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The model was presumably a bronze statuette, or a plaster cast from such a statuette. To gain proficiency in drawing the human figure artists frequently taught their pupils from such casts and models. [+]
Past collectors commonly mistook Passerotti’s academic studies from the nude for the work of the Florentine Bandinelli (1493-1560). The handling of this drawing is after him in this technique in the M [+]
Inscribed in the lower left corner in brown ink: Michelangiolo Fior. fec. In spite of the old attribution, the drawing was rightly placed in Fernández Durán collection, on his mount, as: [+]
The study at the top of the sheet is copied from the torso of Michelangelo´s Risen Christ in S. Maria sopra Minerva, Rome, commissioned in 1514. In the statue, Christ holds the sponge, or cloth, impre [+]
In Michelangelo´s Last Judgement (see D1733 and D1732), the Good Thief appears at the far right, on the same level as Christ himself, and is one of the most conspicuous figures in this great, mu [+]
The invention and handling are in fact typical of Passerotti’s more rapidly drawn sketches. Compared with the better-known, finished pen studies, such as Male Head (D1781), his pen line here seems all [+]
The motif of two putti, one male and one female, standing in pairs derives from the decorations on the fronts of the thrones on which the Prophets are seated in Michelangelo’s fresco decoration of the [+]
Collectors and connoisseurs have long admired the powerfully executed, often large-scale drawings by Bartolomeo Passarotti. His finished pen studies, such as Head of a figure (Testa di una figura), 15 [+]
