why and how did michelangelo carved the pieta?

Question

why did michelangelo carved the pieta and how?

Answer 1

The statue was commissioned by the French cardinal Jean de Billheres, who was a representative in Rome. The statue was made for the cardinal's funeral monument, but was moved to its current location, the first chapel on the right as one enters the basilica, in the 18th century.

He sculpted her out of marble with chisels and hammers and other sculptors tools. Look at sites listed below;
http://en.wikipedia.org/wiki/Piet%C3%A0_%28Michelangelo%29
http://en.wikipedia.org/wiki/Michelangelo
http://en.wikipedia.org/wiki/Sculpting#Materials_of_sculpture_through_history -Sculpting materials throughout history
Sculpture and painting during the Renaisance- Michelango's time- http://en.wikipedia.org/wiki/Italian_Renaissance
http://en.wikipedia.org/wiki/Renaissance
Sculpting tools -http://en.wikipedia.org/wiki/Chisel
http://en.wikipedia.org/wiki/Stone_sculpture
The process begins with the selection of a stone for carving. Some artists use the stone itself as inspiration; the Renaissance artist Michelangelo claimed that his job was to free the human form trapped inside the block. Other artists begin with a form already in mind and find a stone to compliment their vision. The sculptor may begin by forming a model in clay or wax, sketching the form of the statue on paper or drawing a general outline of the statue on the stone itself.

When he is ready to carve, the artist usually begins by knocking off large portions of unwanted stone. For this task he may select a point chisel, which is a long, hefty piece of steel with a point at one end and a broad striking surface at the other. A pitching tool may also be used at this early stage; which is a wedge-shaped chisel with a broad, flat edge. The pitching tool is useful for splitting the stone and removing large, unwanted chunks. The sculptor also selects a mallet, which is a hammer with a broad, barrel-shaped head. The artist places the point of the chisel or the edge of the pitching tool against a selected part of the stone, then swings the mallet at it with the strongest possible stroke. He must be careful to strike the end of the tool accurately; the smallest miscalculation can damage the sculptor’s hand. When the mallet connects to the tool, energy is transferred along the tool, shattering the stone. Most sculptors work rhythmically, turning the tool with each blow so that the stone is removed quickly and evenly. This is the “roughing out”
stage of the sculpting process.
More below...............
http://en.wikipedia.org/wiki/Stone_sculpture
Tools

Note use of skirt, tree stump, and stag for support of body and lower arm and the pinning of the upper arm to the arrows in quiver, forming several closed loops that are thus strongerThe Italian terms for the basic carving tools of stone sculpture are given here, and where possible the English terms have been included.

La Mazza - The mallet. This is used to strike the chisel.
Gli Scalpelli - The chisels. These come in various types:
La Subbia - (the Point) a pointed chisel or punch
L'Unghietto - (Round or Rondel Chisel) Literally, "little fingernail"
La Gradina - (Toothed Chisel or Claw) a chisel with multiple teeth
Lo Scalpello - a flat chisel
Lo Scapezzatore - (Pitcher or Pitching Tool) a hefty chisel with a broad blunt edge, for splitting
More below and the Techniques;
http://en.wikipedia.org/wiki/Marble_sculpture
Materials of sculpture through history -http://en.wikipedia.org/wiki/Sculpting#Materials_of_sculpture_through_history
Hope this helped,
Cheers!

Answer 2

Hey Chomp,

The Pietà (1498–1499) by Michelangelo is a marble sculpture in St. Peter's Basilica in Rome, the first of a number of works of the same theme by the artist. The statue was commissioned by the French cardinal Jean de Billheres, who was a representative in Rome. The statue was made for the cardinal's funeral monument, but was moved to its current location, the first chapel on the right as one enters the basilica, in the 18th century.

The structure is pyramidal, and the vertex coincides with Mary's head. The statue widens progressively down the drapery of the Virgin's dress, to the base, the rock of Golgotha.

The figures are quite out of proportion, owing to the difficulty of depicting a fully-grown man cradled full-length in a woman's lap. Much of the Virgin's body is concealed by her monumental drapery, and the relationship of the figures appears quite natural.

Michelangelo carved one of the most magnificent sculptures ever created from a single slab of marble in less than two years. His interpretation of the Pieta was far different than those previously created by other artists. Michelangelo decided to create a youthful, serene and celestial Virgin Mary instead of a broken hearted and somewhat older woman.