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Lodovico Buonarroti Simoni Michelangelo

Italy (1475 -  1564 ) Wikipedia® : Lodovico Buonarroti Simoni Michelangelo
MICHELANGELO Lodovico Buonarroti Simoni Statue Depicting A Seated Lorenzo De Medici

Sloans & Kenyon
Feb 4, 2018
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Variants on Artist's name :

Buonarroti Michelangelo

Michel-Ange

Michelange

 

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Artworks in Arcadja
172

Some works of Lodovico Buonarroti Simoni Michelangelo

Extracted between 172 works in the catalog of Arcadja
Lodovico Buonarroti Simoni Michelangelo - Last Judgment

Lodovico Buonarroti Simoni Michelangelo - Last Judgment

Original 1837
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Lot number: 955
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Description:
Last Judgment [printed by S.FULCARUS (1589 - 1665)] Michelangelo BUONARROTI (a set of 3) etching, 21x16cm, this lot accompanies other works; 【Moses [printed by J.JACQUEMART(1837-1880)]】(1876, etching, 21x13.5cm)【The three Fates [printed by MARAIS]】(etching, 20.4x15cm), the titled work is framed.* *Not examined out of frame.
Lodovico Buonarroti Simoni Michelangelo - Statue Depicting A Seated Lorenzo De Medici

Lodovico Buonarroti Simoni Michelangelo - Statue Depicting A Seated Lorenzo De Medici

Original
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Net Price
Lot number: 1290
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Description:
Description: 19 TH CENTURY BRONZE SCULPTURE OF LORENZO DE MEDICI, AFTER MICHELANGELO, 19th Century. Unsigned. Marked #1375. 19th/20th Century continental bronze statue depicting a seated Lorenzo de Medici, Roman general, diplomat, arts patron and leader of Florence. After the original marble sculpture executed for the tomb of Lorenzo de Medici. No foundry mark is present. - 15 3/8" tall x 6 1/2" wide x 7 1/4" deep.
Lodovico Buonarroti Simoni Michelangelo - Adoration Of The Shepherds

Lodovico Buonarroti Simoni Michelangelo - Adoration Of The Shepherds

Original -
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Lot number: 50
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Description:
50 | A Baroque Bronze Relief, Adoration of the Shepherds, 17th C
Bronze, cast and with dark patina
Presumably after a work by Michelangelo Buonarroti (1475-1564)
Inscribed in the cast \‘Michael Angelus Bonarratus Te (?)\’\’\’\’\’\’\’\’
Bas relief with the depiction of the Adoration of the Shepherds
Dimensions: 23 x 17.5 cm

