DOCSLIB.ORG

Drawings by and After Michelangelo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Drawings by and After Michelangelo Cambridge University Press 978-0-521-55133-5 - The Drawings of Michelangelo and his Followers in the Ashmolean Museum Paul Joannides Index More information INDEX 1 drawings by and after michelangelo and his close associates in collections other than that of the ashmolean museum; other works of art and architecture by michelangelo and works executed by other artists to his designs (excluding appendices) The numbers in bold type refer to catalogue entries, the others refer to pages BAYONNE Lost works BRUGES Mus´eeBonnat David in bronze, last recorded in 1795 at the Inv. 650 verso/Bean 69/Corpus 337: Notre Dame Chateauˆ de Villeroy 2, 25 Study for the Bacchanal of Infants 34 Madonna 1, 2, 21 The Fall of Phaeton (coloured copy after Inv. 680/Bean 65/Corpus 75: Sketches for the Michelangelo by Francesco Salviati) 24 Raising of Lazarus for Sebastiano del BRUSSELS Ganymede (copy after Michelangelo by Piombo 35, 47 Emile Wauters Collection (Formerly) Daniele da Volterra). 29 Inv. 1216/Bean 70: Fragment of an Order Sheet Frey 1909–11, 249a recto: Figure Sketches Hercules (statue in marble carved in 1493; last for Marble Blocks 23 (after Michelangelo by an unidentified recorded at Fontainebleau in the eighteenth Inv. 1217/Bean 67/Corpus 346: Compositional associate or pupil) 43, 59 century) 3 Sketch for the Last Judgement 53 Frey 1909–11, 249a recto: Hercules and Antaeus (wax model presented by Inv. 595/Bean 73: Portrait of a Young Man A Letter 43, 59 Michelangelo to Leone Leoni) 23 (Tommaso de’ Cavalieri?) 33, 42 Leda (painting taken to France by Antonio Mini and destroyed in the seventeenth BUDAPEST BERLIN century) 8, 26 Museum of Fine Arts Kupferstichkabinett Inv. 1959 recto: The Brazen Serpent (copy of Inv. 1363/Corpus 27: Various Sketches and a upper episode on Cat. 34 by Raffaello da AMSTERDAM Study for the Head of a Madonna 1 Montelupo) 34 Historical Museum Inv. 15305 recto/Corpus 55: Modello for the Inv. 1959 verso: Figures from Michelangelo’s A18115: The Entombment with Five Figures (by Tomb of Pope Julius II 52, 18,35,63,76 Modello for a Ducal Tomb (partial, after Louvre an unidentified draughtsman, perhaps from Inv. 15305 verso/Corpus 55: Studies of Legs Inv. 837/J27/Corpus 186 by Raffaello da the circle of Daniele da Volterra, probably 18, 81 Montelupo) 34 after a lost drawing by Michelangelo) 51 Inv. 20976: The ground plan of San Giovanni Inv. K67.35: Christ on the Cross (After British dei Fiorentini (After Michelangelo’s lost model Museum W67/Corpus 411,byan by an unidentified seventeenth-century? unidentified sixteenth-century Rijksmuseum draughtman) 105 draughtsman) 67 53:140/Corpus 435: Study for the Equestrian Collection Dr. W. Kreis (Formerly) Statue of Henri II and Its Base 55, 52 CAMBRIDGE, MASSACHUSETTS Modello for the Tomb of the Magnifici (Indirect The Fogg Art Museum copy after Paris, Louvre 837/J26/Corpus Paintings 194 by an unidentified sixteenth-century AREZZO The Resurrection (painting by Marcello Venusti draughtsman) 63 Casa Vasari after Michelangelo’s drawing BM Cod.12, cap. 22/Corpus 593: First Diagram of W52/Corpus 258) 38 the Vault Construction of the Cappella del Re de BESANC¸ON Francia in St. Peter’s 48 Mus´eedes Beaux-Arts Cod.12, cap. 24/Corpus 594: Second Diagram D3117 /Corpus 319 : Studies of Facial Details Drawings of the Vault Construction of the Cappella del Re (after Michelangelo by an unidentified 1932-152 recto/Corpus 438: Design for a de Francia in St. Peter’s 48 sixteenth-century draughtsman) 20, 40 Hanging Lamp and Other Studies 30, 77 1998-194: A Window for Palazzo Farnese BOSTON (Copy of Cat. 55 recto, by an unidentified BASSANO ROMANO Isabella Stewart Gardner