Classical Figure Drawings

Intricate drawings featuring classical figures and angels, emphasizing dynamic poses and elegant drapery, reflecting Renaissance art influences.

Standing Woman Seen from theBack. Artist, formerly attributed to: Paolo Caliari, called Veronese, Italian, Venice, 1528-1588

The Holy Family () 1488-1560 Baccio Bandinelli Italian The Florentine sculptor Baccio Bandinelli produced a number of pen and ink studies on the theme of the Holy Family (the Virgin Mary, Saint Joseph, and the Christ Child), all drawn with his typically incisive clarity of contour and orderly hatching. However, the reclining Classical-style female figure with one bare breast (at center) is not easily reconciled with traditional portrayals of the Virgin Mary. Rather, the arrangement of the figures in the present drawing may be inspired on the many variations of pose seen in the family groups among the Ancestors of Christ in Michelangelo's Sistine Ceiling frescoes (1508-12). As a draughtsman, Bandinelli derived some of his techniques from Michelangelo as well as Rosso Fiorentino.. The Holy Family () 338128

Standing Woman Seen from theBack. Artist, formerly attributed to: Paolo Caliari, called Veronese, Italian, Venice, 1528-1588

Drawing (Italy)

A chalk drawing by Ambrogio Giovanni Figino showing three putti in clouds within an unidentified scene, emphasizing figures, gesture, and composition.

A Standing Angel and two Cherubs ca. 1566 Ascribed to Federico Zuccaro (Zuccari) Italian Lively drawn with pen and ink, brush, brown wash and highlighted with white gouache, this drawing by Federico Zuccaro was possibly conceived for the figure of the Angel that appears at the upper left of his altarpiece with The Coronation of the Virgin with the Martyrdom of Saint Lawrence’ in the Roman church of San Lorenzo in Damaso (ca. 1566). This connection was first proposed by John Gere, while the attribution of the drawing to Zuccaro is due to Jacob Bean (Curatorial Files, April 1962). Right after its acquisition in 1887, the sheet was published as a work by Fra Angelico in the Metropolitan Museum of Art Handbook of 1895 (no. 697). (F.R.). A Standing Angel and two Cherubs 341724

The Dead Christ Supported by Three Figures 1537-91 Giovanni Battista Naldini Italian Naldini appears to have had a flair for bringing figures together in beautifully choreographed compositions, many of which he designed to embellish churches in Florence and Rome. His strong, yet mellifluous drawings reflect the influences of Michelangelo, Pontormo, and Andrea del Sarto. Naldini trained in Pontormo's workshop from 1549 to 1556. The effects of this formative experience are evident in his manner of drawing with bold scribbly contours as well as with a neatly volumetric conception of form and closely intertwined figural groups. The composition of this drawing strongly recalls that of Michelangelo's marble sculpture "Pietà with Saints" (1550-55) in the Museo dell'Opera del Duomo, Florence. The attribution to the artist was made by Philip Pouncey in 1958, when the drawing was in the collection of Walter C. Baker, who had acquired it as the work of Palma Giovane. Another study by Naldini for

Study of Matthan. Study into the image of Matthan on the ceiling of the Sistine Chapel.

Sitting child and a juvenile John the Baptist.

Sitting woman.

Standing Draped Male Figure ca. 1550 Baldassarre Franceschini (il Volterrano) Italian This animated study was drawn in preparation for the figure of Saint John the Evangelist in Franceschini's vault fresco of the Coronation of the Virgin in the Niccolini Chapel of Santa Croce, Florence, executed between 1652 and 1660.Commissioned by the Marchese Filippo Niccolini, this important project also included frescoes of the sibyls on the pendentives, and was regarded as one of the artist's masterpieces by his contemporaries, rivalling the work of Correggio and Giovanni Lanfranco. It was carefully described by Volterrano's earliest biographer, Filippo Baldinucci, in 1681. This drawing illustrates the diligent process by which the artist studied the foreshortened poses of the numerous figures in the composition from living nude models. Drawings such as this enabled Franceschini to paint perspectivally complex frescoes, for which he was much admired during his lifetime. Here the rapidly drawn ske

A red and black chalk drawing, heightened with white, depicting three floating putti on brownish-tinted paper, with minor damage.

Red chalk studies by Giovanni Francesco Barbieri, called Il Guercino, circa 1660 depicting Andromeda threatened by a kite.

