spacer spacer spacer spacer spacer
AMICO Logo Art Museum Image Consortium: enabling educational use of museum multimedia
JoinBenefitsMembersAMICO LibraryContentsTrialSubscribeBenefitsSubscribersUseSchoolsUniversitiesMuseumsDistributespacerAboutDocumentsSearchContactspacer

AMICO Sample Records
Catalog Record in Data Dictionary Format

AID CMA_.1940.465.a
OTY Drawings and Watercolors
OTN Study for the Nude Youth over the Prophet Daniel
  OTT Primary
  OTN Studies for the Sistine Chapel Ceiling: The Nude Figure next to the Prophet Daniel
  OTT Alternate
  OTN Studies for the Sistine Ceiling: Ignudo
  OTT Former
MET Sheet: 33.5cm x 23.4cm, Secondary Support: 34.4cm x 24.4cm
  OMD Red chalk over black chalk
OIN lower right, in black ink: 55 [crossed out] ; SECONDARY SUPPORT, lower left, in purple crayon: [illegible] O a ; lower center, in graphite: 80
CRT Michelangelo
CRN Michelangelo Buonarroti
CRC Italian
CDT 1475 - 1564
CBD 1475
CDD 1564
CRR artist
CID ULAN: 8608
OCT 1511/1512
OCS 1511
OCE 1512
STD 16th Century
CXD Michelangelo, who is universally recognized as one of the greatest artists, regarded himself as primarily a sculptor. The peak of his early career, however, was the vast ceiling fresco in the Sistine Chapel, in which he depicted scenes from the Old Testament.

This is a preparatory drawing for the monumental nude youths who sit at the four courners of every other narrative scene in the fresco. It is one of a small group executed during the second phase of Michelangelo's work on the chapel ceiling (1511-1512), in which he used red chalk with a precision more typical of penwork. During the first phase, in 1508, Michelangelo had used traditional techniques: most often black chalk for loose figure studies and pen and brown ink for more finished drawings. In 1510 Michelangelo's patron, Pope Julius II, became engaged in war, and the ceiling project was discontinued until the following year. When work resumed, Michelangelo began the unusual practice of using red chalk for finished drawings instead of fine hatching in pen and brown ink, presumably after finding a supply of red chalk hard enough for such exact work.

In the Cleveland drawing Michelangelo first traced an earlier drawing to the sheet with black chalk and then drew the elaborate shading over it in red chalk, probably studying the subject from a wax or terracotta model. The precise function of the drawing was to provide a detailed image of the surface modeling to copy directly onto the wet plaster of the ceiling within the outlines that had been transferred from a full-sized cartoon.

CXP Pope Julius II
CXS Sistine Chapel
OON The Cleveland Museum of Art
OOP Cleveland, Ohio, USA
OOA 1940.465.a
OOC Gift in memory of Henry G. Dalton by his nephews George S. Kendrick and Harry D. Kendrick
OPO Pierre Jean Mariette (Lugt 1852, stamped, lower left, in black ink); Burckel, Vienna; Dr. Alexander de Frey, Tamesvar, Romania; Henry G. Dalton, Cleveland; George S. and Harry D. Kendrick, Cleveland. Sale: Paris, Galerie Jean Charpentier 12-14 June 1933 (de Frey collection), no. 7, pl. ii (verso, as school of Michelangelo).
RID Full view
RIR HasFormat
RIL CMA_.40-465a.TIF
AVD 20001206
AVV 1.2
ALY 1998

Return to Sample Record


In June of 2005, the members of the Art Museum Image Consortium voted to dissolve their collaboration. This site remains online for archival reasons.