The Virgin of Pity | The Renaissance

The Artist

Michelangelo Buonarroti was the very embodiment of the Italian Renaissance, praised for his artistic and architectural achievements (Gilbert). His pieces, like the statues of "David", "The Pietà," and the Sistine Chapel ceiling frescoes, were the very essence of the humanist values of the time, emphasizing human beauty and potential. Not only did they advance and encourage artistic innovations, but they also emphasized the Renaissance for personal accomplishment and self-expression (Gilbert). While Michelangelo's art was mostly Christian, his beautiful portrayal of the human body and emotion contributed to humanism philosophy and art (Vowles). His realistic renderings of biblical heroes and actions gave religious art a new feeling, making the stories more available to the public and emotionally appealing to the viewer. This shift in artistic representation came in the wake of the Reformation's demand for an individual and intimate relationship with God, as opposed to the formal and hierarchical ones of the medieval Church (Gilbert).

The Pietà

Michelangelo's “The Pietà” or “The Virgin of Pity”, is what I consider one of the the most iconic Renaissance sculptures. Such as many artists I admire, Michelangelo has given me a great appreciation for art and even philosophy. This piece in particular is the first that comes to mind when someone mentions Michelangelo. The sculpture shows his mastery of human emotion and anatomy, crafting Christ's body in realism. It speaks to the values of humanism, the emotional, personal nature of religion found in the sculpture may have quietly affected the viewer both spiritually and emotionally. Not only that, but the image of Christ's pain made religious observance more intimate and understandable. The soft depiction of the Virgin Mary cradling Christ's lifeless body was a symbol of pity, mercy, and divine sacrifice.

Buonarroti, M. (1498) 'The Pietà'. Saint Peter's Basilica, Vatican City: Michelangelo.

Soothing, rounded curves, and a general sense of balance characterize the shape of the sculpture. The structure is carefully planned, a triangular shape created by Mary's seated form and Jesus' reclining one (Brehmer). The triangular structure encourages the viewer to follow the center of interest, Mary's sorrowful face. The bodies are crossed, and their contours are rounded out creating a natural flow. Christ’s body is limp and lifeless, while Mary’s is structured and almost relaxed. The marble is very detailed and smooth in texture, almost making the material appear soft and human. The skin of the figures appears alive, with realistic veins and soft creases beneath the surface. Mary’s fingers pressing against Christ’s underarms create a soft change in his shape that aligns realistically according to the muscle, giving the illusion of weight. Mary's dress, especially the drapery on her shoulders and knees, has a texture showing weight and motion. The folds naturally drop, giving an almost fabric-like appearance.

The attention to detail in the piece is amazing and shows the emotional reach of the sculpture more profoundly. Mary and Jesus's fingers are etched out with fine detail, along with their veins and nails, it almost creates a fragile tension in the act of touching between them. Christ’s wounds are suggested but not glorified. His body is human-like, with unmarked skin and a natural form, in contrast to the emphasis on his crucifixion. This is more in keeping with the Renaissance's ideals of beauty and innocence and is more focused on the emotional and spiritual nature of his death rather than his physical pain (Brehmer). Mary's young face carries huge emotional significance in her serenity, and the lines of her face carry a suggestion of sorrow without drama (Dumont). Truly a beautiful piece, not just in its shape, texture, and detail but also in its symbolism.

Works Cited

Brehmer, D. (2021) The pieta: A story in five parts: Portrait society gallery, Portrait Society Gallery of Contemporary Art. Available at: https://www.portraitsocietygallery.com/the-pieta-a-story-in-five-parts (Accessed: 15 February 2025).

Dumont, M. (2022) Michelangelo’s pieta: An ode to the sublime, DailyArt Magazine. Available at: https://www.dailyartmagazine.com/michelangelo-pieta/ (Accessed: 16 February 2025).

Gilbert, C.E. (2025) Michelangelo, Encyclopædia Britannica. Available at: https://www.britannica.com/biography/Michelangelo (Accessed: 14 February 2025).

Vowles, S. (2024) Between faith and heresy: Michelangelo in the 1540s, The British Museum. Available at: https://www.britishmuseum.org/exhibitions/michelangelo-last-decades/between-faith-and-heresy-michelangelo-1540s (Accessed: 15 February 2025).