Museum sixteenth-century draughtsman) 55 San Vincenzo Martire Hadley no. 7/Corpus 426: The Risen Christ (first version of Pieta` 7, 38, 54, 56, 57 CAMBRIDGE, UK Michelangelo’s The Risen Christ in Santa Hadley p. 67: Copy of Michelangelo’s Study for The Fitzwilliam Museum Maria sopra Minerva, re-worked by another Haman (BM W13/Corpus 163; Perhaps 3056 recto/Corpus 401: Christ Taking Leave of hand) 19 indirect, after Windsor PW 450) 36 His Mother 50 475 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-55133-5 - The Drawings of Michelangelo and his Followers in the Ashmolean Museum Paul Joannides Index More information 476 INDEX 1 3056 verso/Corpus 401: Christ Appearing to Corpus 382 verso: Architectural Sketches 49 FLORENCE His Mother on the Morning of the Resurrection? See Christie’s, New York, 24 January 2006, Museums and Galleries or Christ Taking Leave of His Mother 50 lot 18 Galleria dell’Accademia 1070-2, fol. 8 recto: An Antique Statue of Unnumbered recto: The Entombment with Sculpture Venus (part copy of Cat. 58 by Sir Edward Five Figures (by an unidentified draughtsman David 2, 3, 108 Burne-Jones) 58 [sometimes attributed to Jacomo del Duca] Saint Matthew 1, 3 1070-2, fol. 9 recto: The Brazen Serpent probably a facsimile of a lost drawing by The Four Prigioni 18 (part copy of Cat. 34 by Sir Edward Michelangelo) 33, 51 Comprising The Young Slave 20 Burne-Jones) 34 Unnumbered verso: Ground plans of several The Bearded Slave 8, 20 1070-2, fol. 11 recto: A Beckoning Nude Man buildings, some perhaps related to San Giovanni The Atlas 20 (part copy of Cat. 59 by Sir Edward dei Fiorentini (by an unidentified draughtsman The Awakening Slave 20 Burne-Jones) 59 [sometimes attributed to Jacomo del Duca] The Palestrina Pieta` 48 1070-2, fol. 16 recto: The Brazen Serpent probably a facsimile of a lost drawing by (part copy of Cat. 34 by Sir Edward Michelangelo). See Christie’s, New York, Painting Burne-Jones) 34 25 January 2005, lot 26 33, 51 Venus and Cupid (painting after 1070-2, fol. 17 recto: The Brazen Serpent See also Washington 1991-217 Michelangelo’s design by Jacopo (part copy of Cat. 34 by Sir Edward Pontormo) 110 Burne-Jones) 34 DRESDEN 1070-2, fol. 26 recto: Hercules and the Staatliche Kunstsammlungen, Museo Nazionale del Bargello Erymanthian Boar (copy after Cat. 29 verso Kupferstichkabinett Bacchus 8, 74 by Sir Edward Burne-Jones) 29 C.49 recto/Corpus 276: Modello for a Apollo? 28 1070-2, fol. 39 recto: A Groom Assisting a Monumental Altar? 52 Cavalryman to Mount a Horse (copy after Cat. C.49 verso/Corpus 276: Ground Plan for San Archivio Buonarroti (now housed in Casa 7 verso by Sir Edward Burne-Jones) 7 Giovanni dei Fiorentini (after a lost drawing by 1070-2, fol. 40 recto: Details from the tomb of Buonarroti) Michelangelo by an unidentified sixteenth- II-III, fol. 3 verso/B287/Corpus 15 : Sketches the Magnifici (part copy of Cat. 64) 64 century draughtsman) 54 1070-2, fol. 40 verso: Partial copy of Cat. 5,by of a Male Nude 1 1989-106, Christ on the Cross (after British V, 66 fol. 239 verso/B353/Corpus 200: Sir Edward Burne-Jones 5 Museum W67/Corpus 411, perhaps by 1070–2, fol. 41 recto: Partial copy of Cat. 5,by Sketches of Pilasters, 38 Giulio Clovio) 67 VI, 24 verso/B346/Corpus 259: Sketch for the Sir Edward Burne-Jones 5 C.54 Copy of Two Standing Men (After Cat. 24 PD 122-1961: A Standing Male nude in Left Risen Christ 38 verso by an unidentified sixteenth-century XI, fol. 722 verso/B347/Corpus 584: The Profile (adapted from the wax model Casa draughtsman) 24 Buonarroti Inv. 521 after Michelangelo, by Ground Plan of a House 23 Bartolommeo Passerotti) 114 XII, fol. 46/B360: Bending Figure in Left DUBLIN Profile (probably by Antonio Mini) 39 National Gallery of Ireland CHANTILLY XIII, fol. 127/B339/Corpus 539: Template