From an institutional theory of art perspective, the film perpetuates the idea

of the "genius artist" celebrated in Western art institutions, which can reinforce the

elitist structure of the art world and exclude marginalized artists.

According to the historical narrative theory of art, the historical background

influences the work of art. However, the film magnifies Michelangelo's success as

an individual and then simplifies his life and artistic work. If we were to consider

Michaelangelo's social and historical background in his work, considering his

dealings, with the elites like the Medicis, and Pope Julius II, and the fullness of the

prevailing artistic movement in the said era, then we can argue that the film cannot

totally handle in the film. It is all but an approximation and thus also limited by the

locus of the famous artist and meticulously marvelous work on the Sistine Chapel.

It can be argued that the film attempts to portray the emotional intensity and

artistic process of Michelangelo's work with dramatic and visual elements

consistent with Wittgenstein's theory of art. The actor, I reckon, is set to the

prevailing norms of drama and techniques of the industry. Without a doubt, his

attempt to portray the famous artist resulted in artistic success.

Albeit Agony and Ecstasy may be an entertaining movie, a critical and

contextual approach is necessary to appreciate Michelangelo's art and legacy

beyond the pedestal of myth and the prevalent ecstasy of artistic triumph.

Michael Vince S. Alvarez