2019年2月24日 · There is no documented self-portrait of Michelangelo, but he did put himself in his work once or twice, and other artists of his day found him a worthwhile subject. Here is a collection of portraits and other artwork depicting Michelangelo Buonarroti, as he was known during his lifetime and as he was envisioned by later artists.

In the nineteenth century The Met’s portrait was considered a self-portrait by Michelangelo (De Romanis 1823), an idea that persisted into the twentieth century, although Gaetano Milanesi (1882) and others (Knapp 1912, Garnault 1913) ascribed it to Francesco Salviati (1510–1563)—who assisted Jacopino del Conte in the Oratorio di San ...

A self-portrait by the Renaissance genius Michelangelo has been discovered in his final painting, the Crucifixion of Saint Peter in the Vatican's Pauline Chapel, it emerged last night.

2023年4月23日 · According to a new theory, Michelangelo may have secretly modeled his portrayal of God after himself in his masterpiece “The Creation of Adam.” Painted on the ceiling of the Vatican’s...

2023年5月12日 · You recently published a new theory that compares a self-portrait sketch by Michelangelo with his depiction of God in “The Creation of Adam.” How did you make the connection between the sketch and his famous painting on the ceiling of the Sistine Chapel?

2023年10月22日 · Michelangelo’s Self-Portrait, completed between 1525 and 1530, is a red chalk drawing of the artist immersed in his enormous work, “The Last Judgment,” on the Sistine Chapel ceiling. This rare self-portrait shows Michelangelo’s famous, bold, and expressive style.

2024年4月15日 · Among the myriad figures that populate this awe-inspiring fresco, one hidden gem remains enigmatic yet deeply personal: Michelangelo's clandestine self-portrait as the flayed skin held by St. Bartholomew.

author also makes the point that Michelangelo never created a conventional self-portrait, but only "self referential" images within other religious narratives. La Cava, Volto di Michelangelo, first identified the skin as a self-portrait of the artist in 1925. Recently, some scholars have expressed more uncertainty

The artist's self-portrait appears twice in the Last Judgment: in the flayed skin which Saint Bartholomew is carrying in his left-hand, and in the figure in the lower left hand corner, who is looking encouragingly at those rising from their graves.

This essay reveals how Michelangelo morphed his own self-portrait into the torso and leg of St. Peter in The Last Judgment.