This volume comprises the fullest and most detailed catalogue of the drawings by and after Michelangelo in the Ashmolean Museum. It is one of the most important collections of drawings by this artist, which also includes drawings after his own by contemporaries that shed light on lost works as well as the artist's reputation and influence during the sixteenth century. The introduction provides a history of Michelangelo's drawings generally and also surveys the various types of drawing practised by Michelangelo and an account of his development as a draughtsman.
This volume comprises the fullest and most detailed catalogue of the drawings by and after Michelangelo in the Ashmolean Museum. It is one of the most important collections of drawings by this artist, which also includes drawings after his own by contemporaries that shed light on lost works as well as the artist's reputation and influence during the sixteenth century. The introduction provides a history of Michelangelo's drawings generally and also surveys the various types of drawing practised by Michelangelo and an account of his development as a draughtsman.
Paul Joannides, Reader in the History of Art at the University of Cambridge, has published widely on the painting, sculpture, architecture, and above all, the drawings of the Italian Renaissance. He has also written on topics in French painting of the late eighteenth and early nineteenth centuries.
Inhaltsangabe
Introductory essay: the dispersal and formation of Sir Thomas Lawrence's collection of drawings by Michelangelo; Michelangelo's drawings; Appendix 1. Drawings by or attributed to Michelangelo in William Young Ottley's sales; Appendix 2. The Lawrence collection of drawings by and after Michelangelo.
Introductory essay: the dispersal and formation of Sir Thomas Lawrence's collection of drawings by Michelangelo; Michelangelo's drawings; Appendix 1. Drawings by or attributed to Michelangelo in William Young Ottley's sales; Appendix 2. The Lawrence collection of drawings by and after Michelangelo.
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