The Drawings of Michelangelo and his Followers in the Ashmolean Museum

The Drawings of Michelangelo and his Followers in the Ashmolean Museum

Paul Joannides

Language: English

Pages: 508

ISBN: 0521551331

Format: PDF / Kindle (mobi) / ePub


This volume comprises the fullest and most detailed catalogue of the drawings by and after Michelangelo in the Ashmolean Museum. It is one of the most important collections of drawings by this artist, which also includes drawings after his own by contemporaries that shed light on lost works as well as the artist's reputation and influence during the sixteenth century. The introduction provides a history of Michelangelo's drawings generally and also surveys the various types of drawing practiced by Michelangelo and an account of his development as a draughtsman.

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pur reiterando vo l mio passato tempo e n˜o ritruovo in tucto un giorno ch(e) sie stato mio le fallaci speranze e lv˜a desio piangendo, amado, ardendo esospir˜ado Cha affecto alc˜u mortal n˜o me piu nuovo manno tenuto ondel conosco e pruovo lont˜a certo dal vero or comperiglio pero Ch’l breve tempo me venuto m˜aco ne sarie ancor, se sall˜ugassi, stanco I’ vo lasso, o´lme, ne so ben dove anzi temo chil veggi el tempo andato me lmostra ne mi val ch[e] gliochi chiuda or che ltempo la scorza cangia e

Museum, which 25 had been retained at Michelangelo’s death in 1564 by the notary charged with preparing the inventory, and which must have passed in the interim to Orsini. It was the Farnese’s holdings that provided the most important single source for the great run of Michelangelo’s drawings at Windsor, the collection richest of all in his Presentation Drawings. It is not known, however, how the drawings passed from one collection to the other, and it is a matter for speculation when this

retrievable by type, medium, and date – of all surviving individual drawings by Michelangelo is daunting, but it would certainly be possible with computerisation. drawing types The surviving corpus demonstrates that Michelangelo, like any draughtsman, made drawings for many different purposes, and because he was active as painter, sculptor, and architect, as well as an occasional designer of decorative objects, his drawings are more varied than those of most of his contemporaries in their

but he employed pen and black chalk for laying out architectural sketches, the former when it was a matter of establishing the main lines and relations of architectural elements, the latter when it was the overall pictorial effect that he wished to establish (Cats. 39 recto, 25 recto). Architecture, which, from the mid-1520s, came to occupy an increasing amount of his time and imagination, was initially for Michelangelo a support and frame for sculpture – figures in the round and compositions in

purpose unknown.). Parker, 1956, no. 375 (Recto: somewhat reworked. “The elaborate modelling recalls the Cavalieri presentation drawings, but it seems out of the question that Michelangelo or indeed any of his close followers could have been the draughtsman. P. M. R. Pouncey hesitates between Naldini and Poppi.”); no. 42 (Verso: style of Jacopo della Quercia “essentially ‘early’ and primitive in character . . . a work of about 1430.” The ricordo is in Michelangelo’s hand and of 1523–4.). Dussler,

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