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10 of 2438 articles
Exhibition Review
Revoir Van Eyck: La Vierge du chancelier Rolin
06/2024 | 1455 | 166
Pages: 626–629
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Nuttall, Paula (Nuttall, Paula)
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Reviewed Items
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Revoir Van Eyck: La Vierge du chancelier Rolin Musée du Louvre, Paris 20th March–17th June | :
Illustrations
Attributed works:
7. Virgin of Chancellor Rolin, by Jan Van Eyck, c.1430-35. Oil on panel, 71 by 65 cm. (Musée du Louvre, Paris).
Attributed works:
8. Reverse of the Virgin of Chancellor Rolin, by Jan Van Eyck, c.1430–35. Oil on panel, 71 by 65 cm. (Musée du Louvre, Paris).
Attributed works:
9. Epitaph of Jacques Isaac and Isabeau d’Anvaing. After 1401, c.1420–30?. Tournai stone, 59 by 86 by 12 cm. (Cathedral of Notre-Dame, Tournai; exh. Musée du Louvre, Paris)
Book Review
The Architectural Drawings of Antonio da Sangallo and His Circle (Vol.III: Antiquity and Theory)
06/2024 | 1455 | 166
Pages: 648–650
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Reviewer:
Hemsoll, David (Hemsoll, David)
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The Architectural Drawings of Antonio da Sangallo and His Circle (Vol.III: Antiquity and Theory) Edited by Christoph Luitpold Frommel and Georg Schelbert. 2 vols, 584 pp. incl. 526 b. & w. ills. (Harvey Miller Publishers, London, 2022), £210. ISBN 978–1–912554–39–3. | :
Illustrations
Attributed works:
1. Plan of the Colosseum, by Antonio da Sangallo the Younger. c.1505 or after 1513. Pen on parchment, 18.7 by 22.7 cm. (Gallerie degli Uffizi, Florence).
Book Review
The Touch of Pygmalion: Rubens and Sculpture in Rome
05/2024 | 1454 | 166
Pages: 512–515
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Reviewer:
Pierguidi, Stefano (Pierguidi, Stefano)
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The Touch of Pygmalion: Rubens and Sculpture in Rome Edited by Francesca Cappelletti and Lucia Simonato. 232 pp. incl. numerous col. + b. & w. ills. (Electa, Milan, 2023), €42. 978–88–928–2478–2. | :
Illustrations
Attributed works:
6. Two studies after the Spinario, by Peter Paul Rubens. 1602. Red chalk, heightened with white, with later grey background wash, on paper. 26.1 by 36 cm. (British Museum, London).
Attributed works:
7. Death of Adonis, by Peter Paul Rubens. c.1614. Oil on canvas, 212 by 325 cm. (Israel Museum, Jerusalem).
Attributed works:
8. Agrippina and Germanicus, by Peter Paul Rubens. c.1614. Oil on panel, 66.4 by 57 cm. (National Gallery of Art, Washington).
Exhibition Review
Drawing on Blue
04/2024 | 1453 | 166
Pages: 401–403
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Reviewer:
Fowler, Caroline (Fowler, Caroline)
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Drawing on Blue J. Paul Getty Museum, Los Angeles 30th January–28th April | :
Illustrations
Attributed works:
11. Study of Triton blowing a conch shell, by Annibale Carracci. c.1600. Charcoal with traces of white chalk on blue paper, 40.6 by 24.1 cm. (J. Paul Getty Museum, Los Angeles).
Attributed works:
12. Christ driving the money changers from the Temple, by Jacopo Bassano. c.1570s. Black and coloured chalks on blue paper, 43.6 by 54.3 cm. (J. Paul Getty Museum, Los Angeles).
