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passion in them towards the wine. Bacchus is standing in a traditional pose, but due to his drunkenness he is leaning backwards. His mouth is gaped open and his eyes are rolling, creating a more natural illusion of being tipsy. The sculpture of
Bacchus is in the round and contains a compelling sense of antiquity, similar to other sculptures of Bacchus such as Praxiteles' Dionysus. Due to weathering, this sculpture had taken quite a bit of damage over the years. The right hand containing the cup was replaced, the vine shoots had worn, and his penis had been removed. The vine shoots were due to natural weathering and might have assisted in a change of weight in the sculpture. On the other hand, the hand and the penis have a different story. It is possible the damage could have been due to natural causes; however, loss of the two body parts might also have been for the sake of an authentic archaeological appearance. The hand holding the goblet was broken off and the penis chiseled away before
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In a letter, Cardinal
Raffaele Riario asked Michelangelo if he was courageous enough to make his own work, instead of copying other masters. As a result, Michelangelo agreed and using a block of life-sized marble created the Bacchus. The statue was commissioned for the Cardinal's garden. who intended
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saw the sculpture in the 1530s. Only the goblet was restored, in the early 1550s. The mutilation may have been to give the sculpture an illusion of greater antiquity, placed as it initially was among an antique torso and fragmentary Roman reliefs in Jacopo Galli's Roman garden. Such a concession to
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I undertook to do a figure for Piero deâ Medici and bought marble, and then never began it, because he hasn't done as he promised me. So I'm working on my own and doing a figure for my own pleasure. I bought a piece of marble for five ducats, but it wasn't a good piece and the money was thrown away;
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He eyes the goblet of wine that he holds in his right hand. The viewer can assume that this goblet contains wine and that
Bacchus has fallen under the spell of his own creation. In a way, the goblet that is being held has the illusion that it is tilted in a drunken manner. This shows that Bacchus is
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During the finishing process of
Bacchus, Michelangelo sent letters to his father through the following years. The letters that he writes discusses the Cardinal, who refused to accept the newly made Bacchus. The tone of the letters show that Michelangelo and his father have a difficult relationship.
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Michelangelo's official biographer, Ascanio
Condivi, writing at Michelangelo's direct urging, mistakenly denies that Riario ever commissioned anything and attributes the commission to Galli; documents discovered in 1981 finally set the commission straight: see Hirst op. cit., especially Appendix C
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The 1st
Century bronze figure of Bacchus as a kid stands 40cm (15.7in) tall and was discovered in 1894 on the ruins of the Gallo-Roman settlement of Vertillum in eastern France. Later, it was included in a Paris exhibition of France's most fragile art objects. It had been stolen for nearly half a
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Bacchus is depicted as a naked man who appears to be entranced with his own creation. Its style of nudity is a combination of both ancient proportions and a style which is much more naturalistic. The eyes of
Bacchus, staring at the cup of wine in his right hand, are squinted but have a sense of
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Do not be astonished that I have not come back, because I have not yet been able to work out my affairs with the
Cardinal, and don't want to leave if I haven't been satisfied and reimbursed for my labor first; with these great personages one has to go slow, since they can't be
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The account books of
Baldassare and Giovanni Balducci, bankers to Cardinal Riario, indicate that the work was executed between summer 1496 and summer 1497. See p. 93 of Michael Hirst, "Michelangelo in Rome: an altarpiece and the 'Bacchus'"
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I live meanly...with the greatest toil and a thousand worries. It has been about fifteen years since I have had a happy hour; I have done everything to help you, and you have never recognized it or believed it. God pardon us
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Bacchus wears a wreath of ivy leaves, as that plant was sacred to the god. (They are not, as is often supposed, vine leaves.) Bacchus wears these vines and grape leaves on his head because he is the inventor of wine.
375:...for twelve years now I have gone about all over Italy, leading a miserable life; I have borne every kind of humiliation, suffered every kind of hardship, worn myself to the bone... solely to help my family...