Mars and Venus, draughtsman: Hans Speckaert, 1577, paper, pen, brush, h 277 mm × w 197 mm

Venus and De Roos, Master of the Dice, 1532 print Venus sits on a rock in a landscape. She takes a thorn of a rose bush from her foot. paper engraving Venus wounded by the thorns of a rose-bush; the roses change from white to red (possibly combined with the story of Adonis). city-view, and landscape with man-made constructions

Figure Studies (recto); Figure Studies (verso). Federico Barocci (Italian, about 1535 - 1612)

A coal and brush drawing by Andrea Meldolla showing Judith holding the head of Holofernes on violet primed paper, with gray, gray-brown, reddish tones and white highlights.

The Prophet Baruch. Date/Period: 1718. Red chalk. Rötel. Height: 265 mm (10.43 in); Width: 205 mm (8.07 in). Author: FRANCESCO TREVISANI.

Study Artist's working dates 1710-1720 Italy. Red chalk, on ivory laid paper, laid down on ivory laid paper . Giuseppe Bartolomeo Chiari

Winged graybeard encompasses naked young woman, François Boitard, 1680 - 1715, draughtsman: François Boitard, 1680 - 1715, paper, pen, h 324 mm × w 201 mm

Nude, Seated, Holding Onto a Tree. 1656 - 1657. Rosa, Salvator, 1615-1673. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

The Flight into Egypt. Artist: Anonymous, Spanish, School of Seville, 17th century. Dimensions: 6-11/16 x 4 in. (17.0 x 10.2 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Standing Male Nude (Saint Jerome) with Book. Luca Cambiaso; Italian, 1527-1585. Date: 1550-1559. Dimensions: 407 x 285 mm (max.). Pen and brown ink on buff laid paper. Origin: Italy. Museum: The Chicago Art Institute, USA.

Study of Two Putti, Francesco Solimena, Italian, 1657-1747, Black chalk on paper, Two figures of winged putti. The bottom left putto is kneeling, looking over his left shoulder while lifting a crown with both hands. The top right putto is flying while looking up over his shoulder. The drawing was made for the Sacristy of San Paolo, Maggiore, Naples., Naples, Italy, 1689-94, figures, Drawing, Drawing

Anonymous / 'The dead Christ supported by an Angel'. XVIII century. Pencil, Pencil, Wash on paper. Museum: Museo del Prado, Madrid, España.

Attributed to Vincenzo Tamagni, Two Horsemen and Two Male Nudes Two Horsemen and Two Male Nudes

Male Figure Seated on a Column 18th century Anonymous, Italian, first half of the 18th century Italian. Male Figure Seated on a Column 340210

Silver pencil drawing by an anonymous artist showing five figures in handshake, executed in gray tones on gray primed paper, dated circa 1500-1510, emphasizing gesture and interaction.

Two Partially Draped Male Figures in a Pendentive 1603-84 attributed to Giovanni Battista Carlone Italian. Two Partially Draped Male Figures in a Pendentive 338397

A caltnadel artwork by Andrea Meldolla from circa 1548-1550 depicting Saint Andreas, showing the saint figure, iconography, and composition.

Della Bella, Stefano (dit Étienne de la Belle) (n.1610-05-18-D.1664-08-22), game of fables. Pygmalion. Thirty-nineteenth issue of a sequence of 52 pieces. (A. de Vesme 521; Dutuit 116) (main title), 1644. Etch. Petit Palais, Museum of Fine Arts of the City of Paris.

Two Horsemen and Two Male Nudes. Dimensions: overall: 29.3 x 21.7 cm (11 9/16 x 8 9/16 in.). Medium: pen and brown ink on laid paper. Museum: National Gallery of Art, Washington DC. Author: Attributed to Vincenzo Tamagni.

Three Dancing Nymphs and a Satyr 1702-88 Francesco Zuccarelli Italian. Three Dancing Nymphs and a Satyr 341422

Bacchus, 1740s, etching and engraving on laid paper, plate: 11.7 x 9.3 cm (4 5/8 x 3 11/16 in.), sheet: 13.5 x 10.7 cm (5 5/16 x 4 3/16 in.), Anton Maria Zanetti II (artist) Venetian, 1706 - 1778

Two Nudes Seen from Below (recto); Male Figure with Upraised Arm (verso) 1580-82 Pomarancio (Cristoforo Roncalli) Italian In 1981 Lawrence Turčić recognized the figures on the recto of this sheet as studies by Roncalli for two of the personifications of winds that appear in a ceiling fresco surrounding the circular field of an anemoscope in the Sala della Meridiana, Torre dei Venti of the Vatican Palace. The figures are preparatory studies for southerly winds, Auser Africus and Notabilicus, two of the personifications surrounding the circular field in the center of the ceiling which names the various winds and indicates the direction of their origin. The Torre dei Venti (Tower of the Winds), Gregory XIII's astronomical and meteorological observatory at the Vatican, was constructed between 1578 and 1580. The frescoed decoration of the rooms of the Tower, executed from 1580 to ca. 1582, was a collaborative artistic venture between Niccolò Circignani, the brothers Matthijs and Paul Bril a

Heads. Draughtsman: Schiavone (attributed to). Dating: 1520 - 1563. Measurements: h 97 mm × w 127 mm. Museum: Rijksmuseum, Amsterdam.

