Michelangelo was praised as an unsurpassable ideal, and more than any other artist he received the flattering epithetdivino. As the cult around him grew, however, a different discourse arose. With the unveiling of the SistineLast Judgment in 1541, Michelangelo stood accused of having set artifice above the sacred truth he was meant to serve, effectively making an idol of his art. Hansen examines the work of three of the master’s most talented followers in the light of this critical backlash. He argues that their choice to imitate Michelangelo was highly self-conscious and related to the desire to construct their own artistic identities, either by associating their work directly with the ideal paradigm (Daniele), through irony and displacement (Perino), or by incorporating both approaches (Tibaldi).
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Morten Steen Hansen is Assistant Professor of Art History at Stanford University.
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