Whose work is the human sculpture "Mossi"?

The human sculpture "Moses" is the work of Michelangelo. The height of "Moses" is 235 centimeters. Michelangelo created it from 1513 to 1516 AD (partially completed from 1542 to 1545). ) is now located in the Basilica of St. Peter's Chain in Rome.

Michelangelo (1475-1564) was one of the "Three Masters of the Renaissance" in Italy and a famous sculptor, painter and architect. The representative of the highest peak of Renaissance sculpture art.

His artistic creation combines realism techniques with romantic fantasy. The figures and statues are majestic, powerful, and full of infinite power. The paintings do not stick to the plots of religious stories, but focus on expressing people's essential power and inner world. His representative works include "David", "Genesis", "Moses", "The Slave", etc.

Extended information:

Sculpture content:

Moses’ attitude is that of a leader. His head was raised majestically, his eyes were full of energy, and his right leg was bent, as if he was about to stand up. The teeth were clenched as if trying to swallow something.

Many critics have tried to speculate on which phase of Moses' life the artist represented, but their debates are of little help to us. The horns on Moses' head have also become the subject of endless debate among learned art historians. In Latin, horns are a symbol of "strength" in a sense. Perhaps for this reason, Michael adopted this little detail to make Moses' attitude more strange, weird, and crude.

The eyes are big and beautiful, staring straight at them, emitting light like flames. The hair is very short, like the figure on the Sistine ceiling; the beard hangs down like waves, so long that you have to brush it with your hand.

The arms and hands looked like those of an old man; the veins were prominent; but his hands were long, beautiful, and completely different from Donatello's. The huge knees seemed out of place with the rest of the body. They were knees and legs that traveled from Egypt to Palestine. They occupy a quarter of the body's area.

His clothes, like those in other works of Mie, are purely imaginary; their existence is not for the sake of realism, but to meet the needs of modeling. Because of these folds, the strength of the legs is more obvious; the volume of the lower part of the statue is also increased, making the overall foundation stronger.