The Last Judgment: A Detailed Analysis

The Last Judgment

Chronology

1534-1541

Style

Renaissance style, Cinquecento period. Artist: Michelangelo. Technique: Fresco. Support: Wall. Location: Sistine Chapel, Vatican City.

• Consolidation of oil painting and introduction of new media like canvas (Flemish influence).
• Figures emphasize eyes and hands.
• Use of chiaroscuro (defines figure contours through light and shadow).
• Influence of Leonardo's sfumato and scientific perspective.
• Michelangelo's emphasis on terribilità in the Sistine Chapel.

Technique and Composition

Michelangelo meticulously prepared drawings for each figure, showcasing his anatomical knowledge. The figures possess a sculptural quality, appearing powerful, vigorous, and imbued with terribilità. Their contorted and unbalanced positions create a sense of tension, characteristic of Mannerism. Michelangelo drew inspiration from past masters like Giotto and Masaccio, classical sculptures, and human anatomy studies. The Mannerist color palette employs strong, vibrant hues to heighten the sense of drama and unease. The dramatic chiaroscuro further intensifies the dynamic composition. Michelangelo utilizes the entire wall, creating an illusion of an expansive sky. The focus remains on the human body, depicted with anatomical precision. The expressive hands and sculpted forms contribute to the overall impact. The figures, some reaching 250 cm in height, appear almost lifelike in their movement. The composition, less varied than the Sistine Chapel ceiling, reflects a sense of disappointment, perhaps due to the artist's age and the subject matter.

Iconography and Meaning

The Last Judgment depicts the separation of the saved and the damned. Christ, resembling Jupiter, presides over the scene, while the Virgin Mary appears apprehensive. The saved ascend to heaven on Christ's right, while the damned are cast into hell on his left. The composition draws influence from Dante's works and classical mythology, incorporating elements like Charon ferrying souls across the River Styx. Michelangelo's interpretation also references the Holy Scriptures and the Dies Irae by Thomas of Celano. The upper section depicts the celestial world, with Christ and the Virgin Mary at the center. The first ring includes the patriarchs of Limbo (with Adam) on the left and the martyrs on the right. A second ring features confessors of the Church, the Virgin Mary, and other blessed figures. Below Christ are St. Bartholomew (holding his flayed skin, possibly a self-portrait of Michelangelo) and St. Lawrence. Wingless angels hold symbols of the Passion, seemingly questioning the efficacy of Christ's sacrifice. Trumpeting angels announce the judgment, while the dead rise from their graves. The chosen ascend to heaven with difficulty, while the damned are cast into hell by avenging angels.

Function

The painting decorates the wall behind the altar of the Sistine Chapel.