Buste d'une figure. Artiste : Andrea Solario (Italien, Milan AC. Milan 1465-1524). Fiche technique : Dimensions : 14 3/4 x 10 3/4 in. (37,5 x 27,3 cm). Date : 1515-24. Bien que l'attribution correcte du Metropolitan Museum à dessin Andrea Solario a été reconnue pour la première fois par Wilhelm Suida en 1945, et a été approuvé par Luisa Cogliati Arano en 1966, il a également publié à tort souvent comme par Bernardino Luini (selon Jacob Bean en 1982), et que Gaudenzio Ferrari en 1956 (Martin Weinberger, communication orale pour Noël Virch, conservateur, le Metropolitan Museum of Art). Étude de la région métropolitaine est très c

• Contributeur: Album / Alamy Banque D'Images
• ID de l’image: PA99EA
• Taille du fichier: 35,9 MB (1,7 MB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 3061 x 4094 px | 25,9 x 34,7 cm | 10,2 x 13,6 inches | 300dpi
• Photographe: Album

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Bust of a Bearded Figure. Artist: Andrea Solario (Italian, Milan ca. 1465-1524 Milan). Dimensions: sheet: 14 3/4 x 10 3/4 in. (37.5 x 27.3 cm). Date: 1515-24. Although the correct attribution of the Metropolitan Museum drawing to Andrea Solario was first recognized by Wilhelm Suida in 1945, and was endorsed by Luisa Cogliati Arano in 1966, it was also often wrongly published as by Bernardino Luini (according to Jacob Bean in 1982), and as Gaudenzio Ferrari in 1956 (Martin Weinberger, oral communication to Claus Virch, curator, The Metropolitan Museum of Art). The Metropolitan study is very closely related to the design of the bearded apostle standing on the extreme right, who points at the empty sarcophagus, in Solario's Assumption of the Virgin (Sagrestia Nuova, Certosa of Pavia), as was first rightly noted by David Alan Brown. (See Brown 1987, pp. 287-89, nos. 74, 77.) This connection to the Pavia altarpiece was recently doubted, however, and too hastily, in the present author's opinion (see Linda Wolk-Simon in the exhibition catalogues, The Metropolitan Museum of Art and Cremona, 2003 and 2004). The Pavia altarpiece of the Assumption, the only work by Solario mentioned in Vasari's Vite (1550 and 1568 editions), was left unfinished at the time of the artist's death in August 1524; according to Lamo's account of 1584 (reprinted in 1774), it was completed by Bernardino Campi, in 1576. (See Brown 1987, pp. 287-88, no. 77.) Also related to the Pavia altarpiece are two sheets of studies in black chalk with brush and brown wash for the designs of the side wings, each of which represents a group of three apostles (Musée du Louvre 10191 and 10191 bis, Paris). (See Béguin, 1985, pp. 90-91, no. 53; Brown 1987, pp. 288-89, nos. 75, 76.) The most recent scientific examination (Rachel Mustalish, Paper Conservation, The Metropolitan Museum of Art; November 22, 2005) has clarified some of the questions regarding the colored chalk technique of this drawing and the extent

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• 14 3/4 x 10 3/4
• 1465-1524
• 1515-24
• 16 16th xvi xvith sixteenth century
• 1958
• 2nd millennium a d
• 37,5 27,3 cm
• andrea solario
• personnage barbu
• xvi th century