Question: Michelangelo's art contained hints of what universal elements?
About the article "The Last Judgment (Michelangelo)", section "Self-portrait".

Candidate passages:
The term eclectic was first used by Johann Joachim Winckelmann to characterize the art of the Carracci, who incorporated in their paintings elements from the Renaissance and classical traditions.
Indeed, Agostino, Annibale and Lodovico Carracci had tried to combine in their art Michelangelo's line, Titian's color, Correggio's chiaroscuro, and Raphael's symmetry and grace.
In the 18th century, Sir Joshua Reynolds, head of the Royal Academy of Arts in London, was one of the most influential advocates of eclecticism.
In the sixth of his famous academical "Discourses" (1774), he wrote that the painter may use the work of the ancients as a "magazine of common property, always open to the public, whence every man has a right to take what materials he pleases" (Reynolds 1775, ). 
Due to differences between some of KMFDM's band members about the band's future, KMFDM disbanded in 1999.
Sascha Konietzko and Skold continued working together under the name MDFMK.
They released just one album: "MDFMK" (2000, Universal Records).
The band, with Lucia Cifarelli (formerly of the band Drill), took on a more futuristic sound, which also contained hints of trance and europop, primarily in the style of production, leaning towards what is now commonly referred to as 'electronica'.
MDFMK featured all three sharing vocal duties.
Their song "Missing Time" was used in the animated movie, "Heavy Metal 2000".
The band toured the United States and Canada in 2000, during which it had a fourth member, a giant robot guitarist named Zyclor.
Konietzko stated in 2003 that there was material for what he called "MDFMK #2", but that Universal Records was "sitting on it".
He also said that if Universal never released the material, he would eventually get the rights to it and release it himself. 
In art, a study is a drawing, sketch or painting done in preparation for a finished piece, or as visual notes.
Painting and drawing studies (life-drawing, sketching and anatomy) were part of the artist’s education.
Studies are used by artists to understand the problems involved in execution of the artists subjects and the disposition of the elements of the artist work, such as the human body depicted using light, color, form, perspective and composition.
Studies can be traced back as long ago as the Italian Renaissance, for example Leonardo da Vinci's and Michelangelo's studies.
Anatomical studies of the human body were also executed by medical doctors.
The physician Andreas Vesalius work of anatomical studies ‘‘De humani corporis fabrica" ("On the fabric of the human body"), published 1543, was a pioneering work of human anatomy illustrated by Titian's pupil Jan Stephen van Calcar.
The "Fabrica" emphasized the priority of dissection and what has come to be called the "anatomical" view of the body, seeing human internal functioning as an essentially corporeal structure filled with organs arranged in three-dimensional space.
In this work, Vesalius also becomes the first person to describe mechanical ventilation.
It is largely this achievement that has resulted in Vesalius being incorporated into the Australian and New Zealand College of Anaesthetists college arms and crest. 
Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style, striving for effect, that concerned many churchman as lacking appeal for the mass of the population.
Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art.
Previous Catholic Church councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.
The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person themselves, not the image, and further instructed that: ...every superstition shall be removed ... all lasciviousness be avoided; in such wise that figures shall not be painted or adorned with a beauty exciting to lust... there be nothing seen that is disorderly, or that is unbecomingly or confusedly arranged, nothing that is profane, nothing indecorous, seeing that holiness becometh the house of God.
And that these things may be the more faithfully observed, the holy Synod ordains, that no one be allowed to place, or cause to be placed, any unusual image, in any place, or church, howsoever exempted, except that image have been approved of by the bishop ...
Ten years after the decree Paolo Veronese was summoned by the Inquisition to explain why his "Last Supper", a huge canvas for the refectory of a monastery, contained, in the words of the Inquisition: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast.
Veronese was told that he must change his painting within a three-month period - in fact he just changed the title to "The Feast in the House of Levi", still an episode from the Gospels, but a less doctrinally central one, and no more was said.
But the number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus ("De Picturis et Imaginibus Sacris, pro vero earum usu contra abusus" ("Treatise on Sacred Images"), 1570), Cardinal Federico Borromeo ("De Pictura Sacra") and Cardinal Gabriele Paleotti ("Discorso", 1582), and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable.
One of the earliest of these, "Degli Errori dei Pittori" (1564), by the Dominican theologian Andrea Gilio da Fabriano, joined the chorus of criticism of Michelangelo's "Last Judgement" and defended the devout and simple nature of much medieval imagery.
But other writers were less sympathetic to medieval art and many traditional iconographies considered without adequate scriptural foundation were in effect prohibited (for example the Swoon of the Virgin), as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.
According to the great medievalist Émile Mâle, this was "the death of medieval art". 
Peter Blume (27 October 1906 - 30 November 1992) was an American painter and sculptor.
His work contained elements of folk art, precisionism, Parisian Purism, Cubism, and Surrealism.