who taught michelangelo to sculpt?
Lorenzo de' Medici Domenico Ghirlandaio Giovanni Pico della Mirandola Girolamo Savonarola Melozzo da Forlì
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 Michelangelo was the artistic heir to the great 15th @-@ century sculptors and painters of Florence . He learnt his trade first under the direction of a masterly fresco painter , Domenico Ghirlandaio , known for two great fresco cycles in the Sassetti Chapel and Tornabuoni Chapel , and for his contribution to the cycle of paintings on the walls of the Sistine Chapel . As a student Michelangelo studied and drew from the works of the two most renowned Florentine fresco painters of the early Renaissance , Giotto and Masaccio . Masaccio 's figures of Adam and Eve being expelled from the Garden of Eden had a profound effect on the depiction of the nude in general , and in particular on the use of the nude figure to convey human emotion . Helen Gardner says that in the hands of Michelangelo " the body is simply the manifestation of the soul , or of a state of mind and character " . 

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 Michelangelo wrote a poem describing the arduous conditions under which he worked 

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 Leonardo da Vinci ( 1452 – 1519 ) was trained in anatomy by Andrea del Verrocchio . He made use of his anatomical knowledge in his artwork , making many sketches of skeletal structures , muscles and organs of humans and other vertebrates that he dissected . 

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 Leonardo 's The Battle of Anghiara was commissioned in 1505 , but was lost . All that remains is a copy by Rubens , but Maurizio Seracini is convinced it can still be found and has spent a lifetime searching for it . He was allowed to drill some pilot holes in a mural in the Salone dei Cinquecento , Palazzo Vecchio , Florence , and his team did find evidence of an oil painting underneath . 

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 Michelangelo painted onto the damp plaster using a wash technique to apply broad areas of colour , then as the surface became drier , he revisited these areas with a more linear approach , adding shade and detail with a variety of brushes . For some textured surfaces , such as facial hair and woodgrain , he used a broad brush with bristles as sparse as a comb . He employed all the finest workshop methods and best innovations , combining them with a diversity of brushwork and breadth of skill far exceeding that of the meticulous Ghirlandaio . 
