New claims about Italian Renaissance artist Michelangelo Buonarroti emerged just before his 551st birthday anniversary. Independent researcher Valentina Salerno presented a theory that the master hid his artworks in a secret room before his death, leaving keys with trusted friends. She also attributed a marble bust of Christ in a minor Roman church to him, based on archival research she conducted over the past decade.
Salerno, who is an actress and fiction author rather than an art historian, described her findings as "a great story of friendship that spans the centuries" and offers a new perspective on the legendary artist. However, her claims have not yet been peer-reviewed by scholars, and many experts withheld comment following her announcement, highlighting the speculative nature of the theory.
Michelangelo was born on March 6, 1475, near Florence and considered himself primarily a sculptor, though he was also a painter, architect, and poet. He rose to prominence under the patronage of the Medici family in Florence and worked extensively in both Florence and Rome, receiving commissions from prominent figures including popes. His art is renowned for its harmonious compositions, rich anatomical detail, cosmic grandeur, and profound human drama.
According to US art historian Elizabeth Lev, based in Rome, Michelangelo was a pioneer in personal branding, becoming the first Western artist to have biographies published during his lifetime. He collaborated with Giorgio Vasari and essentially ghostwrote a biography published by his assistant, Ascanio Condivi, to cultivate an image of intellectual genius and flawless artistry. Lev notes that Michelangelo deliberately destroyed many drawings, sketches, and even partially smashed his "Bandini Pieta" sculpture in Florence to conceal the labor and imperfections of his creative process.
Salerno's theory of a secret room challenges the long-standing narrative that Michelangelo burned his remaining works before his death. Lev suggests that burning artworks would align with his documented desire to prevent others from seeing unfinished pieces, as he was deeply concerned about his legacy. However, she points out that there is no historical account of a secret room among Michelangelo's close associates, casting doubt on the new claims while acknowledging the enduring fascination with the artist's life and methods.
Source: www.dw.com