Uncover the Beginnings of Michelangelo’s Artistic Journey with His First Painting, Created at the Tender Age of 12 or 13
Imagine for a moment the artistic creations you produced when you were just twelve or thirteen. For most of us, those early years were filled with aimless doodles, haphazard comics, and a handful of shaky school projects that barely resembled art. However, not everyone can claim to have become a legendary figure like Michelangelo. In the late 1480s, during his pre-teen years, this remarkable Renaissance artist was already making waves in the art world with his painting, The Torment of Saint Anthony—a striking portrayal of the titular saint tormented by demons in a desolate landscape. Although inspired by a well-known engraving, this early work showcases incredible technical skill, creativity, and a burgeoning artistic voice, particularly revealed through modern infrared scanning.
For nearly five hundred years, The Torment of Saint Anthony was not recognized as Michelangelo’s work. In a fascinating twist of fate, when the painting was sold at Sotheby’s in 2008, the new owner brought it to the Metropolitan Museum of Art for further inspection and restoration. As the narrator in a video by Inspiraggio notes, "Underneath the layers of grime accumulated over centuries, a distinct color palette emerged. The tones and blending, along with the treatment of the human figure, began to echo the style Michelangelo would later employ in the masterpiece of the Sistine Chapel."
Further examination using infrared reflectography unveiled pentimenti—correction marks that indicate the painting is not merely a replica, but rather an original work crafted with artistic freedom.
The Kimbell Art Museum in Fort Worth, Texas, was the first institution to take a significant leap of faith regarding the painting's authenticity. Its newly appointed director purchased The Torment of Saint Anthony after discovering "no compelling arguments against its attribution to Michelangelo." This acquisition made it the only painting by Michelangelo housed in the Americas and one of just four easel paintings attributed to him throughout his entire career, during which he often dismissed oil painting as inferior. A decade later, the esteemed art historian Giorgio Bonsanti lent his considerable expertise to confirm definitively that this indeed was the work of a young Michelangelo. Yet, skepticism remains; even the notoriously self-critical artist might have dismissed it as an immature piece unworthy of his legacy. But can we truly deny that such an early work could only come from a prodigious talent like Michelangelo?
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Colin Marshall, based in Seoul, writes and broadcasts on topics related to cities, language, and culture. He is also the author of the newsletter "Books on Cities" and has published several works, including "No Summarizing Korea" and "Korean Newtro." You can follow him on Twitter at @colinmarshall.
