Michelangelo Brutus

Michelangelo Brutus
Michelangelo Brutus
Anonim

This bust carved in marble is a work of Michelangelo, who made it around the year 1540 and which is currently part of the collection of Renaissance sculpture of the National Barghello Museum in the city of Florence.

This work was commissioned by a friend of his and later given to Cardinal Niccola Ridolfi. But despite being a commission, the truth is that hereMiguel Angel Buonarrotinot only shows us how a great artist but also takes advantage of his art to capture his political ideals. And it is that he was a person very convinced that the ideal was the republic.

Michelangelo's Brutus

Michelangelo Brutus

The historical character of Brutus has gone down in history as one of the participants in the assassination of Julius Caesar, and for that phrase of "you too, my son", although it was not his son because of the affection that César had for the young politician. Well, in this way Brutus represented the defense of the Republic of Rome at a time when Julius Caesar intended to concentrate too much power, something that a few years later would become the figure of the emperor roman.

For this reason, Brutus is for Michelangelo a magnificent image of his ideal of politics and ethics, and it must be understood in the historical and personal moment in which he made it. A phase of certain melancholy and depression inthe one that had already left Florence and had settled in Rome permanently. And it is that in her native Florence, the Medicis, Alessandro and Cossimo, had returned togovernment, and she had accumulated, in her opinion, too much power. Interestingly, a few years earlier, to this family, but to previous members, he had dedicated one of his most complete artistic ensembles, such as the Medici Chapel in Florence.

And with regard to his artistic forms, the artist has also been inspired by the classicism of Roman art, and is described as an “all'antica” (old-fashioned) bust whose main referents would be a work that portrays the emperor Caracalla.

We see the character in profile, with a head that does not face forward, but is very proud and supported by a very robust neck. And we see his face tense, hard and with touches of drama. However, he is a very solemn image and of undoubted visual power, whether you look at it from the front or in profile. In fact, the best way to see the character's face is when looking at it from the side, and then you can see that there is a slight aspect of unfinishment, which contrasts brutally with the extraordinary polish that can be seen in the toga, the only clothing of of the bust.

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