Crucifix (Michelangelo)

The Crucifix of Santo Spirito of 1492 /93 a polychrome wood sculpture by Michelangelo. It has the dimensions of 139 × 135 cm and hangs in the choir of the church of Santo Spirito (Holy Spirit Church ) in Florence. The sculpture was created in Michelangelo's youth years and is considered his first masterpiece.

The crucifix dates from the time when Michelangelo was staying in the monastery of the Holy Spirit. Through the intercession of Piero de ' Medici Michelangelo had the opportunity to study the bodies of the convent hospital. Through these studies, he managed to complete human representations naturalistic. As thanks, he designed for the monastery this wooden crucifix, which is now on display again in its original place on the altar. After the French Revolution it was first converted into the Museum Michelangelo Buonarroti house arrives. After a return to the Church, the work was restored in 1964 for the first time and then transferred back to the Casa Buonarroti museum.

Description

The sculpture was made ​​of linden wood block. Basswood is very suitable for carving and was also used in other Florentine workshops in 1400. The figure with the body and the face of a boy was made in " admirable perfection", one is likely to have served about 14 years as a model. The former mayor of Florence Savonarola was the reason for the choice of the body of a child as a model for the crucified Christ probably that Christ should be given a soft, tender and noble appearance; it reflects the beauty and describe the soul.

The realistic position of the figure is caused by the position of the nailed to the cross feet. This rotation causes the overlap of the legs, while the feet rest flat on the suppedaneum ( supportive footrest ) and the shoulders and chest are secured so closer to the cross. The sculptor probably thought mainly to a consideration of the front, a naturalistic view, however, is guaranteed from other perspectives. The modeling of the body was performed on both the front and the back in an anatomically - perfect perfection. This finding suggests that the artist is the shape of the human body was able to study in the real world in a similar position.

The completely nude figure of Jesus goes back to the presentation of the Gospels. On a typically the pubic covering envelope is no longer required by this representation is as in Psalm 22, verse 18 is written:

" They divide my garments among them and cast lots for my clothing. "

Giorgio Vasari indicates that this wooden cross was highly valued immediately upon completion. It had been placed by the then Prior Niccolò Bichiellini in the church over an arch over the main altar of the church. This altar is a work Giovanni Battista Caccini and was built in the early 16th century.

This work is one of two crucifixes that created Michelangelo in his youth. The second, only 41.3 × 39.7 cm small work assigned by the German art historian Margrit Lisner due to details of the knee joint tendons and the master Michelangelo. Its authorship is, however, doubted again today.

Restoration

The reputation of the monastery of the Holy Spirit increased significantly, as Michelangelo in 1962 determined by Margrit Lisner as a sculptor of this crucifix and it was subsequently restored for the first time. The valuable work has since been awarded to many museums.

The first restoration of the crucifix was made in 1963. This intervention led to the uncovering of the original color, hidden under a thick coat of paint, which must have been applied in 1800. In 1999, a new restoration began. It was commissioned by the municipal museums of the city in order and turned out to be unexpectedly difficult. The work was led by Laura Lucchesi of the municipal museums and Rosanna Proto Pisani, who had the superintendence of the artistic and historical heritage of the city. The restoration was carried out by Barbara Schleicher. The cost of restoration were taken over by the Savings Bank Florence, with the support of the city. The goal was a sculpture exhibition in the exhibition " Youth of Michelangelo".

With the progress of the restoration work was complicated, and it seemed appropriate to make a " fundamental restructuring " of the workpiece with its fragile painted surface. It removed all traces of old paint work, even those which were not removed during the restoration in 1963.

The date last restoration in 1999, the sculpture returned their clarity and readability and shows a how to accept, authentic coloring. The complex task of removing all traces of painting from the 19th century led to the development of the rich painted details like drops of blood on the skin, strands of hair that fall on Jesus' shoulders, and fine hair on chest, stomach and under the armpits. The hair of the figure of Christ required the most serious intervention during the Restoration, because it had not been carried out properly the first time. The original, very delicate painting was based on current knowledge in 1963 apparently still intact. But with its removal the very fragile hair structure was damaged because it was not realized at the time, the manner in which it was made ​​. The hair was not carved, but applied in stucco and plaster and modeled. The new restoration could take account of the original production by the hair has been faithfully reconstructed.