Lodovico Buonarroti Simoni Michelangelo - A Male Nude, Seen From Behind

Lodovico Buonarroti Simoni Michelangelo - A Male Nude, Seen From Behind

Original
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Gross Price
Lot number: 63
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Lot Description
Michelangelo Buonarroti (Caprese 1475-1564 Rome)
A male nude, seen from behind (recto); Studies of male nudes(verso)
black chalk, watermark crowned eagle (close to Briquet 89)
8½ x 7 in. (21.8 x 17.7 cm.).
Provenance
Dr Benno Geiger.
Charlotte von Prybram-Gladona.
The Swiss art market, where purchased by 1981, and subsequently onloan to the Fogg Art Museum, Cambridge, Mass.
Pre-Lot Text
FROM A PRIVATE COLLECTION
Literature
C. von Prybram-Gladona, Unbekannte Zeichnungen alter Meister auseuropischem Privatbesitz, Munich, 1969, no. 42 (as circle ofMichelangelo).
K. Oberhuber, 'A Newly Found Drawing for the Battle of Cascina', inC.H. Smyth (ed.), Michelangelo Drawings (Studies in the History ofArt 33), Center for Advanced Study in the Visual Arts SymposiumPapers, 17, Washington D.C., 1992, illustrated nos. 1-2.
C. Acidini Luchinat, Michelangelo pittore, Milan, 2007, pp. 72, 86,note 45.
C. Davis, 'Review: Michelangelo drawings', The Burlington Magazine,CLII, December 2010, p. 89.
Exhibited
Vienna, Albertina, Michelangelo: The Drawings of a Genius, 2010,no. 20 (catalogue entry by A. Gnann).
View Lot Notes ›
Dating from late 1504 or early 1505, this rarely-seen drawing isa preparatory study for The Battle of Cascina, one of the mostimportant commissions of Michelangelo's early career. The malenude, that most quintessential of Michelangelesque subjects, hasbeen studied on both sides of the sheet as the artist developed hisideas for the fresco. One of only 24 surviving drawings for thisambitious but never-completed project, this is the sole sheet toremain in private hands.
The Battle of Cascina
In 1504, at the age of 29, Michelangelo had already establishedhimself as one of the most visionary and talented artists of hisgeneration. His reputation at this time rested primarily on twosculptures: his Pietà (1498-1500; Rome, Basilica of Saint Peter's),executed during his first Roman period; and the monumental David(1501-1504; Florence, Galleria dell' Accademia), which he begansoon after his return to Florence, a magnificent symbol of thevirtue and determination of the fledgling Florentine Republic. TheDavid was unveiled in May 1504 in the Piazza della Signoria and, inSeptember or October of that year, Michelangelo was commissioned toexecute another work in honour of the city. Florence had proclaimeditself a republic after the flight of the Medici in 1494, and thegovernment had been given into the hands of a 3,000-strong GreatCouncil of citizens. Piero Soderini (1450-1522), the elected headof state, planned to inspire his compatriots by decorating theircouncil chamber in the Palazzo della Signoria with two scenes ofFlorentine civic virtue from the days before Medici rule. One wouldrepresent the Battle of Cascina (1364), which had been Florence'slast military triumph over neighbouring Pisa. In 1504 the twocities were again at war and Soderini hoped to motivate hiscolleagues by reminding them of the great deeds of theirforefathers. The other fresco would show Florence's last victory onthe field, against Milan, in the Battle of Anghiari (1440). Thatcommission had already been awarded in October 1503 to the52-year-old Leonardo da Vinci (1452-1519), who had recentlyreturned to Florence after serving as military engineer to CesareBorgia during his campaigns in the Romagna. The project wasconceived as a dazzling paragone, which would place the two mostnotable Florentine artists of the day in direct competition.
Michelangelo immediately began working on studies for hiscomposition: on 31 October 1504 he bought fourteen quires ofBolognese paper in the reale size, roughly 44 x 61 cm. (C. Bambach,'The Purchases of Cartoon Paper for Leonardo's Battle of Anghiariand Michelangelo's Battle of Cascina', I Tatti Studies: Essays inthe Renaissance, 8, 1999, pp. 110-2). The present sheet, as canclearly be seen from the verso, has been trimmed and may originallyhave been in reale format, although its watermark of asingle-headed eagle, close to Briquet 89 (Florence, 1501), suggestsit may have been of Florentine rather than Bolognesemanufacture.