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for it to complement his collection of classical sculptures. After gazing upon the final product, Cardinal
Raffaele Riario refused to accept the piece for he deemed it too sinful, a symbol of sexual desire.
260:. The symbols that can be seen within the cult and Bacchus are wine, ivy, and tigers/leopards, he is also constantly seen with satyrs. All these symbols can be spotted in the Michelangelo Bacchus sculpture.
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of the work's fidelity to "the spirit and meaning of Bacchus". He wrote that "It looks drunken, brutal, and narrow-minded, and has an expression of dissoluteness the most revolting". The art historian
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No. 43 (2001:65â74) p. 66 fig. 2; Lieberman analyzes the sculpture's "almost brutal realism" and "flawlessly controlled disequilibrium" (p 67), revealed in circling the sculpture.
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In the left hand of Bacchus, is a skin surrounded by grape leaves. The skin that is being held is of a Tiger though there are thoughts that it could possibly be the skin of a
302:). The feline skin is representative of both life and death. The feline in life must have been overwhelmed by the pressed fruit of Bacchus and as a result, it cost its life.
322:), a work made by Michelangelo but passed off as an authentic ancient sculpture. Cardinal Riario later discovered Michelangelo's fraud and demanded a refund of 200 ducats.
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and collector of antique sculpture, it was rejected by him and was bought instead by Jacopo Galli, Riario's banker and a friend to Michelangelo. Together with the
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intoxicated and gives the action of him either gently spilling his liquid creation upon humanity or more realistically upon the viewer who is gazing upon him.
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A joyous satyr, in reality the devil... in the act of tempting an intoxicated Adam. Otherwise known as The Bacchus, a work commissioned by a banker of Rome.
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then I bought another piece for another five ducats, and this I'm working for my own pleasure. So you must realize that I, too have expenses and troubles...
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Michelangelo included iconography that identifies the figure as Bacchus in this sculpture. Bacchus, also known as Dionysus, was the subject of the ancient
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By 1506 the sculpture found its way to the collection of Jacopo Galli, banker to both the cardinal and Michelangelo, who had a similar garden near the
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In his early career, Michelangelo had several prominent patrons who commissioned him for his work. The patron for Bacchus was the high-ranking
199:". The sense of precariousness resulting from a high centre of gravity can be found in a number of later works by the artist, most notably the
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Bacchus is depicted with rolling eyes, his staggering body almost teetering off the rocky outcrop on which he stands. Sitting behind him is a
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169:, who eats the bunch of grapes slipping out of Bacchus's left hand. With its swollen breast and abdomen, the figure of Bacchus suggested to
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quality has often been noted (although the testicles are swollen as well). The inspiration for the work appears to be the description in
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as an ambiguous work, intended "to tease the viewer with uncertainties as to whether it was ancient or modern", see Leonard Barkan,
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summarized responses to the sculpture thus: "in brief... it is not the image of a god".
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The sketchbook is in Berlin. Ralph Lieberman, "Regarding Michelangelo's 'Bacchus'",
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Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture
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century before being returned to the French museum where it had been displayed.
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starts with a documentary list of works by Michelangelo. The voice-over says
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No. 47 (2003:121â135), notes that several times during the Cinquecento, the
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is one of only two surviving sculptures from the artist's first period in
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Michelangelo : the complete sculpture, painting, architecture
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Lives of the Most Excellent Painters, Sculptors, and Architects
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135:, in a reeling pose suggestive of drunkenness. Commissioned by
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The Mirror of the Gods: Classical Mythology in Renaissance Art
832:"El David. Historia de esculturas en la Roma â Ălvaro ObregĂłn"
804:"La historia de la icĂłnica avenida Ălvaro ObregĂłn en la Roma"
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713:. New York: Hugh Lauter Levin Associates. pp. 44â46.
879:(Motion picture). International Classics. 4 minutes in.
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Luba Freedman, "Michelangelo's Reflections on Bacchus,"
847:"Stolen Roman statue returned to France after 50 years"
568:. New York: Oxford University Press. pp. 228â231.
