This chapter focuses on two exhibitions that Bringley encounters at the Met. The first is a large-scale exhibition of Michelangelo’s drawings, while the second is a smaller show featuring quilts made by women from Gee’s Bend, Alabama. The chapter begins with Bringley reflecting on the contrasts between these two exhibitions. He notes that while one features a renowned Renaissance master, the other showcases unknown artists from a rural community. Despite their differences, both exhibitions challenge the author’s understanding of art and creation.

Bringley first explores the Michelangelo exhibition, which includes 133 drawings from the artist’s 70-year career. The author describes how these drawings provide insight into Michelangelo’s working process and struggles. He examines specific drawings, such as a copy of Masaccio’s Saint Peter and the artist’s studies for the Sistine Chapel ceiling. Bringley emphasizes how these works reveal Michelangelo’s dedication to his craft and his constant efforts to improve his skills.

The author also delves into Michelangelo’s personal life and challenges. He discusses the artist’s physical discomfort while painting the Sistine Chapel and his involvement in designing fortifications for Florence. Bringley highlights how Michelangelo continued to work diligently even in his later years, including his work on Saint Peter’s Basilica and his final

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