Michelangelo was, first and foremost, a skilled sculptor and this discipline is where he became most respected during his career in the Italian-led artistic Renaissance.
This section draws together all his major sculptures and provides detailed analysis of each, serving as an excellent reference to the most important medium in which Michelangelo was involved.
David, pictured on the right of this page, is a sculpture which is the highlight of Michelangelo's career and came surprisingly early in his life, with it looking as if it was produced by a highly experienced sculptor.
The David sculpture was a huge piece, and can thankfully still be appreciated by fans of the artist if they are willing to travel to Italy to see it in all it's glory.
There have also been some travelling exhibitions which have displayed accurate reproductions of the original sculpture, and this can be a reasonable alternative for the many who are unable to travel to Italy specifically to see this masterpiece.
Discover far more on this piece of Renaissance history on the specific David page.
Pieta was a notable sculpture from his career and again continues on the religious theme which was so common in commissions during the Renaissance era.
The commission for Pieta came from France and allowed Michelangelo the opportunity to go in a slightly different artistic direction for this sculpture, more in line with French styles than Italian.
One interesting aspects of this Pieta sculpture is the way in which Mary was portrayed by Michelangelo as being particularly young, certainly in relation to Christ, whom she holds in her arms.
Michelangelo also produced three other sculptures which were very much related with this one, namely The Deposition, Rondanini Pieta and also Palestrina Pieta.
This sculpture is now on show at St Peter's Basilica in Vatican City, and is well worth a visit. This was not actually the intended purpose for the piece, but several factors which arose after Michelangelo's death have led to it being moved to this more accessible spot.
Moses is a full length sculpture which took around two years to complete. This marble artwork stands at an impressive 235cm and remains one of the key works produced by Michelangelo during his career.
The church of San Pietro in Vincoli, Rome holds this large sculpture and depicts the biblical figure Moses, as suggested by the title. The strength of character attributed to Moses is captured perfectly by master Michelangelo and the artist took on some technically more-tricky methods in order to get the finish that he most wanted.
The photo to the right is one of favourite photographs of the original, capturing several of the key aspects of this particular sculpture.
The Moses sculpture was a key focal point of a larger design produced by Michelangelo for Pope Julius II. It was to be his tomb, and the artist matched the importance of the Pope with an extravagant series of around 40 sculptures to celebrate the life of this key religious icon. Each individual piece in this design deserve their own specific recognition, though, such was the qualities of their creator.
Michelangelo completed his Brutus bust in 1538, and you can now see the original in the Bargello Florentine Museum. The city itself remains the best place to learn more about the great master, though the Vatican City also retains some of the highlights of his career.
This particular piece is important due to the fact that it is believed to be the only bust produced by Michelangelo during his career, despite him being so prolific as a sculptor.
Michelangelo used this piece to comment politically on the progress of his beloved Florence and he worked hard to capture strong emotions on the face of his historic subject.
This artist was someone who had great passion and confidence in his work and his position as a respected artist, to the point where he would frequently use his art to communicate messages about how he saw the world.
It was not only the art, but also the position in which it was displayed which would convey Michelangelo's message to the world, though the masses may have often missed the meanings behind his sculptures.
Bacchus featured here has a dazed look in his face, which clearly has something to do with the bowl of wine which he carries around with him.
This sculpture is now on display at the Museo Nazionale del Bargello, Florence, and stands at an impressive two metres in height.
Whilst the sculpture portrays Bacchus as drunk it is important to remember that he was in fact the God of wine. This particular piece was completed in 1497 and represents one of the better sculptures from the artist's early days.
The photograph to the right captures the detail of Bacchus' face with his loose grip on the small bowl of wine.