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100 European Drawings in The Metropolitan Museum of Art

One Hundred European Drawings in The Metropolitan Museum of Art

Bean, Jacob

1964

222 pages

100 illustrations

This title is out of print.

Download PDF (21.66 MB)Read online

Table of contents

About the authors

Foreword
James J. Rorimer

Introduction
Jacob Bean

List of Abbreviations

Italian Schools
French School
German School
Flemish School
Dutch School
Spanish School
British School

Index

Met Art in Publication

Design Fragment for the Left Side of the 'Fonte Gaia' in Siena, Jacopo della Quercia (Jacopo di Pietro d’Angelo di Guarnieri) Italian, Pen and medium brown ink, brush and brown wash, over traces of leadpoint and ruling, on vellum, glued onto secondary paper support — Design Fragment for the Left Side of the 'Fonte Gaia' in Siena
Jacopo della Quercia (Jacopo di Pietro d’Angelo di Guarnieri)
1415–16

Free Copy of Giotto's "Navicella" (recto); Copy of Adam in Masaccio's "Expulsion from the Garden of Eden", and other Figure Studies (verso), Parri Spinelli (recto) Italian, Pen and brown ink (recto and verso). glued onto a secondary backing sheet of paper drawn in pen and brown ink, over black chalk — Free Copy of Giotto's "Navicella" (recto); Copy of Adam in Masaccio's "Expulsion from the Garden of Eden", and other Figure Studies (verso)
Multiple artists/makers
ca. 1420

Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso), Leonardo da Vinci Italian, Silverpoint, partly reworked by the artist with pen and dark brown ink on pink prepared paper; lines ruled with metalpoint (recto); pen and brown ink (verso) — Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso)
Leonardo da Vinci
1480–85

Head of a Man in Profile Facing to the Left

Leonardo da Vinci

1490–94

Allegory on the Fidelity of the Lizard (recto); Design for a Stage Setting (verso), Leonardo da Vinci Italian, Pen and brown ink (recto and verso) — Allegory on the Fidelity of the Lizard (recto); Design for a Stage Setting (verso)
Leonardo da Vinci
1496

Standing Youth with Hands Behind His Back, and a Seated Youth Reading (recto); Two Studies of Hands (verso), Filippino Lippi Italian, Metalpoint, highlighted with white gouache, on pink prepared paper (recto); metalpoint, on pink prepared paper (verso) — Standing Youth with Hands Behind His Back, and a Seated Youth Reading (recto); Two Studies of Hands (verso)
Filippino Lippi
1457/58–1504

Studies of a Seated Youth in Armor, Vittore Carpaccio Italian, Black chalk, point of brush and gray wash, highlighted with white gouache, on blue paper — Studies of a Seated Youth in Armor
Vittore Carpaccio
ca. 1505

The Angel of the Annunciation (Cartoon for an Embroidery), Raffaellino del Garbo (also known as Raffaelle de' Capponi and Raffaelle de' Carli) Italian, Pen and brown ink, brush and brown wash, highlighted with white gouache, over black chalk on paper washed brown; outlines of design and framing outlines pricked and with traces of rubbed black pouncing dust — The Angel of the Annunciation (Cartoon for an Embroidery)
Raffaellino del Garbo (also known as Raffaelle de' Capponi and Raffaelle de' Carli)
1466–1524

Bacchanalian Scene, Amico Aspertini Italian, Black chalk, highlighted with white, on brown-washed paper — Bacchanalian Scene
Amico Aspertini
1520–35

Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), Michelangelo Buonarroti Italian, 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
ca. 1510–11

Madonna and Child with the Infant Saint John the Baptist; upper left, Study for the Right Arm of the Infant Saint John; upper right, Study for Drapery (recto); Study of a Nude Male Figure (verso), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk (recto); pen and brown ink (verso) — Madonna and Child with the Infant Saint John the Baptist; upper left, Study for the Right Arm of the Infant Saint John; upper right, Study for Drapery (recto); Study of a Nude Male Figure (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1506–7

Saint Christopher Bearing the Christ Child, Giovanni Antonio da Pordenone (Giovanni Antonio de Sacchis) Italian, Pen and brown ink, brush and brown wash, highlighted with white gouache, on blue paper, squared vertically and horizontally in red chalk, diagonally in charcoal — Saint Christopher Bearing the Christ Child
Giovanni Antonio da Pordenone (Giovanni Antonio de Sacchis)
1484–1539

Seated Sibyl and Attendant Genius (recto); Study of the Head of a Horse in Profile (verso)

Pirro Ligorio

ca. 1540

Group of Trees, Titian (Tiziano Vecellio) Italian, Pen and brown ink, traces of gray printer's ink at lower right, on beige paper — Group of Trees
Titian (Tiziano Vecellio)
1485/90–1576

The Adoration of the Magi, Correggio (Antonio Allegri) Italian, Red chalk, highlighted with white gouache — The Adoration of the Magi
Correggio (Antonio Allegri)
ca. 1517

Design for the Decoration of a Pilaster (recto); Putti with Trophies and Seated Figure with Child (verso), Giovanni Antonio da Pordenone (Giovanni Antonio de Sacchis) Italian, Red chalk (recto); red chalk studies (verso) — Design for the Decoration of a Pilaster (recto); Putti with Trophies and Seated Figure with Child (verso)
Giovanni Antonio da Pordenone (Giovanni Antonio de Sacchis)
ca. 1529

The Annunciation, Correggio (Antonio Allegri) Italian, Pen and brown ink, brush and gray-brown wash, highlighted with white gouache, squared in red chalk, on paper tinted with reddish wash — The Annunciation
Correggio (Antonio Allegri)
ca. 1522–25

Presentation of the Virgin in the Temple (below), Abraham about to Sacrifice Isaac (above), Perino del Vaga (Pietro Buonaccorsi) Italian, Pen and brown ink, brush and brown wash, highlighted with white gouache, squared in black chalk, on brownish paper. The empty triangular corners are tinted in gray-green wash, the right diagonal border tinted in gray wash — Presentation of the Virgin in the Temple (below), Abraham about to Sacrifice Isaac (above)
Perino del Vaga (Pietro Buonaccorsi)
1520

The Adoration of the Shepherds, Parmigianino (Girolamo Francesco Maria Mazzola) Italian, Pen and brown ink, brush and brown wash, highlighted with white gouache over traces of black and a little red chalk (at upper left), on brownish paper — The Adoration of the Shepherds
Parmigianino (Girolamo Francesco Maria Mazzola)
1524–27

Nine Studies of the Moses in Santa Maria della Steccata, Parma (recto); Nine Studies for the Eve in Santa Maria della Steccata, Parma (verso), Parmigianino (Girolamo Francesco Maria Mazzola) Italian, Pen and brown ink, brush and brown wash, over traces of black chalk, on beige paper (recto and verso) — Nine Studies of the Moses in Santa Maria della Steccata, Parma (recto); Nine Studies for the Eve in Santa Maria della Steccata, Parma (verso)
Parmigianino (Girolamo Francesco Maria Mazzola)
1503–40

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———. 1970b. 19th-Century America: Paintings and Sculpture an Exhibition in Celebration of the Hundredth Anniversary of the Metropolitan Museum of Art, April 16 through September 7, 1970. New York: Distributed by New York Graphic Society.