COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1999.48
amicoid
CMA_.1999.48
AMICA ID
false
AMICA Library Year:
2000
aly
2000
AMICA Library Year
false
Object Type:
Drawings and Watercolors
oty
Drawings and Watercolors
Object Type
false
Creator Name:
Greuze, Jean-Baptiste
crn
Greuze, Jean-Baptiste
Creator Name
false
Creator Nationality:
European; French
crc
European; French
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1725 - 1805
cdt
1725 - 1805
Creator Dates/Places
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Jean Baptiste Greuze
crt
Jean Baptiste Greuze
Creator Name-CRT
false
Title:
Head of Caracalla
otn
Head of Caracalla
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
c. 1768
oct
c. 1768
Creation Date
false
Creation Start Date:
1763
ocs
1763
Creation Start Date
false
Creation End Date:
1773
oce
1773
Creation End Date
false
Materials and Techniques:
red chalk; framing lines in brown ink
omd
red chalk; framing lines in brown ink
Materials and Techniques
false
Dimensions:
Sheet: 38.8cm x 30.3cm, Secondary Support: 45.6cm x 37.1cm
met
Sheet: 38.8cm x 30.3cm, Secondary Support: 45.6cm x 37.1cm
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:
1999.48
ooa
1999.48
ID Number
false
Credit Line:
Purchase from the J. H. Wade Fund
ooc
Purchase from the J. H. Wade Fund
Credit Line
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:
according to Spink-Leger Pictures: M. & Mme. Jules Porges, 1892; Countess Fitzjames, Paris; Schab Gallery, New York; Julian Raskin, Scarsdale, New York, acquired in 1956; and by descent
opo
according to Spink-Leger Pictures: M. & Mme. Jules Porges, 1892; Countess Fitzjames, Paris; Schab Gallery, New York; Julian Raskin, Scarsdale, New York, acquired in 1956; and by descent
Provenance
false
Context:
Jean-Baptiste Greuze drew this powerful chalk study in preparation for his painting Septimius Severus Reproaching Caracalla (1768-69, Musée du Louvre). Caracalla (ad 188-217) plotted the assassination of his father, the Roman Emperor Septimius Severus. In the painting, Greuze depicted the moment when the father confronted the son, and we see a close up view in this drawing: Caracalla turns away from his father, his face reflecting both anger and shame. Greuze was fascinated by the subtleties of human emotional expression conveyed by the face and made many drawings of "expressive heads" (a genre the French call a tête d'expression). Greuze based his Caracalla on a famous Roman bust in marble, which the artist would have seen when he studied in Rome between 1755 and 1757. He also knew a plaster cast of the bust and even made drawings directly from it in preparation for the painting. The drawing shown here, however, represents his own adaptation of the Caracalla, striking in its intensity of expression and bold strokes of red chalk.
cxd
Jean-Baptiste Greuze drew this powerful chalk study in preparation for his painting Septimius Severus Reproaching Caracalla (1768-69, Musée du Louvre). Caracalla (ad 188-217) plotted the assassination of his father, the Roman Emperor Septimius Severus. In the painting, Greuze depicted the moment when the father confronted the son, and we see a close up view in this drawing: Caracalla turns away from his father, his face reflecting both anger and shame. Greuze was fascinated by the subtleties of human emotional expression conveyed by the face and made many drawings of "expressive heads" (a genre the French call a tête d'expression). Greuze based his Caracalla on a famous Roman bust in marble, which the artist would have seen when he studied in Rome between 1755 and 1757. He also knew a plaster cast of the bust and even made drawings directly from it in preparation for the painting. The drawing shown here, however, represents his own adaptation of the Caracalla, striking in its intensity of expression and bold strokes of red chalk.
Context
false
Related Image Identifier Link:
CMA_.1999.48.tif
ril
CMA_.1999.48.tif
Related Image Identifier Link
false