Studies for Christ in the Pietá of Úbeda for Sebastiano del Piombo, by Michelangelo

Technique: black charcoal

Départament des Arts Graphiques, Musée du Louvre, Paris

Many historians agree that, between 1520 and 1530, the commissioners of art requested certain drawings to be made directly by the hand of the artist (“di sua mano”), so that later on apprentices of his atelier used the drawing as a guide for a painting or sculpture. The drawing above present a marked sculptoric force, specially in the outer lines. Some parts look incomplete, because Michelangelo chose to focus on certain volumes, specially in the torso. This contrast between the schematic lines in the head and inferior part of the body, versus the modeled torso, reminds us of the way the artist approached his sculptures.

Studies for the Libyan Sibyl on the Sistine Ceiling, by Michelangelo

Technique: red chalk, with small accents of white chalk

The Metropolitan Museum of Art, New York

Michelangelo asked his young assistant to pose so that he could capture the draperies of the tunic and the right pose of the Sibyl. Placed near the altar of the Chapel, this was one of the last figures of the fresco to be completed. The complexity of the pose, almost about to move, coming down from the throne and ready to close the book of Prophecies, surely required several sketches. Unfortunately the paper of the drawing has been darkened by the excessive light and some parts of the charcoal were fixated with a solution of lacquer in alcohol which intensified the coloring. Michelangelo was already considered a true celebrity when he was working on the fresco. 

Location of the Sibyl in the ceiling of the Sixitine Chapel.

Both the curatorial and montage team decided to recreate the ceiling of the Sixtine Chapel so that visitors can place “in situ” the drawings of the figures and comprehend the monumentality and complexity of the work. 

Image of the ceiling of the Sixtine Chapel

Almost in the last room, we see on display on of the most interesting drawings of all the exhibition: “The Archers”, which belongs to the Collection of the Queen of England. The meaning of this artwork is a mystery. Most of the athletes don’t have their bows in their hands, a fact that makes it more intriguing. Although the central figures are well defined, the ones in the back are mere sketches. The subject, according to several investigators, is similar to the personal emblem of Cardinal Alessandro Farnese, so it is believed that the drawing was made for him.

The Archers, by Michelangelo

Technique: carbonilla roja, 

The Royal Collection/ HM Queen Elizabeth II

Miguel Angel changed the history of art, elevating himself to atelier apprentice to deity and true example of Renaissance. His admiration for the male body, more than the feminine figure, and his devotion towards his work were hist constant companions till the end of his days. His hands could never remain still. 

When we reach the end of our tour, a big panel informs us of the many institutions and private collectors that lent theor drawings for the exhibition. Their extreme generosity made it all possible.