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Nude Male Figure with Upraised Right Arm

1550–60
Not on view
The historical attribution of this drawing to Romanino is due to the Milanese Eighteenth-century collector and connoisseur Sebastiano Resta, who annotated the sheet on top "Gerolamo Romanino Prattico / Pittore Bresciano" (Resta's autography was recognized by Carmen Bambach and endorsed by Alessandro Nova in 2005, see here Bibliography). Jacob Bean accepted Florence Kossoff's proposal that this might have been a preparatory study for the figure of Adam in the scene of Christ's Descent into Limbo, painted by Romanino between 1534-35 in a fresco cycle for the church of Santa Maria della Neve, Pisogne. The drawing, like the Pisogne fresco, probably dates from the last decade of Romanino's life (the previously published date of ca. 1574 seems incorrect in view of the artist's probable death date). In Carmen Bambach's opinion, the resemblance between the drawing and Pisogne fresco seems generic rather than direct; the poses and physical types of the male figures seem quite different.
(Furio Rinaldi, 2014, based on a curatorial remark by Carmen C. Bambach of June, 2005)

Artwork Details

Object Information
  • Title: Nude Male Figure with Upraised Right Arm
  • Artist: Girolamo Romanino (Italian, Brescia 1484/87–1560 Brescia)
  • Date: 1550–60
  • Medium: Brush and brown wash, over slight traces of black chalk
  • Dimensions: 11-5/8 x 6-9/16 in. (29.5 x 16.7 cm)
  • Classification: Drawings
  • Credit Line: Rogers Fund, 1961
  • Object Number: 61.123.3
  • Curatorial Department: Drawings and Prints

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Concert champêtre, Girolamo Romanino Italian, Pen and brown ink, brown wash, over black chalk.
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Lucretia, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over black chalk, partially incised with a stylus (recto); rubbed with black chalk for transfer (verso)
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Three Standing Figures (recto); Seated Woman and a Male Hermit in Half-length (verso), Stefano da Verona (Stefano di Giovanni d'Arbosio di Francia) Italian, Pen and brown ink, over traces of charcoal or black chalk (recto); pen and brown ink, brush with touches of brown wash, over traces of charcoal or black chalk (verso)
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The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci Italian, Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)
The Head of the Virgin in Three-Quarter View Facing Right
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