art.wikisort.org - Painting

The Battle of Cascina is a never-completed painting in fresco commissioned from Michelangelo for the Palazzo Vecchio in Florence. He created only the preparatory drawing before being called to Rome by Pope Julius II, where he worked on the Pope's tomb; before completing this project, he returned to Florence for some months to complete the cartoon.[1]

Battle of Cascina
Copy of the Battle by Michelangelo's pupil Aristotele da Sangallo
Artist	Michelangelo
Preceded by	Doni Tondo
Followed by	Sistine Chapel ceiling

Origins

The work was commissioned from Michelangelo by Piero Soderini, statesman of the Democratic of Florence. It was intended for a wall of the Salone dei Cinquecento in the Palazzo Vecchio. The opposite wall was to be decorated by Leonardo da Vinci, who was commissioned to depict the Battle of Anghiari.[2] The two battles were notable medieval Florentine victories. The Battle of Cascina was fought on 28 July 1364 between the troops of Florence and Pisa, resulting in victory of the former. A thousand Pisans were killed and two hundred more were captured.^{[citation needed]}

Description

Michelangelo never completed the painting, but did produce a complete cartoon of the composition. The cartoon was copied by several artists, the most notable extant copy being by Michelangelo's pupil Sangallo. Some of Michelangelo's preparatory drawings also survive, along with prints of part of the scene by Marcantonio Raimondi. According to Michelangelo's biographer Giorgio Vasari, the original cartoon was deliberately cut up, while its owner the Duke Giuliano de Medici was recovering from an illness, by other admiring artisans and distributed across Italy. Vasari states that the last pieces he saw were in Mantua. [3]

Michelangelo depicted a scene at the beginning of the battle, when the Florentine army was initially taken by surprise in the attack by the Pisans. He depicts Florentine soldiers bathing naked in the river Arno, responding to a trumpet warning of the Pisan attack. As the soldiers emerge from the river and buckle on their armour, they are threatened by shots from the Pisans. Several soldiers look or point toward the Pisan position to the left. One soldier has apparently been hit and fallen back into the river, while others leap energetically into action.

By choosing this episode, Michelangelo could depict his favoured topic: the nude male figure in various postures.[1]

Studies

• 
  Michelangelo's study of Battle of Cascina
• 
  Michelangelo's study of Battle of Cascina
• 
  Michelangelo's study of Battle of Cascina
• 
  Michelangelo's study of Battle of Cascina
• 
  Michelangelo's study of Battle of Cascina
• 
  Michelangelo's study of Battle of Cascina
• 
  Male Back With a Flag

See also

• List of works by Michelangelo
• The Battle of Anghiari by Leonardo da Vinci, the pendant to this painting (also lost)

References

External links

• Studies to the Battle of Cascina
• Media related to Battle of Cascina by Michelangelo Buonarroti at Wikimedia Commons

На других языках

---

[de] Schlacht bei Cascina

Die Schlacht v. Cascina sollte ein Fresko von Michelangelo im Saal der Fünfhundert („Sala dei Cinquecento“) im Palazzo Vecchio in Florenz werden. Es wurde jedoch von Michelangelo 1500/1505 nur eine verlorengegangene Vorlage geschaffen, von dem nur verschiedene Kopien existieren. Die beste ist die des Aristotile da Sangallo, aus dem Jahre 1542.

---

- [en] Battle of Cascina (Michelangelo)

---

[es] La batalla de Cascina

La batalla de Cascina es un fresco diseñado por Miguel Ángel para el Palazzo Vecchio de Florencia. No llegó a pintarlo e hizo sólo el cartón (modelo) previo, que fue destruido y es conocido por la copia pintada al óleo por Bastiano da Sangallo y por dos grabados parciales de Marcantonio Raimondi.

---

[it] Battaglia di Cascina (Michelangelo)

La Battaglia di Cascina avrebbe dovuto essere un affresco di Michelangelo Buonarroti da collocare nella fiorentina sala del Maggior Consiglio (poi detta Salone dei Cinquecento) di Palazzo Vecchio, a Firenze. Ne venne realizzato solo un perduto cartone nel 1505-1506 circa, conosciuto da studi e copie antiche, tra cui la migliore è quella di Aristotile da Sangallo, databile al 1542 circa e conservata nelle collezioni private del conte di Leicester, a Holkham Hall, nel Norfolk (lo stesso ex proprietario del leonardiano Codice Leicester).

---

---