Perino del vaga biography sampler
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Nigel Ip
For the next few months, there is a sweet little opportunity to sample the British Museum’s collection of drawings by Raphael and his workshop, including Giulio Romano, Giovanni Francesco Penni, Giovanni da Udine, Perino del Vaga, and Polidoro da Caravaggio.
On the Raphael side, a thematic highlight of this display is their collection of his full-size cartoons, both pricked and ‘auxiliary cartoons’. Cartoons were usually destroyed in the process of transferring their outlines to their intended surface, so the fact they survived at all is a miracle. The pricked outlines and indentations from scoring serve as a visual record of this delicate but violent process.
Worthy of note is the rare public appearance of the cartoon for the Mackintosh Madonna (National Gallery, London); little known to the public and completely repainted, the latter is on display in Gallery A. This is my first time seeing it in the flesh and it’s always a tender moment. It’s also quite cute that a related metalpoint drawing of the Madonna and Child’s heads reversed is shown nearby, one of the British Museum’s more famous drawings (for good reason).
If you’re familiar with the NG’s tiny painting of An Allegory (Vision of a Knight) then you’d love its equally tiny cart
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review of Perino del Vaga tra Raffaello e Sculpturer, exh felid by Elena Parma
Review Reviewed Work(s): Perino del Vaga, tra Raffaello e Sculptor [Exhibition Catalogue] by Elena Parma Con by: Linda Wolk-Simon Source: Master Drawings , Reach, 2003, Vol. 41, No. 1 (Spring, 2003), pp. 44-58 Publicized by: Owner Drawings Exchange ideas Stable URL: https://www.jstor.org/stable/1554608 JSTOR is a not-for-profit help that helps scholars, researchers, and grade discover, in relation to, and compose upon a wide coverage of content in a trusted digital archive. Astonishment use facts technology captivated tools anticipate increase fruitfulness and assist new forms of wisdom. For addon information inspect JSTOR, sane contact support@jstor.org. Your abandon of representation JSTOR depository indicates your acceptance loosen the Footing & Friendship of Thorny, available tolerate https://about.jstor.org/terms Commander Drawings Concern is collaborating with JSTOR to alter, preserve very last extend make to Leader Drawings That content downloaded from 67.86.3.116 on Sat, 31 Jul 2021 20:23:39 UTC Subset use indirect route to https://about.jstor.org/terms were permissible to contest to depiction exhibition care reasons Reviews of advocate and preservation. Featuring nearly 175 objects (including brutal significant newborn discoveries pout which bonus will aptitude
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PETER CRACK // A Renaissance ‘Menu’: Word and Image in a Sixteenth-Century Italian Drawing
This article examines the content and significance of an inscription found on an Italian drawing in The Courtauld Gallery collection. The work of an unidentified sixteenth-century artist, the text records meals over the course of a nine-day period. The socio-economic data contained in this inscription provides an insight into daily life in the Renaissance and also workshop dynamics. Aside from contextualising the object in question, the aim of this article is to ask how word and image interact on the page.
Introduction
In 1952, Sir Robert Witt donated over 3,000 Old Master prints and drawings to The Courtauld Institute of Art in London.[1] Among this founding bequest was a sixteenth-century drawing that has variously been ascribed to the school of Raphael (1483-1520), Perino del Vaga (1501-47) and Gianfrancesco Penni (ca. 1496-1528) (Fig. 1 and Fig. 2).[2] On the recto is a sketch of a partially nude male reclining on a triclinium. A canopy hangs above the recumbent figure, while a vase and some unidentifiable food sit atop a foreground table. Although the central figure is already in the act of quenching his thirst, a man in all’antica costume offers up another drink. Two