The focal point of Michelangelo's fresco was to be a group ofFlorentine soldiers who, bathing in the Arno, had been surprised byan enemy attack. His only surviving compositional sketch (Uffizi,inv. 613E; Albertina, 2010, op. cit., no. 15; Fig. 1) shows thatthe key figures in this group, called The Bathers, were decidedupon at a relatively early stage. By February 1505, he had passedfrom preparatory drawings to the cartoon itself and, by the time hewas summoned back to Rome by Pope Julius II in March 1505, at leastthe central section of the cartoon was finished to a high standard(as recorded in Aristotile da Sangallo's painted copy at HolkhamHall, dating from around 1540; Fig. 2). However, the frescoes werenever to be completed. Once in Rome, Michelangelo was commissionedto execute a series of sculptures for Julius's tomb, effectivelyforcing him to abandon The Battle of Cascina. Leonardo finished hiscartoon and began to paint, but unwisely chose to experiment withwax-based pigments. These melted on the wall when he brought inbraziers to speed up the drying process and eventually The Battleof Anghiari, too, was left unfinished.
All that remained were the two cartoons, displayed together in theSala del Papa at S. Maria Novella, where they were studied by theyounger generation of Florentine artists. One of the students wasBenvenuto Cellini, who later recalled that 'So long as [thecartoons] remained intact, they were the school of the world' (B.Cellini, The Life of Benvenuto Cellini, trans. J.A. Symonds,Geneva, 1968, p. 19). Afterwards, Michelangelo's cartoon wasremoved to the Palazzo Medici, where it gradually deteriorated asadmirers traced and copied sections of it. By the 1550s, it hadfallen to pieces and, by the 17th Century, the fragments were allbut lost: Michelangelo's preparatory drawings are the onlysurviving records of the composition from his hand.
Technique and relationship to other works
On the recto of the present drawing, a male nude is seen frombehind in the act of turning, his right leg thrust forward to bracehimself. First delineated with thin lines of black chalk, thefigure was then developed with thicker strokes of chalk to suggestthe hollows and ridges of muscle across the figure's back and toreinforce the firm, sinuous outlines. A pentimento shows theoriginal position of the head, tipped to one side, which was thenturned to the left to continue the dynamic twist of the body. Thefigural type, with its tapering waist, is close to that in a blackchalk, pen and brown ink drawing for The Battle of Cascina in theAshmolean (inv. WA 1846.42; P. Joannides, The Drawings ofMichelangelo and his Followers in the Ashmolean Museum, Cambridge,2007, pp. 83-7, no 7; Fig. 3), which is also technically similar inthe parallel hatching, the close attention to the play of light onmuscle, and the relative indifference to the figure's head andlimbs, which are roughly-sketched at neck and shoulders but thenfade away into the paper. Both figures are positioned dramaticallyas if in the midst of movement, in poses that a model would havefound it difficult to maintain for long. It may be that, ratherthan drawing from life, Michelangelo studied them from his own waxbozzetti, similar to the Model of a nude torso dating from the1520s, in the British Museum (inv. 1859-07-19-1; H. Chapman and M.Faietti, Michelangelo Drawings: Closer to the Master, exhib. cat.,London, British Museum, 2006, no. 44). If a similar model,representing only a torso without head or limbs, were used as asource for the present drawing, that could explain the more cursorytreatment of the limbs when compared to the high finish of thebody.
It has been observed that the methodical parallel hatching on thepresent drawing moderates the contrast of the musculature andcreates an impression of low relief. This is consistent with whatis known of Michelangelo's artistic practice at the time: forinstance, in The Doni Tondo (circa 1506; Florence, Uffizi), theforeground figures appear far more fully rounded than the figuresplaced at the back of the picture plane, who assume the characterof a frieze in low relief. Although our understanding is limited bythe scarcity of surviving drawings, it seems that Michelangelo wasequally conscious of the different levels within The Battle ofCascina and varied his technique accordingly (Joannides, op. cit.,p. 86). It is therefore likely that the figure on the recto of thepresent drawing was intended to be placed in the middle-ground, orbackground, of the fresco.
There are three different sketches on the verso, which wererevealed only when the drawing was lifted from its backing in the1980s (Oberhuber, op. cit.). On the left, the head, shoulders andright leg of a figure are suggested with curt curves of chalk. Inthe centre, a male nude is again seen from behind, studied from thewaist down to the ankle, forcefully shaded with thick black-chalkstrokes and bounded by a vigorous series of arcs to denote themuscles of thigh, knee and calf. Here the left leg drives forward,rather than the right. Energetic hatching suggests the shadowsfalling across the body and marks out the background. On the farright is a fragment of a figure, truncated by the trimming of thesheet, with only the hip and bent right leg now visible. Morethoroughly worked-up than the other drawings on the verso, thisfigure