who did michaelanglo study under
Despite, or maybe because of his interesting personality, Italians adored Michelangelo, both during his time and after. He was known as “Il Divino”, or the Divine, and everyone wanted to know the facts of his life, or at least a colorful recounting of them. This is likely what led Michelangelo to publish not one, but two full length autobiographies in his lifetime.
Here are 8 interesting facts about Michelangelo, that we think you’ll find pretty surprising:
8. He kept working until the week he died.
Michelangelo spent most of his golden years overseeing construction on St. Peter’s Basilica in the Vatican. Even after he became too weak to go to the work site regularly, he still supervised the job from home by sending drawings and designs to trusted foremen. Sculpture remained Michelangelo’s true love, however, and he continued chiseling away in his home studio until the very end. Only days before he died at the age of 88, he was still working on the so-called “Rondanini Pieta,” which depicts Jesus in the Virgin Mary’s arms.
6. He designed military fortifications for the city of Florence.
In 1527, the citizens of Michelangelo’s native Florence expelled the ruling Medici family and installed a republican government. Despite being in the employ of the Medici Pope Clement VII, Michelangelo backed the republican cause and was appointed director of the city’s fortifications. He took the job seriously, making extensive sketches for lookout bastions and even traveling to nearby towns to study their defensive walls. His designs later proved a significant obstacle when the Pope’s forces arrived to reclaim the city, and Florence survived 10 months under siege before finally falling in August 1530. Michelangelo could have easily been executed as a traitor, but Clement VII forgave him for his role in the rebellion and even immediately re-hired him. The artist’s position in Medici-ruled Florence remained tenuous, however, and when the Pope died in 1534, Michelangelo fled the city for Rome, never to return.
Florence was at this time regarded as the leading centre of art, producing the best painters and sculptors in Europe, and the competition among artists was stimulating. The city was, however, less able than earlier to offer large commissions, and leading Florentine-born artists, such as Leonardo da Vinci and Leonardo’s teacher, Andrea del Verrocchio, had moved away for better opportunities in other cities. The Medici were overthrown in 1494, and even before the end of the political turmoil Michelangelo had left.
A side effect of Michelangelo’s fame in his lifetime was that his career was more fully documented than that of any artist of the time or earlier. He was the first Western artist whose biography was published while he was alive—in fact, there were two rival biographies. The first was the final chapter in the series of artists’ lives (1550) by the painter and architect Giorgio Vasari. It was the only chapter on a living artist and explicitly presented Michelangelo’s works as the culminating perfection of art, surpassing the efforts of all those before him. Despite such an encomium, Michelangelo was not entirely pleased and arranged for his assistant Ascanio Condivi to write a brief separate book (1553); probably based on the artist’s own spoken comments, this account shows him as he wished to appear. After Michelangelo’s death, Vasari in a second edition (1568) offered a rebuttal. While scholars have often preferred the authority of Condivi, Vasari’s lively writing, the importance of his book as a whole, and its frequent reprinting in many languages have made it the most usual basis of popular ideas on Michelangelo and other Renaissance artists. Michelangelo’s fame also led to the preservation of countless mementos, including hundreds of letters, sketches, and poems, again more than of any contemporary. Yet despite the enormous benefit that has accrued from all this, in controversial matters often only Michelangelo’s side of an argument is known.
During this time of the High Renaissance in Florence, rivalries between Michelangelo and his artist peers abounded, each fighting for prime commissions and revered social status as noted masters of their fields.
Leonardo da Vinci had quickly risen to fame and the competition between he and Michelangelo was legendary. In 1503, Piero Soderini, the lifetime Gonfalonier of Justice (senior civil servant akin to a Mayor), commissioned them both to paint two opposing walls of the Salone dei Cinquecento in the Palazzo Vecchio. Both paintings were never finished and are unfortunately lost. Leonardo’s The Battle of Anghiari was painted over when Vasari later reconstructed the Palazzo. Michelangelo’s work on The Battle of Cascina was interrupted in the preparatory drawing stage when Pope Julius II summoned him to Rome. Michelangelo was seduced by the flamboyant reputation of the patron Pope who was luring other artist peers such as Donato Bramante and Raphael to create exciting new projects. Never one to be bested by his rivals, he accepted the invitation.
In 1505 Michelangelo was invited back to Rome by the newly elected Pope Julius II and commissioned to build the Pope’s tomb, which was to include forty statues and be finished in five years.  Under the patronage of the pope, Michelangelo experienced constant interruptions to his work on the tomb in order to accomplish numerous other tasks. Although Michelangelo worked on the tomb for 40 years, it was never finished to his satisfaction.  It is located in the Church of San Pietro in Vincoli in Rome and is most famous for the central figure of Moses, completed in 1516.  Of the other statues intended for the tomb, two, known as the Rebellious Slave and the Dying Slave, are now in the Louvre. 
A number of Michelangelo’s works of painting, sculpture and architecture rank among the most famous in existence.  His output in these fields was prodigious; given the sheer volume of surviving correspondence, sketches and reminiscences, he is the best-documented artist of the 16th century. He sculpted two of his best-known works, the Pietà and David, before the age of thirty. Despite holding a low opinion of painting, he also created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling of the Sistine Chapel in Rome, and The Last Judgment on its altar wall. His design of the Laurentian Library pioneered Mannerist architecture.  At the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peter’s Basilica. He transformed the plan so that the western end was finished to his design, as was the dome, with some modification, after his death.