COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1940.465.a
amicoid
CMA_.1940.465.a
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Drawings and Watercolors
oty
Drawings and Watercolors
Object Type
false
Creator Name:
Buonarroti, Michelangelo
crn
Buonarroti, Michelangelo
Creator Name
false
Creator Nationality:
European; Southern European; Italian
crc
European; Southern European; Italian
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1475 - 1564
cdt
1475 - 1564
Creator Dates/Places
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Michelangelo
crt
Michelangelo
Creator Name-CRT
false
Title:
Studies for the Sistine Ceiling: Ignudo
otn
Studies for the Sistine Ceiling: Ignudo
Title
false
Title Type:
Former
ott
Former
Title Type
false
Title:
Studies for the Sistine Chapel Ceiling: The Nude Figure next to the Prophet Daniel
otn
Studies for the Sistine Chapel Ceiling: The Nude Figure next to the Prophet Daniel
Title
false
Title Type:
Alternate
ott
Alternate
Title Type
false
Title:
Study for the Nude Youth over the Prophet Daniel
otn
Study for the Nude Youth over the Prophet Daniel
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full view
rid
Full view
View
false
Creation Date:
1510/1511
oct
1510/1511
Creation Date
false
Creation Start Date:
1510
ocs
1510
Creation Start Date
false
Creation End Date:
1511
oce
1511
Creation End Date
false
Materials and Techniques:
red chalk over black chalk
omd
red chalk over black chalk
Materials and Techniques
false
Dimensions:
Sheet: 33.5cm x 23.4cm, Secondary Support: 34.4cm x 24.4cm
met
Sheet: 33.5cm x 23.4cm, Secondary Support: 34.4cm x 24.4cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1940.465.a
ooa
1940.465.a
ID Number
false
Credit Line:
Gift in memory of Henry G. Dalton by his nephews George S. Kendrick and Harry D. Kendrick
ooc
Gift in memory of Henry G. Dalton by his nephews George S. Kendrick and Harry D. Kendrick
Credit Line
false
Inscriptions:
lower right, in black ink: 55 [crossed out] ; SECONDARY SUPPORT, lower left, in purple crayon: [illegible] O a ; lower center, in graphite: 80
oin
lower right, in black ink: 55 [crossed out] ; SECONDARY SUPPORT, lower left, in purple crayon: [illegible] O a ; lower center, in graphite: 80
Inscriptions
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Provenance:
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).
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).
Provenance
false
Context:
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 corners 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.
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 corners 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.
Context
false
Related Image Identifier Link:
CMA_.1940.465.a.tif
ril
CMA_.1940.465.a.tif
Related Image Identifier Link
false