The anatomical indicators in Michelangelo’s drawings: the chiaroscuro dimension

Abstract

Throughout their careers, Leonardo and Michelangelo developed very different lines of thought, presenting us with two parallel and opposing visions on artistic anatomy.  Leonardo was to all intents and purposes an ‘artist-scientist’ – a devoted connoisseur of ancient anatomical texts who personally performed dissections - he was interested in anatomy also as a science and not strictly as a mere artistic practice. On the other hand, Michelangelo studied anatomy for the sake of the artistic nude. This difference is tangible in the two drawings analysed which appear to be similar in style and iconography. The article also aims to underline a series of signs recurring in Michelangelo’s anatomical drawings whose function will be observed and analysed.