Attributed works:
13. A muse, by Rosalba Carriera. Mid- 1720s. Pastel on blue paper, 31 by 26 cm. (J. Paul Getty Museum, Los Angeles).
Book Review
Magie kresby: Italská kresba vrcholné renesance a manýrismu v ceských a moravských verejných sbírkách / The Magic of Drawing: Italian Drawing of the High Renaissance and Mannerism from Bohemian and Moravian Public Collections
03/2024 | 1452 | 166
Pages: 314–316
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De Klerck, Bram (De Klerck, Bram)
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Magie kresby: Italská kresba vrcholné renesance a manýrismu v ceských a moravských verejných sbírkách / The Magic of Drawing: Italian Drawing of the High Renaissance and Mannerism from Bohemian and Moravian Public Collections By Zdenek Kazlepka and Martin Zlatohlávek. 346 pp. incl. 119 col. + b. & w. ills. (Katoliká teologická fakulta, Univerzity Karlova and Muzeum umení, Olomouc 2023), €71. ISBN 978–80–87922–35–4. | :
Illustrations
Attributed works:
10. Two male figures in antique cloaks, by Giovanni Bellini. 1506– 08. Brush, white and black tempera, with brown pen wash, 40 by 24 cm. (Archdiocesan Museum, Kromeríž).
Attributed works:
11. Study for St Peter visiting St Agatha in prison, by Giulio Campi. 1537. Pen in brown, 14 by 10 cm. (National Gallery, Prague).
Attributed works:
9. Jupiter and Juno, by Giulio Romano. 1530– 32. Pen in brown, wash, heightened with white, over traces of black chalk, 44 by 57 cm. (Archdiocesan Museum, Kromeríž).
Article
A ‘crucifixion complex’: two newly discovered sketches attributed to Francis Bacon
03/2024 | 1452 | 166
Pages: 225–235
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Author:
Daniels, Rebecca (Daniels, Rebecca)
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Illustrations
Attributed works:
1. Sketch, by Francis Bacon. c.1930. Pencil on tracing paper mounted on paper, 25.2 by 16.6 cm. (irregular). (Collection & Image © Hugh Lane Gallery; The Estate of Francis Bacon. All rights reserved, DACS; Artimage 2024; Hugh Lane Gallery, Dublin;).
Attributed works:
10. Studio Interior, by Francis Bacon. c.1936. Pastel and pencil on paper, 23.5 by 35 cm. (© The Estate of Francis Bacon. All rights reserved, DACS; Artimage 2024; private collection).
Attributed works:
11. Sketch for triptych, here attributed to Francis Bacon. c.1933. Pencil. (Art Gallery of New South Wales, Sydney; Roy de Maistre Archive MS2013.10 ARC342; National Art Archive, Gift of Roy de Maistre’s niece, Caroline de Mestre-Walker, 2013).
Attributed works:
12. Three Studies for Figures at the Base of a Crucifixion, by Francis Bacon. 1944. Oil and pastel on fibreboard, each panel approx. 94 by 74 cm. (irregular). (© The Estate of Francis Bacon. All rights reserved, DACS; Artimage 2024; Tate).
Attributed works:
2. Two pencil sketches, here attributed to Francis Bacon. c.1933. Pencil on paper, 26 by 18.5 cm. (On the half-title page of A. Level: Picasso, Paris 1928; Art Gallery of New South Wales, Sydney; Roy de Maistre Archive MS2013.10 ARC342; National Art Archive, Gift of Roy de Maistre’s niece, Caroline de Mestre-Walker, 2013).
Attributed works:
3. Sketch of a Biomorph, by Francis Bacon. c.1936. Black, blue and darkbrown ink on lined paper, 16.7 by 12.1 cm. (irregular). (Collection & Image © Hugh Lane Gallery; The Estate of Francis Bacon. All rights reserved, DACS; Artimage 2024; Hugh Lane Gallery, Dublin).
Attributed works:
4. Abstraction from the Human Form, by Francis Bacon, c.1936. Medium and dimensions unknown. Destroyed by the artist. (© The Estate of Francis Bacon. All rights reserved, DACS; Artimage 2024).
