Create a research portrait of a well-known artist, explain how his or Essay

Create a research portrait of a well-known workman, explain how his or her work responds to particular social issues - Essay Exampleject, requiring the artist to spend years painting in wet plaster alternatively than working on his sculpture or other projects, some might love what prompted Michelangelo to under(a)take this project rather than allowing some other artist the dubious honor. Just how much freedom Michelangelo had in this decision is an often discussed topic. It might alike be wondered whether the subject of the painting was determined by Michelangelo himself or the Pope who commissioned him for the project. To more fully appreciate the process that contributed to the creation of the Sistine Ceiling, it is necessary to learn the details regarding the commission of the project, why it was commissioned, why Michelangelo accepted the commission given the difficulties involved, how he met these challenges given the media and subject involved as well as his terminal ass essment of the results.It is widely accepted that Pope Julius II commissioned Michelangelo to paint the Sistine Chapel ceiling as none other had the power and authority to take in the artist back to Rome. Michelangelo had fled the city only two years earlier after the Pope first commissioned him to create approximately 40 sculptures in the most lavish Papal tomb designed to date and wherefore refused to honor his portion of the contract. In addition, the work being requested of Michelangelo was painting rather than sculpture which he preferred. Other accounts indicate the idea of having the ceiling completed by Michelangelo was the idea of Donato Bramante, who intended to discredit Michelangelos daunting reputation. In Michelangelos eyes, Bramante had persuaded the pope to abandon the project of the tomb by warning him that it was bad luck to have ones tomb carved during ones lifetime, and had then proposed an altogether different commission for the sculptor, a task at which he kn ew Michelangelo could not possibly succeed (King, 2003, p. 11). Work commenced on the project in 1536 under Pope Paul III and was