Michelangelo ‘hated painting the Sistine Chapel'
Michelangelo never wanted to paint the Sistine Chapel, a historian claimed.
The Italian artist – who lived a 'long and miserable' life – actually 'loathed' painting and wanted to sculpt instead.
But he was forced to paint the ceiling of the chapel in Vatican City, Rome, by 'stalker' Pope Julius II who wanted to 'punish' him for trying to flee the Italian capital, according to Ada Palmer, an American historian.
Ms Palmer told the BBC's History Extra podcast that Michelangelo 'hated painting and never wanted to paint the stupid Sistine Chapel.'
She added: 'That was a punishment because he ran away from the stalker pope. And the stalker pope was like: 'I'm going to punish this man, I know he just wants to sculpt, so I'm going to make him paint for two years.'
'He [Michelangelo] always hated painting. If he had a bumper sticker, it would be, 'I'd rather be sculpting,' right? This man spoke the language of rocks.'
Michelangelo painted the Sistine Chapel between 1508 and 1512.
The building was built between 1473 and 1481 and is the most famous chapel inside the Vatican, as it is the site of the papal ceremonies.
Ms Palmer, who teaches in the history department at the University of Chicago, told the podcast: 'Pope Julius II was obsessed with Michelangelo and wanted Michelangelo to build him this incredibly giant tomb, which would have been like the largest tomb ever made with something like 30 life-size monumental statues of prisoners chained to the base of it with the triumphant warrior pope on top.
'And Michelangelo kept getting more and more frustrated with Julius and just wanted to go home to Florence and sculpt.
'And he'd come to Rome hoping to gain fame as a young man in his very early 20s. And he'd done some good work there, the famous Pietà.
'But Michelangelo was commissioned to do this impossible tomb and then things went wrong – the marble wasn't there. The Pope kept being a jerk, he got more and more frustrated.'
The author said Michelangelo did not want to live in Rome as he 'hated' it there, and so tried to run away to Florence.
She added: 'The Pope sent guards to chase him down and seize him by force and drag him out of the inn.
'There was a confrontation between them and the Florentine militia people. They ended up protecting him. He went to Florence.
'The Pope was like, 'I'm going to besiege Florence, I'm going to send my armies there right now, send me Michelangelo'.'
The historian said Michelangelo was then returned to Rome, adding: 'The Pope makes him paint the Sistine Chapel ceiling because he knows he'll hate that.'
She said the artist, who died aged 88 in 1564, lived a 'very long and miserable life'.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Independent
30 minutes ago
- The Independent
Protest banners appear across Venice ahead of Bezos ‘wedding of the century'
Venice, renowned for its historic charm, is facing a stark division as it prepares to host the high-profile wedding of US tech-tycoon Jeff Bezos and Laura Sanchez. While some anticipate the glamour and economic boost, others fear the event will transform the iconic city of gondolas and palazzi into little more than an "amusement park." Despite many details remaining "under wraps," including the exact date, the nuptials are expected to draw a constellation of stars from the worlds of film, fashion, and business. These scores of celebrities are set to arrive in the coming days, provided they can navigate potential local opposition. A protest group has already plastered banners across the city's famous Rialto Bridge, emblazoned with the message "No space for Bezos!" The group has also threatened peaceful blockades, arguing that the medieval and Renaissance city is in dire need of public services and housing, rather than an influx of celebrities and exacerbating over-tourism. The impending celebration highlights a growing tension in Venice, as the city grapples with its identity amidst the pressures of global tourism and high-profile events. "Bezos arrogantly believes he can take over the city and turn it into his own private party venue," said Tommaso Cacciari, a leading light of the "No space for Bezos" campaign. Mayor Luigi Brugnaro and regional governor Luca Zaia, on the other hand, argue that the wedding will bring an economic windfall to local businesses, including the motor boats and gondolas that operate its myriad canals. Eleven years ago actor George Clooney married human rights lawyer Amal Alamuddin in Venice, turning the city into Hollywood on the Adriatic with a weekend of lavish celebrations. Then, locals and tourists alike were excited to witness a memorable moment in the city's long history of hosting stars for its film festival, the world's oldest. Bezos, 61, the founder of e-commerce giant Amazon and the world's third-richest man, got engaged to journalist Sanchez, 55, in 2023, four years after the collapse of his 25-year marriage to Mackenzie Scott. After a swirl of media speculation about the venue of what has been dubbed "the wedding of the century" Brugnaro confirmed in March that it would take place in Venice, which last year began charging tourists a fee to enter the city. The date is expected to be some time between June 23-28 in the midst of three days of stylish celebrations. In the face of early protests from residents who feared the arrival of thousands of celebrities and hangers-on, the city issued a statement clarifying that it would involve around 200 guests and would not disrupt Venetians' everyday life. Bezos and Scott had four children together, while Sanchez was previously married to Hollywood agent Patrick Whitesell, with whom she has two children. She also has a son with NFL tight end Tony Gonzalez.
