At least that was less shameless than the biopic that gives him a made-up girlfriend. It is a welcome sign of changing attitudes that an Italian tour company is now offering art tours of the Vatican that focus on the sexualities of Michelangelo and other great 16th and 17th-century masters.
Even very recently this was a controversial statement — in spite of copious visual and written evidence about his unconcealed sexual identity. Michelangelo filled the Sistine Chapel with nudes that embody his passion for male beauty. The Catholic church and art historians besotted with religion have for a long time chosen to ignore or deny the sensual side of these artists, in spite of ample contemporary that it was never a secret.
Caravaggio is, today, the most contentious. Church-addled scholars insist that his homosexuality is a modern invention, the more sophisticated citing the French Michel Foucault who saw gay identity and sexuality itself as modern constructs Renaissance Italy however had a very modern notion of gay people.
You can argue forever about Caravaggio because the surviving documents of his are so slim. This is where Michelangelo Buonarroti, so famous he gets taken for granted, suddenly takes on an exciting new character. Michelangelo left more evidence of his sexual and emotional life than almost anyone else Imagenes de tommaso cavalieris sexual orientation his age. His intense art is itself a massive document of a life torn between flesh and spirit, mind and matter.
But they make no sense without it. Michelangelo wrote hundreds of love poems that survive. The greatest are addressed to Tommaso dei Cavalieria young Roman nobleman for whom he conceived an unrequited passion. Other men are also commemorated in these verses hewn from a language of stone. Renaissance neo-Platonism, a Imagenes de tommaso cavalieris sexual orientation of ancient philosophy that saw love as the link between heaven and earth, offered Michelangelo a way of at once proclaiming and neutralising Imagenes de tommaso cavalieris sexual orientation desire.
He presents himself in his poems as a lover of men, but also as pure spirit. Soon after his death the Vatican got to work bowdlerising these nudes.
Art history added its own layers of denial, turning Michelangelo into a remote bore. Only now is the heroism of his sexuality becoming well known.
Modern books about Michelangelo no longer try to claim he was married to his art. And the Vatican should be proud.
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