127:. The statue is somewhat over life-size and represents
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For Michelangelo as a forger of antiquities, and the
240:"classical" sensibilities did not, however, convince
905:Michelangelo and the Reinvention of the Human Body
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1779:Study of a Kneeling Nude Girl for The Entombment
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780:Michelangelo : painter, sculptor, architect
686:Michelangelo : painter, sculptor, architect
630:The long tradition of negative reactions to the
541:Michelangelo : painter, sculptor, architect
926:. London: Phaidon. Catalogue volume, p. 9.
924:Italian High Renaissance and Baroque Sculpture
915:. New Haven and London: Yale University Press.
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782:. New York: Vendome Press. pp. 23â26.
688:. New York: Vendome Press. pp. 23â26.
543:. New York: Vendome Press. pp. 23â26.
220:in the sculpture garden of Jacopo Galli by
1920:Restoration of the Sistine Chapel frescoes
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913:Making and Meaning: The Young Michelangelo
431:In Mexico City, a replica installed along
428:There are several replicas of the statue.
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1561:The Creation of the Sun, Moon, and Plants
634:is delineated in notes to Giorgio Vasari
911:Hirst, Michael; Dunkerton, Jill (1994).
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1343:Giuliano de' Medici, Duke of Nemours
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734:"Cardinal Riario and the 'Bacchus'".
593:. Livorno: Sillabe. pp. 10â15.
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934:The Life of Michelangelo Buonarroti
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958:Bacchus by Michelangelo Buonarroti
655:(Oxford University Press) 1978:33.
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1554:Separation of Light from Darkness
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1926:The Titan: Story of Michelangelo
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621:(New Haven/London) 1999:201â05.
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907:. London: Chatto & Windus
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480:List of works by Michelangelo
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90:Sleeping Cupid (Michelangelo)
1793:Studies for the Libyan Sibyl
1761:Works on paper, milieu, etc.
1475:The Torment of Saint Anthony
314:, who had previously bought
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76:Museo Nazionale del Bargello
67:203 cm (80 in)
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1899:Michelangelo and the Medici
1729:San Giovanni dei Fiorentini
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2006:Marble sculptures in Italy
1996:Sculptures in the Bargello
1986:Sculptures by Michelangelo
1882:Art patronage of Julius II
1807:PietĂ for Vittoria Colonna
665:Hirst & Dunkerton 1994
653:Michelangelo: Six Lectures
638:edited with commentary by
636:La Vita di Michelangelo...
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2016:Food and drink sculptures
1934:The Agony and the Ecstasy
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331:Palazzo della Cancelleria
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2021:Fauns in popular culture
2011:Nude sculptures in Italy
1800:The Punishment of Tityus
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684:Hibbard, Howard (1978).
589:Raffaele, Monti (2000).
539:Hibbard, Howard (1978).
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1957:Michelangelo quadrangle
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930:Symonds, John Addington
642:(Milan 1962: II:62â67).
591:Michelangelo Buonarroti
501:The Burlington Magazine
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205:and the figures on the
1991:Sculptures of Dionysus
1708:Piazza del Campidoglio
1639:The Conversion of Saul
1515:Salone dei Cinquecento
1187:Piccolomini Altarpiece
1067:Battle of the Centaurs
896:Bull, Malcolm (2005).
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564:Bull, Malcolm (2005).
433:Avenida Ălvaro ObregĂłn
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1836:Tommaso dei Cavalieri
1786:Male Back with a Flag
1301:The Genius of Victory
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345:Letters to his father
285:Rear of the sculpture
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1568:The Creation of Adam
1092:Arca di San Domenico
960:at Wikimedia Commons
903:Hall, James (2005).