Edinburgh Reporter
an hour ago
- Edinburgh Reporter
Fringe 2025 – festival reviews and how to get them
August is fast approaching, and with it the Edinburgh Festival Fringe, International, Book and Art festivals. Performers and promoters need reviews – but just how (especially when there are far fewer reviewers than there are requests for their services) can they get them? I've reviewed in all of these festivals for some years now, and here I have gathered together some tips that might help. Tiny Little Town Photo – David Monteith-Hodge Here goes: 1. Press releases Make sure yours is well written, not cobbled together at the last minute. Reviewers are inundated with these things – and what they need from them is information, not gimmicks, so take care to include full details of your cast, writer, manager, lighting manager, the name and contact details of someone who can provide more information. If I have to scrabble around looking for these things I'm already losing patience before I start. UPLOAD YOUR PRESS RELEASE TO THE FRINGE MEDIA SITE. I can't emphasise this enough. It makes reviewers' lives so much easier if they can find everything they need in one place. Contact reviewers well in advance. I sort my schedule in early July, and it has very little slack. Panicking about a lack of reviews during the festival is unlikely to prove fruitful – nor will it reduce your stress levels. My emails are always open, but please, if you contact me to request review, tell me about the themes of your show, not just how many stars somebody else gave it. Please address me properly – 'Dear BLANK' will not impress – but don't bother will all the 'how are you doing?', 'Hope you're enjoying the Fringe' stuff. Cut to the chase and tell me why I, particularly, should see your show. 3. Respond! If a reviewer emails you with a request for information, please, please reply quickly. They are probably halfway through a review – a review which can't be published until you respond. We know you're tired – believe me, so are we. 4. Be polite! Never criticise reviewers in public. I have sat behind people on a bus who spent their entire journey talking about the writer of a less than glowing review. Of course everyone wants five stars, but reviews are written to assist readers, not to stroke egos or cosset eggshell personalities. If you are putting yourself out there, you need not only to be able to cope with criticism but also to learn from it. 5. Be flexible If a reviewer asks for a ticket at the start of your run, don't refuse – they may well not be able to come when it suits you. Reviewers do understand that previews may lack the polish of later shows, and they can make allowances for that. If they don't see the show at all, they can't review it. Similarly, please don't make us sit in the middle of a row or at the front – we know you want to 'fill up from the front', but it's really difficult to make notes if you're jammed in. And would you not find it off-putting to see me scribbling away two inches from the stage? Let us hide away at the back if we ask to. We're a lot safer there. 6. Does it make sense? I have heard performers complaining (publicly – see 3!) that a reviewer 'missed the point' of a play. Reviewers are experienced. If they don't get it, how likely is it that your audience will? You have only 60 minutes, sometimes less, to make an impression – be clear, be audible – and do practice getting on and off your stage, it really does make a difference. 7. Appreciate your reviewers! Believe it or not, most reviewers (apart from the few from the national press) are often doing this unpaid, often fitting it around their own jobs. They rush from one venue to another, usually writing reviews in their lunch breaks and late at night. They do it not only because they want to let the paying public know what's worth seeing, but also because they want to help you. Be nice. Our main email address for contacting Rosemary is [email protected] (please put FAO Rosemary in the subject line). And you can read all the articles she has written on The Edinburgh Reporter by clicking here. Heartbreak Hotel Photo – David Monteith-Hodge Like this: Like Related
The Guardian
an hour ago
- The Guardian
Giorgio Armani to miss Milan shows for first time after brief stay in hospital
Giorgio Armani, the celebrated Italian designer and one of the most recognisable names in fashion, is to miss his shows at Milan fashion week this weekend due to ill health for the first time in the label's history. In a statement released by the brand on Saturday morning, the 90-year-old designer is 'recovering at home' and 'will not be present at the two shows as he usually is'. According to la Repubblica, his absence comes after a brief stint in hospital. Speaking to the Guardian in January, the man known in Italy as 'Re Giorgio' (King George), said that 'age is undoubtedly a factor to contend with'. While he would 'continue as long as my health and energy permit', he also said that 'taking a step back in the near future [was] inevitable'. Last year, the designer told the Corriere della Sera newspaper he planned to retire in the next few years regardless, but that the Armani brand would continue without him. In his first live show after the pandemic in 2021, Armani showed a scar from surgery to his arm that resulted from a fall during a visit to the cinema. In the current fashion landscape, which is dominated by conglomerates such as LVMH and Kering, Armani is one of the few designers to remain the sole shareholder of his company while also overseeing every single collection produced in its 50-year history. A recent valuation by Forbes suggested the Armani group was worth £10bn. The designer, who turns 91 next month, is widely credited with transforming stiff suiting for men, getting women into menswear and bringing Italian style to Hollywood. It is thought he is missing this weekend's shows as a precautionary measure so he is able to attend the couture – or Privé – show next month in Paris. One of the Milanese's key contributions to high fashion has been his invention – and reinvention – of celebrity dressing, with Hollywood's bold and beautiful, including Julia Roberts, Cate Blanchett and Angelina Jolie, all wearing his couture gowns on the red carpet. Taking the requisite designer bow at the end of Saturday's Emporio Armani show and Monday's Giorgio Armani show will be Leo Dell'Orco, his collaborator and head of menswear design. The statement also confirmed that Armani had worked 'with his usual dedication' on both collections, and that he plans to watch the shows. As yet, there is no obvious heir to the Armani throne.