Attributed works:
5. Sketch for Portrait of M.E. Sadler [skull], here attributed to Francis Bacon. c.1933. Pencil and possibly wash. (Art Gallery of New South Wales; Roy de Maistre Archive MS2013.10 ARC342; National Art Archive, Gift of, Sydney; Roy de Maistre’s niece, Caroline de Mestre-Walker, 2013).
Attributed works:
6. Crucifixion [skeleton], by Francis Bacon. 1933. Oil on canvas, 62 by 48.5 cm. (© The Estate of Francis Bacon. All rights reserved, DACS; Artimage 2024; private collection).
Attributed works:
7. ‘A candidate for Baptism’, detail of Baptism of Christ, by Piero della Francesca. (From R. Longhi: Piero della Francesca, Milan 1930).
Attributed works:
8. The Crucifixion [skull], by Francis Bacon. 1933. Oil on canvas, 111.5 by 86.5 cm. (© The Estate of Francis Bacon. All rights reserved, DACS; Artimage 2024; private collection).
Attributed works:
9. Replica of Portrait of Michael Sadler, by Loris Rey. Bronze. (University College, University of Oxford).
Article
Johannes Lutma the Elder: goldsmith, designer, draughtsman
03/2024 | 1452 | 166
Pages: 252–263
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Author:
Baarsen, Reinier (Baarsen, Reinier)
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Illustrations
Attributed works:
1. Portrait of Johannes Lutma, by Jacob Adriaensz Backer. c.1646. Oil on canvas, 93 by 73 cm. (Rijksmuseum, Amsterdam).
Attributed works:
10. John Rushout’s coat of arms engraved on the base of the salt cellar in Fig.7.
Attributed works:
11. Design for a condiment dish, attributed to Johannes Lutma. c.1640–50. Black and white chalk on green prepared paper, 27.5 by 19.8 cm. (Rijksmuseum, Amsterdam).
Attributed works:
12. Design for a candlestick, attributed to Johannes Lutma. c.1655–60. Black and white chalk and pink wash on paper, 40.5 by 30.4 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
13. Ewer in ornamental surround, by Jacob Lutma after Johannes Lutma. 1654. Etching and engraving, 22.2 by 17.9 cm. (Rijksmuseum, Amsterdam).
Attributed works:
14. Cup and cover, by Johannes Lutma. 1639 (the knob is a later replacement). Gilded silver, height 32.1 cm. (Walters Art Museum, Baltimore).
Attributed works:
15. Design for a cup, attributed to the workshop of Johannes Lutma. c.1640–60. Black chalk, and brown wash, heightened in white, on blue paper, 41.9 by 25.5 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
16. Design for a ewer, attributed to the workshop of Johannes Lutma. c.1655–60. Black and white chalk on paper, 41.5 by 30.2 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
17. Design for a ewer, attributed to the workshop of Johannes Lutma. c.1655–60. Black and white chalk on paper, 41.3 by 31.9 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
18. Design for a ewer, attributed to the workshop of Johannes Lutma. c.1655–60. Black, white and red chalk on paper, 43.3 by 29.8 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
19. The watermark in the drawing in Fig.20.
Attributed works:
2. Pair of salt cellars, by Johannes Lutma. 1639. Silver, partly gilded, height 24 cm. each. (Rijksmuseum, Amsterdam).
Attributed works:
20. Design for a cup, attributed to the workshop of Johannes Lutma. c.1655–60. Black and red chalk and brown wash, heightened in white, on paper, 41.3 x 31.2 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
21. Design for a cup, here attributed to Joahnnes Lutma. c.1655–60. Red chalk and brown wash, heightened in white, on paper, 40.3 by 28.6 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
22. Design for a helmet, here attributed to Johannes Lutma. c.1655–60. Watercolour, black chalk, heightened in white, on pale brown paper, 17 by 20.9 cm. (Rijksmuseum, Amsterdam).
Attributed works:
3. Design for a cup, by Paulus van Vianen. c.1610. Black chalk, grey and pink wash, 58.7 by 29.4 cm. (Staatliche Graphische Sammlung, Munich).
