God A Biography, New York: Vintage, Print.7. Murray, Linda, 1980, Michelangelo. London, Thames Hudson, Print.8. Salvini, Roberto, 1965, The Sistine Chapel. Vol. 1. New York: Harry N Abrams, Print.9. Vatican Museums Management, 2007, "Sistine Chapel, Vatican Museums. Web. 16 December 2009.