Loaned by the Earl of Leicester and the Trustees of the Holkham Estate to the Metropolitan Museum of Art, NY in 2017/18. Thought to be a cartoon for a painting of the Battle of Cascina: the center towards the top of a copy of this painting below.Ī copy made in 1542 by Bastiano (Aristotile) da Sangallo, 1481-1581, of the central episode of Michelangelo’s The Battle of Cascila which is lost. Loaned by the Albertina, Vienna to the Metropolitan Museum of Art, NY. Study of the Torso of a Male Nude Seen from the Back, black chalk with lead-white gouache highlights. Metropolitan Museum of Art, NY whose notes said that this sculptor designer was the undisputed master draftsman of his time and that the young Michelangelo could not but have known this. Loaned by the Staatliche Museen zu Berlin to the Metropolitan Museum of Art, NYĪn engraving of the Battle of the Ten Nudes by Antonio del Pollaiuollo, 1432-1498. Davide Ghirlandaio, 1451/52-1525, Italian, Florence. Studies of Two Youths in Bust Length metalpoint with lead-white gouache highlights, on ocher paper. Loaned by the Uffizi, Florence to the Metropolitan Museum of Art, NY Grannacci was also a student of Domenico Ghirlandaio. Francesco Grannacci, 1469/70-1543, Florence, Italy. Studies for a Standing Draped Figure and Heads of Two Youths, metalpoint with lead white gouache highlights, on pale ocher prepared paper. Loaned by the Galerie degli Uffizi, Florence, Italy to the Metropolitan Museum of Art, NY in 2017/18 Domenico Ghirlandaio, 1448/9-1494, Florence, Italy. Portrait Study of a Woman in Half Length, metalpoint (silverpoint?) with lead-whit.e gouache highlights on brownish gray prepared paper. Loaned by the Trustees of the Chatsworth Settlement to the Metropolitan Museum of Art in 2017/18 Loaned by HM Queen Elizabeth II to the Metropolitan Museum of Art, NY in 2017/18Ĭartoon of a Woman in Bust Length, black chalk, outlines pricked for transfer. Study of the Head of an Old Woman, metalpoint on pinkish ochre prepared paper. The museum notes that this was originally on a wall of one of the artist’s former homes, this is the only surviving monumental wall painting from his early work period. Loaned from a villa in Settignano to the Metropolitan Museum, NY in 2017/2018. Mural Fragment of a Male Nude in Three Quarter Length, and detail, charcoal on rough, porous plaster, c.1501-05. The greatest courtesy obtains between visitors, all straining and stretching not to miss anything and all all but bumping into everyone else. You can hear shuffling feet and little children announcing “Goodbye, goodbye” in an effort to get their minders to move more quickly. I have separated the drawings on secular themes from those of religious ones for coherence of viewing. Their close collaboration ended abruptly in 1533 or 1534 when Sebastiano del Piombo insisted that the Sistine Chapel ceiling be painted rather than worked in the traditional fresco. To him he provided drawings to create paintings to compete with Raphael (1483-1520) working in Rome. The museum notes that the artist became a collaborator with the Venetian genius, Sebastiano del Piombo (1485-1547), in 1516. To him the artist gave many drawings to translate into paintings, especially religious ones. The artist moved to Rome in 1530 and remained there for the rest of his life.Ī second and long-standing (1546-1564) protege of Michelangelo was Marcello Venusti. There were other workshops in Florence and the work of their artists were both in co-operation and competition with Michelangelo’s native one. Francesco Granacci, also a student in this workshop, was a lifelong friend and collaborator of Michelangelo. Michelangelo himself became, among other things, the first to use red chalk for drawing. Domenico Ghirlandaio was a master of metalpoint, black chalk and pen and ink. He was the student of Domenico Ghirlandaio in the workshops of the latter’s family in Florence. The musuem’s notes are: that influences on Michelangelo included his study and copy of the work of his predecessors, Masaccio, Donatello and Giotto. The museum identified drawings as they pertained to the artist’s spiritual life also, and that of one of his patrons. And for architecture and for the tombs of popes (not represented here). Also, there are drawings for commissioned paintings and statuary. These influences are traced through drawings for the Sistine Chapel ceiling with a reproduction of the ceiling in one quarter magnification. The exhibitions’s focus is the influences on Michelangelo’s work and his on others’. Michelangelo, born the Florentine Republic 1475, died Rome 1564Ī large exhibition at the Metropolitan Museum, New York, to which a little more than 50 institutions and people have loaned works, has carried us through this winter of our discontent.
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