Michelangelo, Antiquities, and the Renaissance Art Market

Introduction: Antiquities and Their Cultural Significance

The preservation of antiquities plays an important role for humanity. Antiquities connect us with our past and remind us of who we were, who we are today, and how we arrived at where we are. The preservation of antiquities is not a new idea; the stewardship of ancient objects has always been considered an important responsibility. This role was often reserved for those who held positions of power in contemporary society, and as a result, the stewardship of antiquities became a status symbol as early as the Middle Ages. The importance of antiquities in human society, and the love of them, led to the desire to reproduce many of the great works that marked important civilizations and important people.

The idea of reproducing likenesses of important antiques was not new to the people who surrounded Michelangelo and his patrons. Although Michelangelo was considered to be one of the most original artists of all time, many of his pieces were inspired by ancient works of art from earlier eras. One of the greatest mysteries surrounding this already enigmatic figure of Renaissance society is his claim to be among the most original artists in the world. It might have been difficult to prove that his inspiration derived from earlier pieces during the time of their creation, as very few people had the means to travel the world and see them firsthand. However, we now know that many of his pieces were undoubtedly inspired by older works from times gone by. This paper supports the thesis that Michelangelo's engagement with reproductions of antiquities was driven more by the external market that existed for such pieces than by his own personal admiration and love of them.

That Michelangelo was an admirer of antiquities is apparent from their inclusion in his work. Throughout his life, Michelangelo relied on classical prototypes both for inclusion in his compositions and as a source of inspiration and stylistic reference for his original works (Ronen, p. 336). It is evident that Michelangelo must have either seen original pieces or studied someone else's drawings in order to create his works. Michelangelo claimed to work entirely from memory; however, several scholars now argue that he carefully destroyed his original preparatory drawings in order to create the illusion of innate genius (Ronen, p. 336). Whether or not this is true remains one of the great mysteries of the art world.

Antique Inspiration and the Definition of Antiquities

Michelangelo was said to be divinely inspired, but it is now evident that ancient works often helped to enhance that inspiration. One of the finest examples is found in the Fall of Man, part of the Sistine Chapel ceiling. Elements of that composition derive from a bas-relief from Benevento dedicated to Hercules by the Augur P. Lunius Lanuarius. Michelangelo must have been acquainted with this piece in order to incorporate it into the Sistine Chapel (Ronen, p. 336).

This brings us to a few fundamental questions, the first being: what qualifies as antique sculpture? Throughout history, the definition of what constitutes an antique has changed. In contemporary society, many collectors acquire antiques and antique sculpture for their private collections. Only the wealthy can afford the most prized possessions, but many people can assemble modest collections. This was not always the case. In the past, the collection of antiques was considered a pastime of the wealthy, and antiquities were regarded as important status symbols and a way to display one's power and prestige. The most prized antiquities are still displayed proudly as symbols of power and success. The definition of what qualifies as an antique has shifted throughout the ages and depends, in part, on the purpose and perspective of the collector.

In today's market, an antique is generally regarded as something over fifty years old, though this definition may vary depending on the item. The older and rarer the piece, the greater its value. People collect antiques because they hold some form of value — not always monetary. Sometimes people collect antiques for their intrinsic worth or the emotional associations attached to them. The same was true in the time of Michelangelo: people collected antiquities for a wide variety of reasons.

Greek and Roman sculptures, pottery, and other antiquities were considered prized possessions during the time of Michelangelo (Kent). They represented a glorious period in Italy's past and the roots of the civilization that Michelangelo and his contemporaries inhabited. They were symbolic of Italy's legacy and past glory. Michelangelo's contemporaries enjoyed collecting classical works, as can be seen in both the style of his original compositions and in the specific objects he chose to depict.

During the fifteenth and sixteenth centuries, collecting antiques fell within the realm of the middle-class elite, who paid considerable sums to suit their tastes and display their wealth and prestige (Edmonds). The invention of the printing press opened the market to a new class of collectors, but for the most part, during Michelangelo's lifetime, antiquities remained in the hands of the upper middle class (Edmonds). It is worth noting that, according to Edmonds, the work of many sculptors began first as a printed representation of the work to come.

Antiquities were held in high regard by the upper middle class and the upper-class elite as status symbols. Sculpture and painting served as a means to demonstrate to the world the power and status one had attained, much as expensive automobiles function today (Kent). The possession of antiquities did not extend to the lower classes until recent times, and even now the collecting of antiquities remains largely a pursuit of those who can afford it.