was related by Oberhuber (op. cit.) to the soldier seated onthe bank in the centre of The Bathers, twisting round in alarm. Aneconomical first sketch for this figure, in pen and ink, appears onthe verso of an architectural drawing at the British Museum (inv.1895-9-15-496; Chapman and Faietti, op. cit., no. 15 and p. 84,fig. 23). In that sketch, the figure is still some way from thefinished pose as it appears in the British Museum's highly-finishedpen and ink study of A seated male nude twisted around (inv.1887-5-2-116; Chapman and Faietti, op. cit., no. 11). The drawingon the present sheet could plausibly record an intermediate stagebetween the two, as Michelangelo increased the torsion of the poseby bending the right leg against the bank and tilting the figure'sbody to the side. Although the final position in the British Museumdrawing is exaggerated to the point of physical impossibility, thepose on the present sheet evidently caught Michelangelo'simagination. He returned to it some fifty years later, in a drawinghe executed for Daniele da Volterra of Saint John the Baptist inthe Wilderness (circa 1555-6; Oxford, Ashmolean Museum, inv. WA1846.84; Joannides, op. cit., pp. 221-4, no. 45; Fig. 4).
The recto and the main study on the verso of the present drawingseem to show successive stages in the development of the samefigure. Oberhuber noted that both can be related to studies for agroup of two soldiers supporting a third, known through adouble-sided sheet at the British Museum (see below) and a drawingin the Louvre (inv. 718 recto) (Oberhuber, op. cit.; P. Joannides,Dessins Italiens du Musée du Louvre: Michel-Ange, Élèves etCopistes, Paris, 2003, p. 82, no. 9). The verso of the BritishMuseum sheet shows a nude briskly sketched in black chalk, which issimilar in pose and technique to the study on the verso of thepresent drawing (inv. 1859,0625.564; Chapman and Faietti, op. cit.,no. 14; Fig. 5). As he drew the British Museum figure, Michelangeloadapted it so that the nude was no longer an isolated soldier, butpart of a group, twisting to support the weight of a comrade. Hethen turned over the sheet and studied the group as a whole (Fig.6). In the process, he once again shifted the figure's weight fromthe right leg to the left (returning to a stance similar to thelower torso of the figure on the recto of the present sheet). Thegroup does not appear in Sangallo's painting at Holkham and mayeither have been an early idea for the group of The Bathers, or adesign for a group in one of the lost sections to eitherside.
The significance of the drawing
The drawing was first published in 1969, when it formed part of thePrybram-Gladona collection and was thought to be from the Circle ofMichelangelo. Konrad Oberhuber was the first to recognise that itwas by the master himself, an attribution confirmed when the versowas revealed while the drawing was on loan to the Fogg Art Museumat Harvard. He published his findings in 1992 (op. cit.), but thedrawing remained surprisingly understudied in subsequentscholarship, until its inclusion in the 2010 Albertina exhibition,when it was hailed as 'a welcome novelty' (Davis, op. cit.).
Oberhuber's identification of the drawing was of great significancebecause the corpus of surviving drawings for The Battle of Cascinais so small - Frederick Hartt listed 23 connected with the project,not including the present sheet, of which he was apparently unaware(F. Hartt, Michelangelo Drawings, New York, 1970, pp. 45-61) - andall except the present drawing are in public collections. This isevidence of not only the high regard in which Michelangelo'sdrawings have always been held by collectors, but also the enduringadmiration for The Battle of Cascina itself. Few other compositionshave exerted so powerful an influence on the canon of Western art,without having been completed. Its influence was largely due to theyoung men who came to study the cartoon, along with The Battle ofAnghiari, at S. Maria Novella, many of whom later had an enormousinfluence on Italian art in their own right: Raphael, BaccioBandinelli, Andrea del Sarto, Jacopo Sansovino, Rosso Fiorentino,Pontormo and Perino del Vaga, to name just a few. For Cellini,writing his autobiography half a century later, Michelangelo'sdrawings for The Battle of Cascina were the most important andaccomplished of his career, eclipsing even the Sistine Chapel:'Though the divine Michel Angelo in later life finished that greatchapel of Pope Julius, he never rose half-way to the same pitch ofpower; his genius never afterwards attained to the force of thosefirst studies' (Cellini, op. cit., p. 19).
We are grateful to Professor Paul Joannides for his assistance incataloguing this drawing.
Lodovico Buonarroti Simoni Michelangelo - Study Of A Left Thigh And Knee, With A Separate Study Of A Right Knee Seen In Profile, And A Right Foot

