“The Genesis of the Sistine” unfolds across five galleries, with the first three enveloped in deep blue hues and soft lighting that evoke the intimate atmosphere of the Sistine Chapel.
The exhibition focuses on 25 rarely displayed masterpiece drawings by Michelangelo, including the world debut of one believed to be his first exploration of the Sistine Chapel. In total, 38 objects, including engravings, lithographs and other materials, provide a deeper understanding of the origins of the artist’s greatest creations.
“The Genesis of the Sistine” also presents seven drawings on view for the first time in the United States, including two sketches of apostles. Originally part of a single sheet, these sketches offer a fascinating glimpse into Michelangelo’s initial, ultimately abandoned, vision for the iconic ceiling frescoes. The Muscarelle will reunite these almost forgotten sketches in a single frame for the first time.
Beyond the 25 significant drawings, the exhibition features a captivating array of artifacts, including a portrait of Michelangelo by his contemporary Giuliano Bugiardini, on display for the first time in the United States, and two of Michelangelo’s sketches of himself painting the Sistine Chapel's ceiling. A never-before-exhibited letter from Michelangelo’s friend Francesco Granacci, who, like Bugiardini, assisted in preparing the ceiling's decoration, details the challenges of recruiting assistants. Life-size reproductions of the Sistine Chapel frescoes, including “The Creation of Adam,” invite visitors to experience the awe-inspiring scale of Michelangelo's compositions.
“Michelangelo: The Genesis of the Sistine” was made possible through the Muscarelle Museum of Art’s longstanding relationships with leading Italian museums, including the Gallerie degli Uffizi, Casa Buonarroti and the Musei Reali, all of which are lending artworks for the exhibition.
Additionally, the Vatican Museums are providing original images of the Sistine Chapel for the richly illustrated catalogue authored by Adriano Marinazzo, curator of the exhibition and the Muscarelle’s curator of special projects.
Marinazzo, an art and architectural historian, has published numerous studies on the artist. “The Genesis of the Sistine” is the culmination of 15 years of scholarship that began with Marinazzo’s study of Michelangelo’s drawings and letters at Casa Buonarroti in Florence. While extensive research on the artist’s life and practice spans five centuries, Marinazzo’s access to archives at Casa Buonarroti and his long-standing relationship with the institution resulted in the fresh insights presented in “The Genesis of the Sistine.”
“‘The Genesis of the Sistine’ seeks to unveil Michelangelo’s brilliance, presenting him as an artist who confronted and transcended challenges to create something extraordinary,” said Marinazzo. “Michelangelo was the quintessential Renaissance man. Beyond being a sublime sculptor, painter and architect, he was a pioneer in human anatomy, an exceptional engineer and a sophisticated poet. The exhibition reflects the evolution of our understanding of Michelangelo as both an artist and a man.”
Drawings for “The Last Judgment,” painted nearly 30 years after the ceiling, on the altar wall of the Sistine Chapel, demonstrate the artist’s evolving creative practice. Four preparatory sketches on view are among fewer than a dozen surviving examples and illustrate the continuity and interconnectedness of his projects over several decades.
The exhibition also marks the premiere of Marinazzo’s “This is Not My Art,” an immersive 3D video art installation that represents the Sistine ceiling’s architectural structure. Projected in a darkened gallery and accompanied by evocative music, the video highlights the complexity and beauty of Michelangelo's invention.
“By combining the study of historical artworks with modern technology, I’ve been able to bring new perspectives to Michelangelo’s work. Digital tools have allowed me to compare artworks in new ways, trace connections between seemingly unrelated pieces and reconstruct lost or unseen details. These reconstructions have revealed nuances that deepen our understanding of Michelangelo’s creative process and his broader vision as an artist and thinker,” said Marinazzo.
A compelling juxtaposition of “The Creation of Adam” with a self-portrait hints at the artist’s perception of himself as the Creator. Unnoticed by critics until now, a drawing of Michelangelo painting on the Sistine Chapel scaffolding contains a nearly invisible preparatory sketch hidden on the same page. A memo written by Michelangelo, never before exhibited in America, further underscores the connection between the Sistine ceiling and the Tomb of Pope Julius II, emphasizing the interrelation of these two monumental projects both commissioned by the pope. These and other recent revelations provide fascinating insight into Michelangelo’s artistic career.
“‘Michelangelo: The Genesis of the Sistine’ offers visitors an unparalleled opportunity to step into the mind of one of history’s greatest artists and witness the creative process behind a masterpiece widely considered the pinnacle of artistic achievement,” said Marinazzo. “I hope visitors leave with a deeper appreciation for Michelangelo’s creative journey — not only the monumental effort required to conceive and execute the Sistine ceiling but also the deeply human struggles, ambitions and evolving ideas that defined his work.”
“The Genesis of the Sistine” will be among the first exhibitions presented in the newly renovated and expanded Muscarelle Museum of Art, opening Feb. 8. Designed by Pelli Clarke & Partners and named the Martha Wren Briggs Center for the Visual Arts, the building blends historic and contemporary design with nearly 60,000 square feet of enhanced space, tripling the Muscarelle’s exhibition capacity.
IMAGES
- Michelangelo Buonarroti (Caprese, 1475–Rome, 1564), “Study for the Prophet Zechariah,” 1508, Black chalk, metal point, 434 × 278 mm, Florence, Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, inv. 18718 F recto
- Michelangelo Buonarroti (Caprese, 1475–Rome, 1564), “Study for the Cumaean Sibyl,” 1510 Black chalk, 310 × 250 mm, Turin, Biblioteca Reale, inv. D.C. 15627 recto
- Michelangelo Buonarroti (Caprese, 1475–Rome, 1564), “Self-portrait in the act of painting the Sistine ceiling with autograph sonnet,” c. 1509–10, Pen and ink, 283 × 200 mm, Florence, Casa Buonarroti, Archivio Buonarroti, XIII, 111 recto
- Michelangelo Buonarroti (Caprese, 1475–Rome, 1564), “Study for a male face for the Flood,” c. 1508–9, Red chalk, 125 × 142 mm, Florence, Casa Buonarroti, inv. 47 F
- Michelangelo Buonarroti (Caprese, 1475 – Rome, 1564), “Study for the Prophet Jonah,” 1512, Red chalk, 200 × 172 mm, Florence, Casa Buonarroti, inv. 1 F
- Michelangelo Buonarroti (Caprese, 1475–Rome, 1564), “Study of Christ the Judge for the Last Judgment,” c. 1534, Black chalk, 254 × 351 mm, Florence, Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, inv. 170 S rect
- Michelangelo, “The Creation of Adam,” 1511. Vatican City, Sistine Chapel
- A comparison between Michelangelo’s sketch of the architectural outline of the Sistine Chapel ceiling (Archivio Buonarroti, XIII, 175v) and the actual ceiling view, digitally elaborated by Adriano Marinazzo
