Études pour la Sibylle libyque

Michelangelo Buonarroti Italian

Not on view

Cette esquisse magistrale d’un modèle masculin, peut-être un assistant d’atelier, représente une tête, un torse et un personnage musclé aux bras levés qui se tourne gracieusement. C’est une étude préparatoire que fit Michel-Ange pour la Sibylle libyque, l’une des voyantes du monde païen que l’on retrouve dans les fresques du plafond de la chapelle Sixtine, au Vatican. Au fil d’esquisses complémentaires, l’artiste a retravaillé certains détails, comme les traits fins du personnage de profil, l’orteil pivotant et la main levée qui, dans la fresque, tient le livre de prophéties de la sibylle. Propriété des héritiers de l’artiste après sa mort, c’est l’un des dessins les plus importants et les plus loués de Michel-Ange.

Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)

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Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)

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