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Ciao Ilaria,
I have one overall comment since you opened the door by speaking the divine name "Michelangelo".
Look at the way he painted flesh - specifically look at the balance of warm and cool tones in the flesh. (And be sure your reference is pre-restoration, if your source is the Sistine Chapel.) The masters used various conventions, or systems, to turn form in the flesh - usually warm shadows, cool halftones, warm lights.
All of your fleshtones are warm, even relative to one another. This is the sort of subtlety working from life (what you see) and what you know (studying the effects of the masters) will teach better than any of my specific words here.
Boun lavoro.
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