Attributed works:
4. Design for a salt cellar, attributed to Adam van Vianen. c.1610–27. Black chalk, pen and brown ink and brown wash on paper, 20.2 by 13.2 cm. (Nationalmuseum, Stockholm).
Attributed works:
5. Design for a ‘bekerschroef’, attributed to Johannes Lutma. c.1635–40. Black and white chalk over a sketch in graphite, on yellow prepared paper, 19.5 by 12.4 cm. (Sir John Soane’s Museum, London; courtesy of the Trustees).
Attributed works:
6. A goldsmith or sculptor carrying a basket of statues, by Johannes Lutma. 1615. Red and black chalk, pen and brown ink on paper, 12.3 by 9.2 cm. (Rijksmuseum, Amsterdam).
Attributed works:
7. Salt cellar, by Johannes Lutma. 1648. Partly gilded silver, height 36.2 cm. (Fishmongers’ Company, London).
Attributed works:
8. Design for a salt cellar, by Johannes Lutma. c.1648. Black and white chalk on pale brown paper, 35.8 by 28.5 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
9. Lutma’s inscription on the back of the drawing in Fig.8.
Article
Giuseppe Antonio Ghedini’s drawings for ‘Il Ricciardetto’
03/2024 | 1452 | 166
Pages: 264–277
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Author:
Vicentini, Cecilia (Vicentini, Cecilia)
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Illustrations
Attributed works:
1. Illustration for Canto 10 of ‘Il Ricciardetto’, by Giuseppe Antonio Ghedini. 1737–38. Pen, ink and brown wash on paper, 11 by 5 cm. (Fondazione Cavallini Sgarbi, Ferrara).
Attributed works:
10. Illustration for Canto 11 of ‘Il Ricciardetto’, by Giuseppe Antonio Ghedini. 1737–38. Pen, ink and brown wash on paper, 11 by 5 cm. (Fondazione Cavallini Sgarbi, Ferrara).
Attributed works:
11. Joseph and Potiphar’s wife, by Carlo Cignani. Oil on canvas, 262 by 192 cm. (Statens Museum for Kunst, Copenhagen).
Attributed works:
12. Joseph and Potiphar’s wife, by Carlo Cignani. 1670–75. Oil on canvas, 99 by 99 cm. (Staatliche Kunstsammlungen, Dresden).
Attributed works:
13. Prophecy of Haggai, by Jacopo Zucchi after Giuseppe Antonio Ghedini. Etching, 21 by 32 cm. (Biblioteca Comunale Ariostea, Ferrara, iconographical collection, vol.3, no.24).
Attributed works:
14. Illustration for Canto 21 of ‘Il Ricciardetto’, by Giuseppe Antonio Ghedini. 1737–38. Pen, ink and brown wash on paper, 11 by 5 cm. (Fondazione Cavallini Sgarbi, Ferrara).
Attributed works:
15. Illustration for Canto 27 of ‘Il Ricciardetto’, by Giuseppe Antonio Ghedini. 1737–38. Pen, ink and brown wash on paper, 11 by 5 cm. (Fondazione Cavallini Sgarbi, Ferrara).
Attributed works:
16. Harpies at the Trojan banquet, by Annibale Carracci. 1585–93. Fresco. (Sala dell’Eneide, Palazzo Fava, Bologna).
Attributed works:
17. Illustration for Canto 19 of ‘Il Ricciardetto’, by Giuseppe Antonio Ghedini. 1737–38. Pen, ink and brown wash on paper, 11 by 5 cm. (Fondazione Cavallini Sgarbi, Ferrara).
Attributed works:
18. Illustration for Canto 16 of ‘Il Ricciardetto’, by Giuseppe Antonio Ghedini. 1737–38. Pen, ink and brown wash on paper, 11 by 5 cm. (Fondazione Cavallini Sgarbi, Ferrara)..
Attributed works:
19. St Gaetano and his followers founding the Theatine Order, by Clemente Majoli. 1671. Fresco. (S. Maria della Pietà dei Teatini, Ferrara; courtesy of the Archdiocese of Ferrara-Comacchio).
