Title: Michelangelo, Madonna of the Stairs, c. 1490, Florence, Casa Buonarroti

Incorporates non-finito elements - who are the boys in the background and what are they doing?  Even on the small, di Vinci makes the image too big for the frame, if she were to stand up she would stand out of the frame. 

Title: Michelangelo, Battle of lapiths and centaurs, c. 1490-1492, Florence, Casa Buonarroti

Relief is made from stone.  With this sculpture, Michelangelo makes a deliberate play between polished arts and unfinished ones and leaves it open for FUTURE completion

Title: Michelangelo, St. Matthew, c. 1505, Florence, Galleria dell’Accademia

The non-finito quality makes it very difficult to analyze with certainty. Are the expression of the figures related to the fact of St. Mathew trying to liberate himself out of the stone? Or could this be the ideal depiction – show the figure in a turning point.. when he received the vocation from Christ “and he stood up and followed him” Non-finito can be related to dynamics.

Title: Michelangelo, Slave, c. 1543, Florence, Galleria dell’Accademia

the figure of this slave literally appears to be struggling to be free.

Title: Michelangelo, Pietà, c. 1550-1555, Florence, Museo dell’Opera del Duomo

Is generally considered to be the masterpiece of his early years, deeply poignant, exquisitely beautiful and more highly finished than his later works were to be.  Michelangelo was able to solve a prior problem and create a harmonious pyramidal group.

Title: Michelangelo, Pietà Rondanini, 1552-64, Milan, Castello Sforzesco

It is Michelangelo's final sculpture.  When viewing the sculpture from certain rear angles, it looks as if Jesus is holding Mary up with his back, instead of Mary cradling Jesus. It is said that Michelangelo carefully crafted it this way to represent how Jesus's spirit might actually have been comforting Mary in her loss.

Title: Michelangelo, Christ, 1519-20, Rome, Santa Maria sopra Minerva

Incorporates the term "Figura serpentinata"  One leg comes forward and the shoulders of Christ work against it

Title: Michelangelo, The Victory, 1532-34, Florence, Palazzo Vecchio

Also exemplifies the term Figura serpentinata.  there is contortion in the figure where one leg comes forward and the shoulders work against it...  Has to do with an upright movement and double twisting of the figure

Title: Agnolo Bronzino, The Martyrdom of Saint Lawrence, 1565-69, Florence, San Lorenzo

Presentation of statues not realistic images.  References Sistine Chapel with muscular figures and curvature.  virtuoso display, elaborate architectural setting behind, perspective – rapid, tunnel like – foreshortenings (figures are flat but building are more 3-D)

Domenico Beccafumi, Zeuxis painting the Portrait of Helen for the temple of Hera at Crotone, 1519, Siena, Palazzo Bindi Sergardi

**I NEED HELP WITH THIS ONE... not sure what to say**

Title: Giorgio Vasari, The Deposition from the Cross, 1540, Camaldoli, SS. Donato e Ilariano

Mannerism style- the images fill up space in a flat way, twisting figures, one is more close up and you are more in the motion, the frame is like a cage that really captures the painting and captures it.

Title: Rosso Fiorentino, Moses and the daughters of Jethro, 1524, Florence, Uffizi

Also a mannerism style.  There is no background, huge bodies filling up the entire space

Title: Giuseppe Arcimboldo, Earth, ca. 1566, Vienna, Kunsthistorisches Museum

antique background, virtuosity, Demonstrates how full nature shows nature – 16^th century- non reality, not a window, appreciate it for what it is, face value, also plays with ambiguousness) painting is something that looks away and looks back, but pieces of it look right at the viewer 

Title: Giuseppe Arcimboldo, Water, ca. 1566, Vienna, Kunsthistorisches Museum

antique background, virtuosity?? Demonstrates how full nature shows nature – 16^th century- non reality, not a window, appreciate it for what it is, face value, also plays with ambiguousness) painting is something that looks away and looks back, but pieces of it look right at the viewer