for Inv. 2666: Various Copies After Lost and Mus´eeCond´e the Frame of the Door between the Vestibule and Surviving Drawings by Michelangelo Lanfranc de Panthou 28 recto/Corpus 24: the Reading-Room of the Laurentian Library 48 (by an unidentified sixteenth-century Studies of Nude and Draped Figures, in Part XIII, fol. 148/B367/Corpus 252: Sketch for draughtsman) 59 After the Antique 40, 58 the Risen Christ 38 Lanfranc de Panthou 39: Copy after the Last XIII, fol. 158 –159 /B336/Corpus 536: Template Judgement (indirect copy, by a draughtman in DUSSELDORF for a Cornice 48 the circle of Adamo Scultori) 93 Museum Kunst Palast XIII, fol. 160/B350/Corpus 366: Crowning Lanfranc de Panthou 48 recto and verso: FP 138: Attack of the Serpents 34 Element for a Papal Tomb 25 “Prudentia” (copy of a lost drawing by FP 139: Attack of the Serpents 34 Michelangelo, by Raffaello da Montelupo) FP 151 recto: The Brazen Serpent (indirect Casa Buonarroti 66 copy of upper episode on Cat. 34 via Uffizi Painting 606E recto, by Raffaello da Montelupo; by The Epifania (unfinished painting by Ascanio ∗ CUMBERLAND Guglielmo della Porta or Giovanni Antonio Condivi prepared in 1895-9-15 -518 /W75/ G. McKay Collection (in 1955) Dosio) 34 Corpus 389) 19 Christ on the Cross (after British Museum FP 151 verso: Figures from a Lost Drawing by W67/Corpus 411, by an unidentified Michelangelo for the Magnifici Tomb (indirect Sculpture sixteenth-century draughtsman) 67 copy after Uffizi 607E by Raffaello da The Battle of the Lapiths and Centaurs 4, 7 Montelupo; by Guglielmo della Porta or The Madonna of the Stairs 19, 36 DETROIT Giovanni Antonio Dosio) 34 Inv. 191: A Male Torso (terracotta model, Detroit Institute of Arts probably for a prigiono) 41 27.2 recto/Corpus 120: Sketch for the Layout EDINBURGH Inv. 192: A Mature Man Overcoming a Young of the Sistine Ceiling and for Figural Details 40 National Gallery of Scotland Man (model in clay for a group on the Tomb 27.2 verso/Corpus 120: Studies of Seated Department of Drawings of Julius II) 20, 41 Figures and Arms 40 RSA256: Copy of a Section of the Last Inv.
Load more

Recommended publications
  • Michelangelo Buonarotti
    PEOPLE MENTIONED IN WALDEN PEOPLE MENTIONED IN WALDEN: MICHELANGELO BUONAROTTI 1475 March 6: The second of five brothers, Michelangelo di Lodovico Buonarroti Simoni was born at Caprese, in Tuscany, to Francesca Neri and Ludovico di Leonardo di Buonarotto Simoni, who wrote: “Today March 6, 1475, a child of the male sex has been born to me and I have named him Michelangelo. He was born on Monday between 4 and 5 in the morning, at Caprese, where I am the Podestà.” His father’s family had for several generations been small-scale bankers in Firenzi but had in his father’s case failed to maintain its status. The father had only occasional government jobs and at the time of Michelangelo’s birth was administrator of this small dependent town. A few months later, however, the family would return to its permanent residence in Firenzi. Like his father Michelangelo would always consider himself to be a “son of Firenzi.” 1488 Michelangelo’s father, at this point a minor Florentine official with connections to the ruling Medici family, placed his son in the workshop of the painter Domenico Ghirlandaio. It was a step downward, to become a mere artist, a sort of artisan, and Michelangelo had been apprenticed only relatively late, the age of at 13. He was, however, being apprenticed to the city’s most prominent painter, for a three-year term. 1489 Allegedly with nothing more to learn from the painter to which he had been apprenticed in the previous year, Michelangelo went to study at the sculpture school in the Medici gardens and shortly thereafter was invited into the household of Lorenzo de’ Medici, the Magnificent.
