Early on in this dazzling new biography, Martin Gayford compares Michelangelo, with his daunting artistic tasks, to Hercules, the subject of an early (and now lost) sculpture. A Michelangelo biographer is likewise faced with an intimidatingly Herculean task. ‘Few other human beings except the founders of religions,’ acknowledges Gayford, ‘have been more intensively studied and discussed.’ Such was Michelangelo’s fame — he became ‘something approximating to a modern media celebrity’ — that in his own lifetime he was the subject of three biographies.
And he does not make things easy for biographers. He was an enigmatic, paradoxical figure, with his earliest biographer, Paolo Giovio, ruefully noting the disparity between his divine gifts and his ‘unbelievable meanness’. He was also incredibly long-lived: born in 1475, in the Florence of Lorenzo de’ Medici, he died almost nine decades later in Rome, during the height of the Counter-Reformation.
Indefatigably active as an artist until only weeks before his death, he produced a staggeringly abundant body of work: paintings, sculpture and architecture, as well as countless drawings and more than 300 poems. For over half a century, he was at the heart of political and ecclesiastical power, coveted by princes and the intimate of popes, one of whom, Julius III, planned to keep his embalmed corpse faithfully by his side if Michelangelo predeceased him (fortunately, the pope died first).
Gayford is the author of two lively, poignant studies of crucial episodes in the history of art: The Yellow House, detailing Gauguin and Van Gogh’s tragic interplay during their nine weeks together in Arles in 1888, and Constable in Love, which follows the painter’s love affair with his muse, Maria Bicknell.
Here, bucking the trend for micro-histories and slimmed-down biographies, he turns to history on a grander scale, attempting to render full justice to a figure even more titanic than Constable or Van Gogh.

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