Attributed works:
2. Illustration for Canto 29 of ‘Il Ricciardetto’, by Giuseppe Antonio Ghedini. 1737–38. Pen, ink and brown wash on paper, 11 by 5 cm. (Fondazione Cavallini Sgarbi, Ferrara).
Attributed works:
20. Illustration for Canto 20 of ‘Il Ricciardetto’, by Giuseppe Antonio Ghedini. 1737–38. Pen, ink and brown wash on paper, 11 by 5 cm. (Fondazione Cavallini Sgarbi, Ferrara).
Attributed works:
3. Niccolò Forteguerri (‘Niccolò Carteromaco’), after Giuseppe Antonio Ghedini. 1737–38. Etching, 20.4 by 14.4 cm. (British Museum, London).
Attributed works:
4. Illustration for Canto 20 of ‘Il Ricciardetto’, by Jacopo Zucchi after Giuseppe Antonio Ghedini. 1738. Etching, 11 by 5 cm. (Staatliche Kunstsammlungen, Dresden).
Attributed works:
5. Illustration for Canto 27 of ‘Il Ricciardetto’, by Giovanni Cattini after Giuseppe Antonio Ghedini. 1738. Etching, 11 by 5 cm. (Staatliche Kunstsammlungen, Dresden).
Attributed works:
6. Thalia, by Giuseppe Antonio Ghedini, 1737–38. Pen, ink and brown wash on paper, 7.9 by 8.5 cm. (Fondazione Cavallini Sgarbi, Ferrara).
Attributed works:
7. Illustration for Canto 15 of ‘Il Ricciardetto’, by Giuseppe Antonio Ghedini. 1737–38. Pen, ink and brown wash on paper, 11 by 5 cm. (Fondazione Cavallini Sgarbi, Ferrara).
Attributed works:
8. Martyrdom of St Paul, by Francesco Monti. c.1720. Oil on canvas, 219 by 150 cm. (Credem Collection, Reggio Emilia).
Attributed works:
9. The five senses, by Carlo Cignani. 1670–73. Oil on canvas, 133 by 190 cm. (Scatto di Gaia e Giuseppe Schiavinotto, Rome; courtesy Principessa Maria Camilla Pallavicini).
Book Review
Hans Burgkmair: Die Zeichnungen
02/2024 | 1451 | 166
Pages: 212–213
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Reviewer:
Silver, Larry (Silver, Larry)
Subjects
Reviewed Items
subjects:
Hans Burgkmair: Die Zeichnungen By Tilman Falk, edited by Wolfgang Augustyn. 288 pp. incl. 38 col. + 190 b. & w. ills. (Deutscher Verlag für Kunstwissenschaft, Berlin, 2023), €89. ISBN 978–3–87157–257–9. | :
Illustrations
Attributed works:
4. Equestrian portrait of Emperor Maximilian I, by Hans Burgkmair. c.1508–09. Pen with grey wash on paper, 43.1 by 28.4 cm. (Albertina, Vienna).
Exhibition Review
Botticelli Drawings
02/2024 | 1451 | 166
Pages: 188–190
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Reviewer:
Nethersole, Scott (Nethersole, Scott)
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Botticelli Drawings Legion of Honor, San Francisco 19th November 2023–11th February 2024 | :
Illustrations
Attributed works:
11. Study for a portrait of a woman, by Botticelli. c.1480. Metalpoint heightened with white, 34 by 23 cm. (Ashmolean Museum, Oxford; exh. Legion of Honor, San Francisco).
Attributed works:
12. Study for a standing man or St Sebastian, by Botticelli. c.1473. Metalpoint heightened with white, 18.4 by 9.3 cm. (Musée du Louvre, Paris; exh. Legion of Honor, San Francisco).
Attributed works:
13. Head of a youth looking up, by Botticelli. c.1465–68. Metalpoint heightened with white, 16.7 by 13.5 cm. (Kupferstichkabinett, Dresden; exh. Legion of Honor, San Francisco).