    [Show full text]
  • Center 6 Research Reports and Record of Activities
    National Gallery of Art Center 6 Research Reports and Record of Activities I~::':,~''~'~'~ y~ii)i!ili!i.~ f , ".,~ ~ - '~ ' ~' "-'- : '-" ~'~" J:~.-<~ lit "~-~-k'~" / I :-~--' %g I .," ,~_-~ ~i,','~! e 1~,.~ " ~" " -~ '~" "~''~ J a ,k National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Center 6 Research Reports and Record of Activities June 1985--May 1986 Washington, 1986 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, D.C. 20565 Telephone: (202) 842-6480 All rights reserved. No part of this book may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565. Copyright © 1986 Trustees of the National Gallery of Art, Washington. This publication was produced by the Editors Office, National Gallery of Art, Washington. Frontispiece: James Gillray. A Cognocenti Contemplating ye Beauties of ye Antique, 1801. Prints Division, New York Public Library. Astor, Lenox and Tilden Foun- dations. CONTENTS General Information Fields of Inquiry 9 Fellowship Program 10 Facilities 13 Program of Meetings 13 Publication Program 13 Research Programs 14 Board of Advisors and Selection Committee 14 Report on the Academic Year 1985-1986 (June 1985-May 1986) Board of Advisors 16 Staff 16 Architectural Drawings Advisory Group 16 Members 17 Meetings 21 Lecture Abstracts 34 Members' Research Reports Reports 38 ~~/3 !i' tTION~ r i I ~ ~. .... ~,~.~.... iiI !~ ~ HE CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS was founded T in 1979, as part of the National Gallery of Art, to promote the study of history, theory, and criticism of art, architecture, and urbanism through the formation of a community of scholars.
    [Show full text]
  • Newsletter 2
    The Paul Mellon Centre for Studies in British Art NEWSLETTER Yale University January 2014 Issue 38 RICHARD WILSON AND THE TRANSFORMATION OF EUROPEAN LANDSCAPE PAINTING The exhibition Richard Wilson and the Transformation of European Landscape Painting is to be held atthe Yale Center for British Art, New Haven, from 6 March to 1 June 2014, and at the National Museum Wales, Cardiff, from 5 July to 29 October 2014. Long known as the father of British landscape painting, Richard Wilson was, the exhibition contends, at the heart of a profound conceptual shift in European landscape art. With over 160 works, the exhibition and accompanying publication not only situate Wilson’s art at the beginning of a native tradition that leads to John Constable and J.M.W. Turner, but argues that in Rome during the 1750s Wilson was part of an international group of artists who reshaped European art. Rooted in the work of great seventeenth-century masters such as Claude Lorrain but responding to the early stirrings of neoclassicism, Wilson forged a highly original landscape vision that through the example of his own works and the tutelage of his pupils in Rome and later in London was to establish itself throughout northern Europe. In addition to a wide range of oil paintings and works on paper by Wilson, the exhibition includes works by Claude Lorrain, Gaspard Dughet, Anton Raphael Mengs, Pompeo Batoni, Giovanni Paolo Panini, Charles-Joseph Natoire, Claude-Joseph Vernet, Adolf Friedrich Harper, Johan Mandelberg, William Hodges, Thomas Jones, Joseph Wright, John Constable and J.M.W. Turner.
    [Show full text]
  • Theatre Tips Sion of the Men in Her Life, Unfolded on Stage
    Issue 152 September 2018 A NEWSLETTER OF THE ROCKEFELLER UNIVERSITY COMMUNITY GETTY IMAGES Theatre Tips sion of the men in her life, unfolded on stage. Broadway show inexpensively, but of course, Not every theatre experience is as emotion- you shouldn’t rely on winning to have plans M ELISSA JAR M EL ally charged as that one, but they all offer a to see theatre that night. Some shows like One of the best ways that I know how chance to see life from a different perspective Mean Girls, Book of Mormon, and Once On to take myself out of lab life is to see live the- and with a unique group of people. In future This Island offer in person lotteries every atre, and I’m lucky that New York City offers posts, I hope to highlight shows I’ve watched day that are usually drawn two hours before an overwhelming number of options to do on and off Broadway, but this time I want to the performance. In the last couple of years, this affordably (though Hamilton ticket pric- give you tips for seeing theatre on a budget. many shows have begun to offer digital lot- es may have you fooled about this). If you are a full time student, teacher, tery options. Broadway Direct (https://lot- One of the aspects I love most about or faculty member (or other qualifying cat- tery.broadwaydirect.com/) offers digital lot- going to the theatre is the acute feeling that egory), the Theatre Development Fund is teries for Lion King, Aladdin, Spongebob, and I am part of a connected community.
