This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin. Michelangelo's interpretation of the Pietà is unprecedented in Italian sculpture. It is an important work as it balances the Renaissance ideals of classical beauty with naturalism.
The structure is pyramidal, and the vertex coincides with Mary's head. The statue widens progressively down the drapery of Mary's dress, to the base, the rock of Golgotha. The figures are quite out of proportion, owing to the difficulty of depicting a fully-grown man cradled full-length in a woman's lap. Much of Mary's body is concealed by her monumental drapery, and the relationship of the figures appears quite natural. Michelangelo's interpretation of the Pietà was far different from those previously created by other artists, as he sculpted a young and beautiful Mary rather than an older woman around 50 years of age.
The marks of the Crucifixion are limited to very small nail marks and an indication of the wound in Jesus' side.
Christ's face does not reveal signs of the Passion. Michelangelo did not want his version of the Pietà to represent death, but rather to show the "religious vision of abandonment and a serene face of the Son", thus the representation of the communion between man and God by the sanctification through Christ.
This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin. Michelangelo's interpretation of the Pietà is unprecedented in Italian sculpture. It is an important work as it balances the Renaissance ideals of classical beauty with naturalism.
Sculpting of the work took less than two years. Following completion, the Pietà's first home was the Chapel of Santa Petronilla, a Roman mausoleum near the south transept of St. Peter's, which the Cardinal chose as his funerary chapel. The chapel was later demolished by Bramante during his rebuilding of the basilica. According to Giorgio Vasari, shortly after the installation of his Pietà, Michelangelo overheard (or asked visitors about the sculptor) someone remark that it was the work of another sculptor, Cristoforo Solari, whereupon Michelangelo signed the sculpture. Michelangelo carved MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T] (Michelangelo Buonarroti, Florentine, made this) on the sash running across Mary's chest. The signature echoes one used by the ancient Greek artists, Apelles and Polykleitos. It was the only work he ever signed. Vasari also reports the anecdote that Michelangelo later regretted his outburst of pride and swore never to sign another work of his hands.
According to wikipedia.
