Un homme qui s'appuie sur le personnel. Artiste : Paolo Farinati (Italien, Vérone Vérone 1524-1606). Fiche technique : Dimensions : 15 5/8 x 6 5/16 in. (38,9 x 16,8 cm). Date : n.d.. Cette étude figure imposante d'un homme de Michelangelesque anatomie, en partie l'article et s'appuyant sur un personnel à long, est soigneusement rendus dans une technique picturale de brown se lave et blanc gouache, sur une underdrawing préliminaire en craie noire ; certaines zones dans l'ombre de lavage sont rehaussées sélectivement avec crayon à encre l'éclosion. Les contours épais et sombre fait avec le pinceau, ainsi que les contrastes de tons, de rappeler à l'un des xvie siècle ch

• Contributeur: Album / Alamy Banque D'Images
• ID de l’image: PA8BJE
• Taille du fichier: 28,2 MB (1,5 MB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 2117 x 4657 px | 17,9 x 39,4 cm | 7,1 x 15,5 inches | 300dpi
• Photographe: Album

Informations supplémentaires

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

A Man Resting on a Staff. Artist: Paolo Farinati (Italian, Verona 1524-1606 Verona). Dimensions: sheet: 15 5/16 x 6 5/8 in. (38.9 x 16.8 cm). Date: n.d.. This imposing figure study of a man of Michelangelesque anatomy, partly standing and leaning on a long staff, is carefully rendered in a highly pictorial technique of brown washes and white gouache, over a preliminary underdrawing in black chalk; some areas in the wash shading are enhanced selectively with pen-and-ink hatching. The thick, dark contours done with the brush, as well as the marked tonal contrasts, remind one of 16th century chiaroscuro woodcut techniques. As was first recognized by Del Forno, this was a preparatory study for a figure at extreme right in one of Paolo Farinati's large canvases, Saints Nazaro and Celso Before the Emperor Being Ordered to Sacrifice to Idols (Church of Santi Nazaro e Celso, Verona), finished by the artist in 1571. The painting was part of a large decorative program by Farinati in Santi Nazaro e Celso, executed between 1570 and 1575. The present drawing manifests Farinati's absorption of a Central-Italian monumentality of form, probably through his experience of working in 1552-53 in Mantua, where he encountered the powerful paintings of Giulio Romano. A poignantly expressive artist in his best drawings and paintings, Farinati ranks as one of the most accomplished painters and printmakers in Verona, the native city of Paolo Veronese, who was both model and rival to Farinati there. While Farinati was extremely prolific as a draftsman and painter, high quality works, such as the proposed acquisition, are not as usual in his corpus as might be expected. (Carmen C. Bambach, 2009). Museum: Metropolitan Museum of Art, New York, USA.

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