Comparison and Contrast between Michelangelo and Picasso Term Paper

Comparison and Contrast amongst Michelangelo and Picasso - Term Paper ExampleThe paper Comparison and Contrast between Michelangelo and Picasso helps to lowstand the contrast between two impostureists Michelangelo and Picasso. Michelangelo and Picasso are two of the most popular artists in the world who belong to two different periods. Michelangelo studied shape to attain the perfection in form which is manifested in many of his art deeds. He lived during the Renaissance period, the dawning of a new cultural movement, and had produced many works. Picasso was innate(p) during the 19th century and passed away just in the 20th century. He is one of the pioneers of an art form called Cubism. Having lived in the modern times, his form and style has the run of modernism. Many would know him as a great painter who adorned the ceiling of the Sistene Chapel. He was multi-talented, and wanted to be an engineer, builder of churches and palaces, statue maker. His devotion to his art works can be considered as extreme. While sculpting the statue for Julio II, he slept with his working clothes and boots that caused his legs to swell and had to be cut together with his flesh. He is very proud of this family and line of descent lineage, and his family devotion can be compared to that of a religion. Although his family had wealth, he would live and eat as if impoverished that his father warned him to take care of his health. Michelangelo received apprenticeship in art early in life. He first studied literature but later shifted to the study of the arts, and at 13 years old apprenticed under to Domenico Ghirlandaio. for three years (Michelangelo par. 1). Domenico was highly impressed with the performance of Michelangelo, and thus recommended him for tutorship under Lorenzo the Magnificent (par. 1). When he later frequented the San Marcos of Lorenze where antique statues are found, he met Pico della Mirandola (par. 1). He then studied sculptor under Donatellos disciple, B ertoldo (par. 1). He sculpted two famous works, The perfect(a) on the Stairs and The Battle of the Centaurs (par. 2). He would lay down study drawings before sculpting the medium (Michelangelo par. 2). Although he made earlier works, such as those from Giotto and Masaccio, as his models, his art works manifested more idealism and strong ken (par.2). In 1494, he met Aldrovandi when he moved to Bologna, and sculpted for him Angel for Noahs Ark in Santo Domingo (Michelangelo par. 2). He completed the unfinished works of the early Renaissance sculptor Niccolo dellArca (par. 2). Going to Rome, he initially made the sculpture Young Bacchus (par. 2). He traveled between Florence (due to nostalgic predisposition) and Rome a number of times (par. 2). In 1501, while in Rome, banker Jacopo Galloi purchased his painting Young Bacchus which Cardinal S. Dionigi commissioned Michelangelo to do (par. 2). His objects traversed between profanity and sacredness which duality is manifested in his wo rks Bacchus and The Centaurs on the one hand, and the Pieta and Virgin of the Stairs on the other (par. 2). He did Pieta (the only one that he affixed his signature) in 1498 from the request of French Cardinal Jean de Lagraulas (par. 2). Back in Florence (between 1501 and 1504), Michelangelo met Leonardo da Vinci where he got some inspiration (par. 2). He was not inclined to scientific inquiry like Leonardo but engaged in the study of