Apollo et Galatée dans un paysage avec Neptune et trois nymphes. Artiste : Orazio Samacchini émilienne près de l'artiste italien (1532-1577), Bologne Bologne. Dimensions : 7 1/16 × 8 1/16 in. (18 × 20,5 cm). Date : 1550-60. Autrefois considéré comme une œuvre de Niccolò dell'Abate (Cleveland, 1981, no. 83), Jacob Bean ce dessin publié en 1982, plus généralement que par un artiste anonyme 16e siècle Emilian (Bean 1982, no. 290). Bien qu'un peu timide dans l'exécution, ce dessin me semble plus proche de la style de la peintre bolognais Orazio Samacchini, comme suggéré par les notes sur le mont moderne Écrit par Mario

• Contributeur: Album / Alamy Banque D'Images
• ID de l’image: PAA8XK
• Taille du fichier: 33,3 MB (1,5 MB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 3618 x 3218 px | 30,6 x 27,2 cm | 12,1 x 10,7 inches | 300dpi
• Photographe: Album

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Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.

Apollo and Galatea in a Landscape with Neptune and Three Nymphs. Artist: Emilian artist near Orazio Samacchini (Italian, Bologna 1532-1577 Bologna). Dimensions: 7 1/16 × 8 1/16 in. (18 × 20.5 cm). Date: 1550-60. Formerly considered as a work by Niccolò dell'Abate (Cleveland 1981, no. 83), Jacob Bean published this drawing in 1982, more generally as by an anonymous 16th century Emilian artist (Bean 1982, no. 290). Though somewhat timid in execution, this drawing seems closest to the style of the Bolognese painter Orazio Samacchini, as suggested by the notes on the modern mount written by Mario di Giampaolo, Marzia Faietti, and Timothy Clifford. While endorsed by Carmen C. Bambach, the attribution to Samacchini was rejected by Babette Bohnn and Jak Katalan, who also thought more generally of an artist active at Fontainebleau (notes on the mount). In 1979, Philip Pouncey recognized that a drawing in the Musée du Louvre, Paris (inv. 10494) attributed to Samacchini features the same composition of Apollo, Galatea and her Nymphs, with slight modifications (especially in the pose of Galatea). Pouncey noted that the composition, although drawn by Samacchini, had been strongly inspired by a prototype of Niccolò dell'Abate. While the two drawings are very similar in size (Louvre: 19.8 x 24.8 cm; Metropolitan Museum of Art: 18.0 x 20.5 cm), they are somewhat different in style. The sheet in the Louvre seems bolder and more expressive, while the one in the Museum is more delicate and is defined by neat outlines in pen and ink. (C.C.B. / F.R.). Museum: Metropolitan Museum of Art, New York, USA.

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• 1532-1577
• 1550-60
• 16 16th xvi xvith sixteenth century
• 18 monatiger
• 20,5 cm
• 290
• 2nd millennium a d
• 7 1/16
• pironi 1982
• xvi th century