Dessin et non finito après le Jugement Dernier de Michel-Ange : l’espérance de la grâce et du salut.

Résumé 0

This article focuses on the analysis of Michelangelo’s last drawings and the spiritual context to which they were destined. The most important characteristic of these drawings is that they are unfinished ( non finito), which questions the intentions of the artist who practiced non finito in his early works. The last drawings – the most abundant production at a time when Michelangelo devoted himself to architecture – pose several questions about the purpose and its specificity. Several drawings were destined to be offered to intimate members of the circle of Viterbo. Vittoria Colonna, great devotee and intimate friend of Michelangelo was a member until 1547. Other drawings were characterized by the non finito that questioned their function. Was the non finito intentional or not? Why are Michelangelo’s last drawings, all in this technique? We must turn towards the increasingly intense spirituality of the artist, in the last years of his life, in order to attempt finding an answer. At the moment of the creation of the Last Judgment, he was very close to Vittoria Colonna and to the circle of Viterbo, whose aspiration was the renewal of the Christian religion by returning to a primitive faith. Michelangelo belonged to the circle of Viterbo that advocated a more authentic religiousness, preceding by some ten years the decisions of the Council of Trent.