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Record Number:
13033
Author(s)/Creator(s):
Kwakkelstein , Michael W.
Contributor(s):
Title:
The Use of Sculptural Models by Italian Renaissance Painters: Leonardo da Vinci's "Madonna of the Rocks" Reconsidered in Light of His Working Procedures
Source:
Gazette des Beaux-Arts 133, 1563 (avril 1999): Pages 181 - 198.
Description:
Article Type:
Journal Article
Subject
(See Also)
:
Art History- Painting
Art History- Sculpture
Artists' Sculptural Models
Leonardo da Vinci, Humanist- Virgin of the Rocks
Mary, Virgin, Saint in Art
Award Note:
Geographic Area:
Italy
Century:
15
Primary Evidence:
Illustrations:
Twenty Figures. Figure One Leonardo da Vinci, "Madonna of the Rocks," oil painting on panel (Paris, Musée du Louvre). Figure Two Leonardo da Vinci, "Study for a Madonna and Child with a Cat," pen and ink and wash, (Florence, Gabinetto disegni e stampe degli Uffizi). Figure Three Leonardo da Vinci, "Study of the head and shoulders of a naked child," red chalk (Windsor, Royal Library). Figure Four Leonardo da Vinci, "Madonna of the Rocks," oil painting on panel (London, National Gallery). Figure Five Leonardo da Vinci, "Madonna of the Rocks" (detail) (Paris, Musée du Louvre). Figure Six Bernardino de' Conti, "Madonna and Child," oil painting on panel (Milan, Castello Sforzesco). Figure Seven Anonymous Umbrian artist, "Study of a seated Christ Child," pen and ink with traces of black chalk (Venice, Gallerie dell' Accademia). Figure Eight Giovanni Antonio Boltraffio, "Madonna and Child with SS. John the Baptist and Sebastian and Two Donors," oil painting on panel (Paris, Musée du Louvre). Figure Nine Giovanni Antonio Boltraffio, "Madonna and Child," oil painting on panel, (Formerly Christie's, London). Figure Ten Ambrogio de Predis, "Study of a seated infant and two profile portraits of emperor Maximilian I and Bianca Maria Sforza," pen and black ink with wash (Venice, Gallerie dell' Accademia). Figure Eleven Giovanni Antonio Boltraffio, "Madonna and Child," oil painting on walnut (London, National Gallery). Figure Twelve Attributed to Giampietrino, "Study of the head of a young woman," silverpoint (Florence, Gabinetto disegni e stampe degli Uffizi). Figure Thirteen Giovanni Antonio Boltraffio, "Study for the heads of the Madonna and Child," silverpoint, (Chatsworth, Devonshire Collection). Figure Fourteen Attributed to Giovanni Antonio Boltraffio, "Study of the head of a woman looking down," silverpoint and wash (Windsor, Royal Library). Figure Fifteen Leonardo da Vinci, "Madonna of the Rocks" (detail), (London, National Gallery). Figure Sixteen Bernardino Luini, "Madonna and Child with St. John," oil on poplar (London, National Gallery). Figure Seventeen Anonymous Florentine sculptor, "Seated infant," late fifteenth century, terracotta, (Santa Barbara, California, private collection.) Figure Eighteen Marco d'Oggiono, "Madonna and Child with the Violet," panel painting transferred to canvas (present whereabouts unknown). Figure Nineteen Francesco di Simone Ferrucci, "Studies of a seated infant," pen and brown ink over black chalk (London, British Museum). Figure Twenty, Leonardo da Vinci, "Madonna and Child with a Vase of Flowers," oil painting on poplar (Munich, Alte Pinakothek).
Table:
Abstract:
On sait depuis longtemps que les peintres et les sculpteurs italiens de la Renaissance se servaient non seulement d'un modèle vivant mais aussi d'un modèle sculpté, souvent exécuté par eux-mêmes, afin d'étudier tant les proportions et les attitudes des personnages que les anatomies, les raccourcis et les effets de la lumière. Cette technique était pratiquée à la fois par les élèves pendant leur formation et par les maîtres dans l'étape des dessins préparatoires. Afin de déterminer dans quelle mesure Léonard a eu recours à cette pratique, lauteur avance l'idée que les personnages de "La Vierge aux rochers" (Louvre) ont été réalisés avec le concours de maquettes sculptées spécialement conçues pour ce projet. L'auteur considère: 1) des textes de Paolo Giovio, Benvenuto Cellini et Federico Borromeo rapportant que cette pratique fut adoptée par Léonard; un texte rarement cité de Léonart spécifiant qu'il modelait volontiers en terre des têtes d'enfants Jésus ou de Vierges; 2) Un certain nombre de dessins et peintures par des élèves de Léonard dont les personnages reprennent le modèle de l'Enfant Jésus, de saint Jean et de la Vierge de "La Vierge aux rochers," mais vus sous des angles différents. L'auteur étudie pour conclure des feuilles de dessins bien connues de l'école de Verrocchio, Léonard, Lorenzo da Credi, pour analyser l'usage des modèles sculptés, en particular de jeunes enfants, à une période plus tardive. Il suggère en outre que le modèle en terre d'un enfant, proche dans son contrapposto compliqué de l'Enfant Jésus du dessin de Léonard des Offices, a contribué à la diffusion de cette invention souvent imitée.
Related Resources:
Author's Affiliation:
Conference Info:
- , -
Year of Publication:
1999.
Language:
English
ISSN/ISBN:
00165530