Working from a small replica of Michelangelo's statue of "Day" on the tomb of Giuliano de' Medici in the New Sacristy, San Lorenzo, Florence, Jacopo Tintoretto has copied on both recto and verso the back view of the figure. Another double-sided study of the back of the statue, though seen from a quite different angle, is in the Musée du Louvre, Paris (see: Tietze, 1944, no. 1739). At Christ Church, Oxford, there is a double-faced study of the figure seen from above (Byam Shaw, 1976, vol. 1, no. 762, pls. 442,443, as Jacopo Tintoretto or studio).
Tintoretto was a great admirer of Michelangelo and drew many copies after his sculptures. The unusual-and impossible-viewpoint of this study of Michelangelo's Day from the tomb of Giuliano de Medici in the New Sacristy, S. Lorenzo, Florence, reveals that Tintoretto was working not from the original but from a small model. He must have studied the model in brightly lit conditions to achieve the strong contrasts of light and dark that characterize his drawings of sculpture.
Hans M. Calmann (British, London 1899–1982 London); B H K H
Los Angeles County Museum of Art. "Old Master Drawings from American Collections," April 29, 1976–June 13, 1976.
The Metropolitan Museum of Art. "15th and 16th Century Italian Drawings in The Metropolitan Museum of Art," February 16, 1983–April 17, 1983.
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," April 22, 2002–July 14, 2002.
Claus Virch, The Metropolitan Museum of Art "A Study by Tintoretto after Michelangelo." The Metropolitan Museum of Art Bulletin. vol. 15, New York, December 1956, pp. 111-116 (as Jacopo Tintoretto), ill.
Anna Forlani Tempesti "In margine a una mostra di disegni del Tintoretto." Arte Veneta. 11, 1957, p. 90, note 6.
Paola Rossi I Disegni di Jacopo Tintoretto. Florence, 1975, pp. 43, 63-64 (among "disegni respinti").
James Byam Shaw Drawings by Old Masters at Christ Church, Oxford. Oxford, 1976, p. 205, under no. 762.
Ebria Feinblatt Old Master Drawings from American Collections. Exh. cat., Los Angeles County Museum of Art. Los Angeles County Museum of Art, Los Angeles, 1976, p. 47, no. 48, ill.
Jacob Bean, Lawrence Turčić 15th and 16th Century Italian Drawings in the Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, 1982, pp. 242-43, no. 248, ill.
Egbert Haverkamp-Begemann, Carolyn Logan Creative Copies, Interpretative Drawings from Michelangelo to Picasso. Exh. cat., April 9 - July 23. The Drawing Center, New York, 1988, cat. no. 10, ill.
Paola Rossi "Jacopo Tintoretto: disegni respinti, precisazioni attributive." Arte Veneta. no. 64, 2007, p. 99, no. 49, figs. 84-85, both recto and verso repr. (as a workshop drawing).
Linda Wolk-Simon, Carmen C. Bambach An Italian Journey. Drawings from the Tobey Collection: Correggio to Tiepolo. Exh. cat., The Metropolitan Museum of Art, New York (May 12 - August 15, 2010). New York, 2010, p. 76, under no. 21, fig. 21.3 (entry by Carmen C. Bambach), ill.