    [Show full text]
  • Regarding Michelangelo's "Bacchus" Author(S): Ralph Lieberman Source: Artibus Et Historiae, Vol
    Regarding Michelangelo's "Bacchus" Author(s): Ralph Lieberman Source: Artibus et Historiae, Vol. 22, No. 43 (2001), pp. 65-74 Published by: IRSA s.c. Stable URL: http://www.jstor.org/stable/1483653 Accessed: 20/05/2009 13:20 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=irsa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae. http://www.jstor.org RALPH LIEBERMAN RegardingMichelangelo's Bacchus Aftertelling his readers that
    [Show full text]
  • Michelangelo Biography
    Michelangelo Biography Michelangelo (1475 – 1564) Italian Renaissance sculptor, painter, poet and architect. One of the most influential Western artists of all time. “I saw the angel in the marble and carved until I set him free. “ – Michelangelo Short biography of Michelangelo Michelangelo Buonarroti was born on 6 March 1475, in a Florentine village called Caprese. His father was a serving magistrate of the Florentine Republic and came from an important family. However, Michelangelo did not wish to imitate his father’s career, and was attracted by the artistic world. At the time, this was considered an inferior occupation for a family of his standing. But, aged 13, Michelangelo was apprenticed to Domenico Ghirlandaio, the leading fresco wall painter in Florence. Here Michelangelo learned some of the basic painting techniques, and also taught himself new skills such as sculpting. Madonna of the stairs – Michelangelo’s earliest works His talents were soon noticed by one of the most powerful families in Florence – Lorezo de’ Medici. Here, at de Medici’s court, Michelangelo was able to learn from the classic Masters and he became determined to improve upon the great classics of Greek and Latin art. Michelangelo, was born in the heart of the Renaissance movement, at exactly the right place – Florence. But, despite being at the heart of the Renaissance, Florence was undergoing tremendous political turmoil. His first patrons, the de Medici’s, lost power and Michelangelo was forced to look elsewhere for commissions. In 1496, he travelled to Rome where he began a long relationship of doing commissions for the Popes who were making St Peter’s Basilica a pinnacle of Western art.
    [Show full text]
  • The Art and Artifacts Associated with the Cult of Dionysus
    Alana Koontz The Art and Artifacts Associated with the Cult of Dionysus Alana Koontz is a student at University of Wisconsin-Milwaukee graduating with a degree in Art History and a certificate in Ancient Mediterranean Studies. The main focus of her studies has been ancient art, with specific attention to ancient architecture, statuary, and erotic symbolism in ancient art. Through various internships, volunteering and presentations, Alana has deepened her understanding of the art world, and hopes to do so more in the future. Alana hopes to continue to grad school and earn her Master’s Degree in Art History and Museum Studies, and eventually earn her PhD. Her goal is to work in a large museum as a curator of the ancient collections. Alana would like to thank the Religious Studies Student Organization for this fantastic experience, and appreciates them for letting her participate. Dionysus was the god of wine, art, vegetation and also widely worshipped as a fertility god. The cult of Dionysus worshipped him fondly with cultural festivities, wine-induced ritualistic dances, 1 intense and violent orgies, and secretive various depictions of drunken revelry. 2 He embodies the intoxicating portion of nature. Dionysus, in myth, was the last god to be accepted at Mt Olympus, and was known for having a mortal mother. He spent his adulthood teaching the cultivation of grapes, and wine-making. The worship began as a celebration of culture, with plays and processions, and progressed into a cult that was shrouded in mystery. Later in history, worshippers would perform their rituals in the cover of darkness, limiting the cult-practitioners to women, and were surrounded by myth that is sometimes interpreted as fact.
    [Show full text]
  • Rethinking Savoldo's Magdalenes
    Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs.
