450 years after a genius' death

During his lifetime he was called "divine." His creativity is legendary. Michelangelo Buonarotti worked obsessively. He was a painter, sculptor, architect and poet. He designed the dome of St. Peter's Basilica and painted the frescoes in the Sistine Chapel. The finger of God reaching out to Adam is considered a masterpiece in art history.

Michelangelo was not a handsome man. At a young age, he was hit in the face by a fellow painter. He remained disfigured for the rest of his life. Jacopino del Conte painted this portrait of the artist at age 60 in 1534. Michelangelo was born on March 6, 1475, in the small village of Caprese. He grew up under the supervision of a stonemason because his mother was unable to care for him.

Michelangelo exhibited a love - and talent - for sculpture early in his career. "His work puts the sculptures of antiquity to shame," said Michelangelo biographer, Vasari. A rediscovery of classical antiquity characterized the work of the young Buonarroti. The "Pieta," in Rome is regarded as one of his first strokes of genius. He chiseled his figures from giant blocks of marble.

Michelangelo was introduced to humanist ideas in 1489 in the school of Lorenzo de Medici in Florence. The main impetus of the Renaissance came from the House of Medici. There, Michelangelo met poets, scholars and artists. Although he was not yet 25 years old, he was already celebrated for his art: from wrinkles to fingers or limbs, he breathed life into scuptures like no other.

In September, 1504, a 9-ton marble colossus was dragged through Florence. "David" was a symbol of freedom in the cultural capital and Republic of Florence. He embodied the dream of the new man and marked the end of the Middle Ages. Today, a replica stands on his former post, as the original suffered from weathering. The original is housed in the Academy of Fine Arts in Florence.

Michelangelo was born with the ability to work a hammer and chisel. Nevertheless, he had to prevail against stiff competition in Florence. Leonardo da Vinci was just one of his rivals. With "David," Michelangelo wanted to make something that had never been created before: perfect harmony of a human countenance. It took him two years to finish the masterpiece.

In 1518, Michelangelo starting working on the design of the new San Lorenzo church facade. He sought to combine sculpture with archicture. When, for political reasons, he was no longer able to obtain his marble from Carrara, but rather in Florentine territory, he became so enraged that he discarded his glorious work contract from the Medicis.

From sculptures to sketches, Michelangelo's mastery of portraying movement prevails throughout various art forms. Michelangelo wanted to preserve the moment in visual arts. In his sketches, he conducted countless studies, not only on paper but also in stone. This wall sketch was found in a secret room under the new sacristy of the Medici chapel in the Basilica di San Lorenzo in Florence.

Michelangelo sought to recreate the biblical book of Genesis, the story of creation, on the ceiling of the Sistine Chapel. His goal was to paint sculpture-like pieces on the ceiling. For four years Michelangelo and his assistants transferred sketches onto the 1,000-square meter ceiling. Then the colors needed to be freshly applied - hence the name fresco. Subsequent corrections were not possible.

Michelangelo painted four-meter sized figures on the ceiling, so they were clearly visible from a distance. Eve, above, is particularly athletic. But the master was not satisified with the representation of the Great Flood, which he figured was too small. The representation of God also appears surprisingly human - appearing once with bare buttocks.

Pope Julius II assisted Michelangelo with his final breakthrough. In addition to the painting of the Sistine Chapel, he commissioned Michelangelo to build St. Peter's Basilica. Michelangelo presented ideal proportions even in his architecture. For the last 19 years before his death - on February 18, 1564 - he assisted in the construction of the dome of St. Peter and its unique support structure.