(30 Apr 2024)
UK MICHELANGELO
SOURCE: ASSOCIATED PRESS
RESTRICTIONS:
LENGTH: 7:12
ASSOCIATED PRESS
London, UK – 30 April 2024
1. Wide of entrance to ‘Michelangelo: the last decades’ exhibition at the British Museum
2. Various of ‘Portrait of Michelangelo’, about 1550-55, by Daniele da Volterra
3. Various of ‘The Epifania’, about 1550-53, Michelangelo. The cartoon was the final stage before painting. It has been undergoing restoration and this is the first time it will be shown in public since 2018
4. Tilt up of exhibition, ‘Christ on a Cross’, about 1543, by Michelangelo in foreground
5. Various of ‘The Pietà’, about 1544, Marcello Venusti, who based the painting on a drawing by Michelangelo
6. Various of Sarah Vowles, lead curator, looking at drawings
7. SOUNDBITE (English) Sarah Vowles, lead curator:
"A lot of people, when they’re thinking of Michelangelo, will think of the early works. So David, the Sistine Chapel ceiling, that sort of thing. And it’s easy for people to forget that he goes on working until the age of almost 89, and the later works show quite a different side to him, much more introspective, much more thoughtful. We get to see more of him as a person coming to terms with these very universal human feelings that we all face as we get older, trying to weigh up if you’ve lived a good life and meditating on aspects of faith which he hopes will bring him to salvation."
8. Wide of various studies for ‘The Last Judgment’
9. Mid of two studies for ‘The Last Judgment’
10. Close of ‘Study of a man rising’, about 1534-36, Michelangelo
11. Tilt up of ‘Study of an angel and other figures’, about 1534-36, Michelangelo
12. Various of ‘Crucifixion with the Virgin and St John the Evangelist’, about 1555-63, Michelangelo
13. SOUNDBITE (English) Sarah Vowles, lead curator:
"When we start the exhibition with the drawings for The Last Judgement, this is perhaps the Michelangelo that people do expect to see: these very dramatic, extravagant poses, the musclebound figures, the fascination with the male anatomy. As we move on, his interest and his style does change. He becomes slightly more interested in the spiritual interior of the figures that he represents. The figures often become a little more compact, a little more dense and weighty. At the same time, when he is dealing with the figure of Christ, for example, it can become quite light, almost ethereal."
14. Mid of letters
15. Various of letter from Michelangelo to his nephew Leonardo Buonarroti, dated 28 December 1563
16. Mid of letter from Daniele da Volterra to Leonardo Buonarroti, dated 14 February 1564, urging him to come and visit his ailing uncle. Michelangelo has signed at the foot of the letter with a weak signature. Michelangelo died four days later, before Leonardo could arrive
17. Tilt down of letter
18. Close of Michelangelo’s signature
19. SOUNDBITE (English) Sarah Vowles, lead curator:
"Michelangelo could be quite a difficult person sometimes. We know a great deal about what he was like, because we have 500 letters of his that survive in total. We’re including some of them in the show. We trace some of his friendships in the show, for example, his friendships with Tomaso de Cavalieri and Vittoria Colonna, both of whom prompted him to make poems and really beautiful drawings for them that spoke to their shared interests. And we also include some letters that he wrote to his nephew, who bore the brunt of his temperament on numerous occasions."
20. Mid of ‘Tityus’, 1532, Michelangelo, a gift to Michelangelo’s friend, Tommaso de’ Cavalieri
22. Various of ‘Tityus’
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