    [Show full text]
  • Sponsor-A-Michelangelo Works Are Reserved in the Order That Gifts Are Received
    Sponsor-A-Michelangelo Works are reserved in the order that gifts are received. Please call 615.744.3341 to make your selection. Michelangelo: Sacred and Profane, Masterpiece Drawings from the Casa Buonarroti October 30, 2015–January 6, 2016 Michelangelo Buonarroti. Man with Crested Helmet, ca. 1504. Pen and ink, 75 Michelangelo Buonarroti. Study for a x 56 mm. Casa Buonarroti, Florence, inv. Draped Figure, ca. 1506. Pen and ink over 59F black chalk, 297 x 197 mm. Casa Buonarroti, Florence, inv. 39F Sponsored by: Michelangelo Buonarroti. Study for the Leg of the Christ Child in the “Doni Sponsored by: Tondo,” ca. 1506. Pen and ink, 163 x 92 mm. Casa Buonarroti, Florence, inv. 23F Sponsored by: Michelangelo Buonarroti. Study for the Apostles in the Transfiguration (Three Nudes), ca. 1532. Black chalk, pen and Michelangelo Buonarroti. Study for the ink. 178 x 209 mm. Casa Buonarroti, Michelangelo Buonarroti. Study for Christ Head of the Madonna in the “Doni Florence, inv. 38F Tondo,” ca. 1506. Red chalk, 200 x 172 in Limbo, ca. 1532–33. Red chalk over black chalk. 163 x 149 mm. Casa mm. Casa Buonarroti, Florence, inv. 1F Sponsored by: Buonarroti, Florence, inv. 35F Reserved Sponsored by: Sponsored by: Patricia and Rodes Hart Michelangelo Buonarroti. The Sacrifice of Isaac, ca. 1535. Black chalk, red chalk, pen and ink. 482 x 298 mm. Casa Michelangelo Buonarroti. Studies of a Horse, ca. 1540. Black chalk, traces of red Michelangelo Buonarroti. Study for the Buonarroti, Florence, inv. 70F chalk. 403 x 257 mm. Casa Buonarroti, Risen Christ, ca. 1532. Black chalk. 331 x 198 mm.
    [Show full text]
  • The Epistemology of the ABC Method Learning to Draw in Early Modern Italy
    The Epistemology of the ABC Method Learning to Draw in Early Modern Italy Nino Nanobashvili Even if some northern European drawing books in the tradition of Albrecht Durer started with a dot, a line and geometrical figures (» Fig. 1), the so-called ABC meth- od was the most popular approach in the European manuals between the sixteenth and nineteenth centuries. Thus, these drawing books began by initially presenting the parts of the body in the same order: eyes, noses, mouth, ears, heads, hands, feet and so on, and continued by constructing the whole body. This method was named “ABC“ because of its basic character and because of parallelizing the drawing process of face members with letters.1 Most manuals for beginners from other fields were similarly named in general ABCs.2 Artists had been using the ABC method in their workshops at least since the mid-fifteenth century in Italy, much before the first drawing books were printed. Around 1600 it became so self-evident that a pupil should begin their drawing education with this method that one can recognize the youngest apprentices in programmatic images just by studying eyes and noses.3 Even on the ceiling of Sala del Disegno in the Roman Palazzo Zuccari the youngest student at the left of Pittura presents a piece of paper with a drafted eye, ear and mouth (» Fig. 2).4 What is the reason that the ABC method became so common at least in these three centuries? How could drawing body parts be useful at the beginning of artistic 1 In 1683, Giuseppe Mitelli arranged body parts together with letters in his drawing book Il Alfabeto del Sogno to emphasize this parallel.
    [Show full text]
  • ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
    ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J.
    [Show full text]
  • Insider's Florence
    Insider’s Florence Explore the birthplace of the Renaissance November 8 - 15, 2014 Book Today! SmithsonianJourneys.org • 1.877.338.8687 Insider’s Florence Overview Florence is a wealth of Renaissance treasures, yet many of its riches elude all but the most experienced travelers. During this exclusive tour, Smithsonian Journey’s Resident Expert and popular art historian Elaine Ruffolo takes you behind the scenes to discover the city’s hidden gems. You’ll enjoy special access at some of Florence’s most celebrated sites during private after-hours visits and gain insight from local experts, curators, and museum directors. Learn about restoration issues with a conservator in the Uffizi’s lab, take tea with a principessa after a private viewing of her art collection, and meet with artisans practicing their ages-old art forms. During a special day in the countryside, you’ll also go behind the scenes to explore lovely villas and gardens once owned by members of the Medici family. Plus, enjoy time on your own to explore the city’s remarkable piazzas, restaurants, and other museums. This distinctive journey offers first time and returning visitors a chance to delve deeper into the arts and treasures of Florence. Smithsonian Expert Elaine Ruffolo November 8 - 15, 2014 For popular leader Elaine Ruffolo, Florence offers boundless opportunities to study and share the finest artistic achievements of the Renaissance. Having made her home in this splendid city, she serves as Resident Director for the Smithsonian’s popular Florence programs. She holds a Master’s degree in art history from Syracuse University and serves as a lecturer and field trip coordinator for the Syracuse University’s program in Italy.
    [Show full text]