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AID |
CMA_.1940.465.a |
OTY |
Drawings and Watercolors |
OTG |
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OTN |
Study for the Nude Youth over the Prophet
Daniel |
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OTT |
Primary |
OTG |
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OTN |
Studies for the Sistine Chapel Ceiling:
The Nude Figure next to the Prophet Daniel |
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OTT |
Alternate |
OTG |
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OTN |
Studies for the Sistine Ceiling: Ignudo |
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OTT |
Former |
MET |
Sheet: 33.5cm x 23.4cm, Secondary Support:
34.4cm x 24.4cm |
OMG |
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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 |
CRG |
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CRT |
Michelangelo |
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CRN |
Michelangelo Buonarroti |
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CRC |
Italian |
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CDT |
1475 - 1564 |
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CBD |
1475 |
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CDD |
1564 |
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CGN |
M |
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CRR |
artist |
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CID |
ULAN: 8608 |
OCG |
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OCT |
1511/1512 |
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OCS |
1511 |
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OCE |
1512 |
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STD |
16th Century |
CXG |
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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.
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CXP |
Pope Julius II |
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CXS |
Sistine Chapel |
OOG |
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OON |
The Cleveland Museum of Art |
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OOP |
Cleveland, Ohio, USA |
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OOA |
1940.465.a |
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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). |
ORG |
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ORS |
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ORL |
http://www.clemusart.com/museum/disclaim2.html |
RIG |
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RIP |
Y |
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RID |
Full view |
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RIR |
HasFormat |
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RIL |
CMA_.40-465a.TIF |
AVD |
20001206 |
AVV |
1.2 |
ALY |
1998 |
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