The "Pieta"

Paper Summary:

This paper presents a formal, iconographic and historical analysis of the "Pieta" by Michelangelo. It defines the pyramidal aspects of the sculpture's composition and the Christian iconography of the Holy Trinity. It also looks at the historicity of the piece as it relies on classical and natural stylization that were in line with Michelangelo's humanist perspectives for Mary after Jesus was crucified.

From the Paper:

"This aspect of critical commentary is revealed through the objectives of Michelangelo to create a sculpture that would echo the divine nature of Christ, yet with the humanist values of naturalism that he espoused in depiction of human relationships. The divine nature of Christ and Mother reflect the unity of religious vision with Mary sorrowfully looking down on her dead son, yet they are both keenly aware of the significance of the Passion and the Crucifixion. This aspect of the iconography of the sculpture dictates the human suffering involved in Christi's life on earth, yet with the divine serenity of peace on his face with the realization that he has fulfilled his promise to humankind (Hibbard, 1985, p.270). This is the humanist Christian iconography that emulates a divine relationship between mother and son, but not without the deified presence of Christ fulfilling his redemption of sin for humankind by his crucifixion."

Sample of Sources Used:

• Adams, L.S. (2001). Italian renaissance art. New York: Westview.
• Hibbard, H. (1985). Michelangelo. New York: Harper Collins.
• "Pieta by Michelangelo." (2006). Romeviva.com. retrieved 14 December, 2006 from http://www.romaviva.com/Vaticano/pieta-michelangelo_eng.htm
• Stokstad, M. (2004). Art history. New York: Prentice Hall.
• Wilkins, D. (2006). History of Italian renaissance art. New York: Prentice Hall.

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• Book Review # 118296 : "The Italian"

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