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Copy of a Statue of a Nude Woman Seen from the Rear
Pencil, Grey-brown ink on yellow paper. XVI century
Passerotti, Bartolomeo (Attributed To)
Copy of a Statue of a Nude Woman Seen from the Rear
Pencil, Grey-brown ink on yellow paper. XVI century
Passerotti, Bartolomeo (Attributed To)

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. On the reverse is another study of the same statue, seen from the same viewpoint, but drawn three-quarter length.

Holy Family, Accompanied by an Angel and Two Saints
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. XVI century
Passerotti, Bartolomeo
Holy Family, Accompanied by an Angel and Two Saints
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. XVI century
Passerotti, Bartolomeo

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 of a sudden euphorically liberated. The halftones, instead of being indicated by dense cross-hatching, are brushed in with fluid brown washes. For comparison with the present sheet, a good example of

Standing Nude Man
Pencil, Pencil ground, Grey-brown ink on dark toned paper. XVI century
Passerotti, Bartolomeo
Standing Nude Man
Pencil, Pencil ground, Grey-brown ink on dark toned paper. XVI century
Passerotti, Bartolomeo

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 Museo del Prado collections.The feeble outline study in pen and ink drawn on the verso, showing the recto figure in the same pose but from the front, is by a later, weaker hand.

Two semi-nude Putti Embracing, One Male and the other Female
Pencil, Pencil, Grey-brown ink on yellow paper. 1560 - 1570
Passerotti, Bartolomeo
Two semi-nude Putti Embracing, One Male and the other Female
Pencil, Pencil, Grey-brown ink on yellow paper. 1560 - 1570
Passerotti, Bartolomeo

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 ceiling of the Sistine Chapel. This pair is freely adapted from the panels of the throne to either side of the Prophet Zacharias.

Old Woman Seated in a Chair
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Passerotti, Bartolomeo
Old Woman Seated in a Chair
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Passerotti, Bartolomeo

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: BARTOLOMMEO PASSAROTTI. The handling is typical of Passerotti’s bold style of drawing in pen and ink. The figure may have been intended for a sibyl.

Studies of Figures
Pencil, Grey-brown ink on yellow paper. 1560 - 1570
Passerotti, Bartolomeo
Studies of Figures
Pencil, Grey-brown ink on yellow paper. 1560 - 1570
Passerotti, Bartolomeo

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, impregnated with vinegar, against the side of the Cross. The inscription Buonarroti was perhaps written as a reference to the model for the principal study. The study of a female head was doubtless taken f

The Good Thief, Copied from Michelangelo's Last Judgement
Pencil, Pencil ground, Grey-brown ink on yellow paper. 1560 - 1570
Passerotti, Bartolomeo
The Good Thief, Copied from Michelangelo's Last Judgement
Pencil, Pencil ground, Grey-brown ink on yellow paper. 1560 - 1570
Passerotti, Bartolomeo

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, multi-figured fresco. In spite of the evident assurance of Passerotti´s line-work, there are many pentiments in the chalk under-drawing, especially in the Thief´s downwardly extending left l

Head of a figure
Pencil, Grey-brown ink on blue paper. 1560 - 1570
Passerotti, Bartolomeo
Head of a figure
Pencil, Grey-brown ink on blue paper. 1560 - 1570
Passerotti, Bartolomeo

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), 1560-70, were especially sought after by collectors. In these, Passarotti perfected what may be termed the fish-net style of tight, highly finished tonal crosshatching, which had been pioneered in Rapha

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