754:Artibus et Historiae
517:Artibus et Historiae
242:Percy Bysshe Shelley
100:PietĂ (Michelangelo)
1831:Cecchino dei Bracci
1325:Florence, 1516â1534
1165:Florence, 1501â1505
920:Pope-Hennessy, John
337:and transferred to
131:, the Roman god of
1945:A Season of Giants
1928:(1950 documentary)
1703:Capitoline Museums
1683:Laurentian Library
1482:Manchester Madonna
1232:Rothschild Bronzes
1084:Bologna, 1494â1495
743:Freedman 2003:124.
452:In popular fiction
408:. You can help by
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1503:Leda and the Swan
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1185:Additions to the
1180:Madonna of Bruges
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956:Media related to
938:Project Gutenberg
900:. London: Penguin
834:. 6 January 2021.
667:, p. 75 n.27
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320:Sleeping Cupid
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1280:Bearded Slave
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1007:List of works
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575:9780195219234
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404:This section
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20:
1944:
1936:(1961 novel,
1933:
1925:
1913:
1905:
1904:Replicas of
1891:
1812:
1805:
1798:
1791:
1784:
1777:
1679:New Sacristy
1662:Architecture
1637:
1630:
1610:
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1596:Prophet Joel
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1219:Taddei Tondo
1217:
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1199:
1195:
1192:Saints Peter
1191:
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1171:
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1012:â» attributed
1005:
995:Michelangelo
933:
923:
912:
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867:
855:. Retrieved
850:
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523:
519:
516:
511:
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446:
430:
427:
414:
410:adding to it
405:
382:
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365:
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353:July 1, 1497
352:
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328:
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319:
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233:
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200:
182:
164:
150:
144:
125:Michelangelo
108:
107:
106:
40:Michelangelo
1287:Atlas Slave
1273:Young Slave
1266:Dying Slave
1244:, 1505â1545
1212:Pitti Tondo
873:Reed, Carol
857:February 2,
853:. p. 1
175:androgynous
161:Description
1980:Categories
1939:1965 film)
1496:Doni Tondo
1038:Florence,
1028:Sculptures
891:References
789:0670473979
720:0883632071
695:0670473979
600:888347029X
550:0670473979
435:, next to
193:Praxiteles
187:of a lost
64:Dimensions
1734:Porta Pia
1457:Paintings
417:June 2021
362:August 19
358:pushed...
341:in 1572.
296:Leopardus
252:Symbolism
49:1496â1497
1814:Epifania
1672:Florence
1074:Crucifix
922:(1996).
875:(1965).
851:BBC News
474:See also
389:Replicas
339:Florence
141:Cardinal
80:Florence
72:Location
1875:Related
1685:in the
1548:Ceiling
1204:Gregory
1140:Bacchus
632:Bacchus
615:Bacchus
524:Bacchus
464:Bacchus
306:History
218:Bacchus
151:Bacchus
129:Bacchus
118:Italian
116:by the
109:Bacchus
22:Bacchus
1824:Milieu
1412:Brutus
1387:Apollo
1308:Rachel
786:
717:
692:
597:
572:
547:
335:Medici
273:Goblet
149:, the
58:Marble
36:Artist
1914:PietĂ
1906:David
1350:Night
1252:Moses
1173:David
1155:PietĂ
1112:Angel
1015:â lost
486:Notes
316:Cupid
202:David
197:satyr
167:satyr
146:PietĂ
1696:Rome
1681:and
1371:Dawn
1364:Dusk
1315:Leah
1202:and
1200:Pius
1196:Paul
859:2022
784:ISBN
715:ISBN
690:ISBN
595:ISBN
570:ISBN
545:ISBN
468:Adam
384:all.
379:1512
371:1509
290:Skin
155:Rome
133:wine
54:Type
46:Year
1357:Day
504:123
412:.
191:by
181:'s
1982::
1198:,
1194:,
1040:c.
936:.
932:.
849:.
764:^
757:22
672:^
531:^
520:24
470:.
439:.
226:c.
224:,
209:.
157:.
78:,
1725:â»
1527:â
1506:â
1429:â»
1150:â
1135:â
1055:â
987:e
980:t
973:v
861:.
792:.
723:.
698:.
603:.
578:.
553:.
419:)
415:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