Michelangelo's Role in the Discovery of Ancient Sculpture

Michelangelo's ability to attract Florence's most influential and powerful patrons placed him in a position to shape the future of Italian Renaissance art. Not the least of these powerful families was the famed Medici family. The Medici were responsible for the renovation of many public and private buildings and for the establishment of one of the most prestigious art academies in all of Europe (Art Institute of Chicago). Their greatest claim was their contribution to the arts and sciences. Art was used to enhance Medici power and to announce to the world that they were one of the most powerful families in Italy.

The Medici made extensive use of sculpture to embellish their residences. Among their properties one can find numerous garden statues, grottos, water features, and landscaped areas featuring sculptures of all types, many of them larger than life. These works were fashioned from plaster, marble, granite, and other local and imported materials. One of the difficulties with the Medici collection is that the artists are often unknown. For instance, the Male Torso is often attributed to Michelangelo, but it is uncertain whether this attribution is correct or whether another sculptor may have been responsible (Art Institute of Chicago).

Michelangelo's association with the Medici family gave him access to many opportunities he would not have had otherwise. The Medici were quite fond of Michelangelo and invited him to view their extensive collection of art and antiquities. Having attained their power through banking, the Medici were of the social standing required to access many great works of art. They drove Florence to become an art capital whose works would influence the direction of European art for generations. Many of the art world's greatest masters can be traced to Florence during this period.

When Lorenzo de' Medici came to power in 1469, the gardens around his palace were filled with antiquities that invited artists were welcome to study (Lemley). Lorenzo first met Michelangelo when the young ruler was still a teenager. According to legend, Michelangelo was at work in the garden carving a marble fawn's head — reportedly his first attempt at working with marble. Even so, the young Lorenzo was impressed and suggested that Michelangelo knock out a few teeth, since the fawn he was sculpting appeared aged. Michelangelo complied, and Lorenzo was so taken with the result that he invited Michelangelo to dinner, thus beginning a long relationship between the Medici and the artist (Lemley). The Medicis' collection of Greek antiquities had a significant influence on Michelangelo's development.

The collecting of antiquities meant that archaeology around the ancient Italian cities was active and well-funded. Throughout the region one can find Etruscan, Greek, and Roman artifacts. The Medici family was heavily involved in the excavation of priceless objects from around the Florence area. Exposure to these excavations, many of which were financed by Michelangelo's key patrons, undoubtedly deepened his affinity for classical art and art forms. Through his use of ancient works in his own art, as well as his propensity to replicate the style of ancient artifacts, Michelangelo helped preserve them for future generations.

In Michelangelo's time, ancient artifacts were held in the private collections of individuals and meant only for the eyes of the powerful elite, not for ordinary citizens. Through Michelangelo's publicly displayed works, the general public gained the ability to encounter and learn about these national treasures. Michelangelo brought knowledge of Italy's past and its ancient civilizations to those outside the upper class, fostering a broader appreciation of antiquities and the importance of preserving them. At the same time, he reinforced the rightful standing of the power elite by helping to display their wealth and cultural authority.

Interest in archaeology began in earnest in the fifteenth century (Library of Congress). As ownership of antiquities became further associated with power and prestige, the search for more artifacts led to numerous archaeological expeditions in and around Florence, largely funded by families such as the Medici. Michelangelo's alignment with the Medici allowed him to encounter new artifacts firsthand. The discovery of numerous Greek objects contributed to a Greek revival, and his direct experience of these finds lent him credibility both as an artist and as an art consultant. He was able to align himself with the power elite and build a considerable career based on these credentials (Bruce, p. 1).

Conclusion

The key question in this research surrounds the motivations of Michelangelo in his desire to create works that echoed the styles and forms of Italy's ancient inhabitants. When one considers the practicality of having to make a living, it might appear that Michelangelo was not as emotionally and artistically inspired as he has traditionally seemed. However, although Michelangelo clearly had a ready and willing target market, and many of his motives were evidently shaped by the desires and wishes of his patrons, the extraordinary attention to detail and the continual seeking of perfection in his work reveal that a true passion lay behind the works produced over his long career. These passions are also evident in the poetry he wrote in his later years (Symonds, p. 168).