Lodovico Buonarroti Simoni Michelangelo - Study Of A Left Thigh And Knee, With A Separate Study Of A Right Knee Seen In Profile, And A Right Foot

Original 1541
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Gross Price
Lot number: 9
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Description:
black chalk
provenance:sir joshua reynolds (l.2364); sale, london, christie's, 9 december 1982, lot 144; with stanhope shelton, suffolk, from whom purchased by the present owner in 1983. exhibited:shizuoka, prefectural museum of art, the image of human body in the past and present, 1991, cat.i-4, illus. this sheet of rapidly drawn anatomical studies by michelangelo was unknown until its appearance on the art market in 1982. it comprises three separate studies. to the left of the sheet is a study of a left knee and thigh, seen from the front. beside this, in the centre, is a study of a right knee seen from behind, nervously drawn with many pentimenti, indicating a search for form. this second study, which is less easily legible than the first and could even be read as two separate but overlapping sketches, reflects the inquisitive mind and restless energy of the artist. towards the top right corner, the last of the three studies on the sheet is a very sensitively and delicately drawn sketch of a right foot. dating such rapid studies by michelangelo and relating them to other works by the artist is inevitably a difficult, and potentially speculative, task. michael hirst has, however, suggested a tentative dating of the present work to the late 1530s, and has said that the possibility should not be excluded of a connection between the study of a knee and thigh towards the left and the figure of charon in the last judgement in the sistine chapel, one of the last figures to be painted before the official unveiling of the fresco on 31 october 1541. paul joannides feels that the drawing must have been made some time between the 1530s and the 1550s, but that since it is such a rapidly executed, working study sheet, it is not possible to date it much more precisely than that. he also feels that it is perhaps more likely to be connected with a sculptural project than with a painted one, pointing out that in those years michelangelo was working on a number of sculptures, including the bronze group for the golgotha and the florence pietá. in the opinion of hugo chapman, perhaps the closest stylistic resemblance is to michelangelo's late study of a male torso, formerly in the gathorne-hardy collection (sold, in these rooms, 24 november 1976, lot 23), which is generally dated to the 1550s (although de tolnay preferred a dating of 1545-50, the time of the cappella paolina). nothing definite is known regarding the history of this drawing before it was acquired by sir joshua reynolds (1723-1792), whose collector's mark it bears, but paul joannides has very kindly proposed a possible earlier provenance to consider. he believes it could have been part of the group of some eighty drawings attributed to michelangelo that were once owned by the florentine collector filippo cicciaporci, whose collection was discussed by gaburri in a letter to g. bottari, written in 1741 (published by p. fanfani, spigolatura michelangiolesca, pistoia 1876, pp.97-98), and also described in bottari's 1760 edition of vasari's vite. the earlier history of the michelangelo drawings in cicciaporci's collection begins with daniele da volterra (1509-1566), who seems to have owned a large number of his master michelangelo's drawings. at daniele's death, these were divided between his two most important pupils, michele degli alberti and giacomo rocca (died 1592/1605). the latter's collection was subsequently acquired by cavalier d'arpino (1568-1640), and then in turn by cicciaporci, who seems to have bought, and then enlarged, arpino's collection. the cicciaporci collection came onto the market in florence not long after 1760, and it is very likely that many of his drawings then made their way to england. rapid, almost cursory sketches of this type are not typically the focus of much attention in published discussions of michelangelo's drawings, but a sheet such as this nonetheless gives as much insight into the technique, preoccupations and artistic personality of the artist as any of his grand compositional studies or presentation drawings. it is also one of only a very small handful of his drawings remaining in private hands.
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