Marine Deity with Attendant Female Figure 1696-1770 Giovanni Battista Tiepolo Italian. Marine Deity with Attendant Female Figure. Giovanni Battista Tiepolo (Italian, Venice 1696-1770 Madrid). 1696-1770. Pen and brown ink, brush and brown wash, highlighted with white gouache, over black chalk. Drawings

Three Studies of Women (recto); Four Studies of Hands and a Counterproof of a Kneeling Young Man (verso); Abraham Bloemaert (Dutch, 1564 - 1651); 1620s; Red chalk heightened with white gouache; 25.1 × 17.1 cm (9 7,8 × 6 3,4 in.)

Adoration of the Shepherds, Antonio de' Dominici, Italian, ca. 1730-after 1800, Reddish-brown chalk on cream laid paper, In a rustic structure, Mary, semi-reclining, is adjusting a covering over the infant Christ, at center. The two are surrounded by marveling shepherds., Italy, ca. 1730, figures, Drawing, Drawing

Woman (Caritas) With three children.

Amphion Building the Walls of Thebes n.d. Giovanni Luigi Valesio Italian. Amphion Building the Walls of Thebes 380566 Artist: Giovanni Luigi Valesio, Italian, 15831633, Amphion Building the Walls of Thebes, n.d., Pen and brown ink, sheet: 9 1/2 x 7 3/16 in. (24.2 x 18.2 cm). The Metropolitan Museum of Art, New York. Joseph F. McCrindle Collection, Bequest of Joseph F. McCrindle, 2008 (2009.31.3)

Lying pan with a grape voucher, Jan de Bisschop, after Giovanni Angelo Montorsoli, after Cornelis van Poelenburch, c. 1664 - in or after 1669 print paper etching (story of) Pan

Ink drawing by Bartolomäus Spranger depicting Venus and Amor riding a dolphin, executed in black-brown ink over coal or black chalk, lavated brown and highlighted in white, around 1580-1585.

Anonymous / 'The Immaculate Conception'. XVIII century. Grey-brown wash, Pencil, Pencil ground on dark yellow paper. Museum: Museo del Prado, Madrid, España.

Study for a Seated Prelate (Saint Gregory the Great). Artist: Carlo Maratti (Italian, Camerano 1625-1713 Rome). Dimensions: 15-3/8 x 10-1/4 in. (39.1 x 26.0 cm). Date: 1685-86.The drawing represents a study, with slight variations, for the seated figure of Saint Gregory the Great that appears at right on 'The Dispute of the Doctors of the Church over the Immaculate Conception', painted by Carlo Maratti and installed as the main altarpiece of the Cybo chapel in the church of Santa Maria del Popolo, Rome. Maratti made several studies for this painting, which results completed and mounted on the altar in 1686. The Metropolitan Museum possesses two designs for the whole composition (inv. nos. 63.18 and 62.137), while a third one, made in pen and ink over red chalk, is in the Museum Kunst Palast, Düsseldorf (inv. FP 1131; see Sonja Brink et al., 'Auf Papier,' 2009, no. 94). As proven by the first Museum's study (inv. 63.18) and a further drawing in Windsor Castle (Royal Library inv. RL 40

A pair of cupids , Cupids, Hugging. Thomas Rowlandson (1756-1827). Prints and Drawings

The Holy Family ca. 1510-20 Jan Gossart (called Mabuse) Netherlandish In this drawing, Gossart depicted the Holy Family sitting on a bench next to a tree, of which we can see only the trunk. The Virgin Mary dangles the naked Christ Child on her lap as he turns his head to look at us. Next to them is Joseph, who offers Mary a flower. Gossart paid a great deal of attention to the drapery folds. Their detailed execution and almost sculptural quality are in contrast to the sketchier, less-worked-out figures. In the background, faint lines seem to indicate first thoughts for a possible architectural setting. The exquisite drawing might have been a preliminary study for an unidentified painting or print. Another possibility is that the drawing was meant to be an independent work, but for an unknown reason the artist left it unfinished. Among the most technically virtuous artists of the early sixteenth century and one of the earliest exponents of Antwerp Mannerism, Gossart worked for a number

Fragment from Jupiter sends the three goddesses into the judgment of Paris; Putto with bunch of fruit, right. .

Photo production of a drawing by Giulio Romano, Cupido and Venus, Charles Thurston Thompson, After Giulio Romano, After Rafaël, c. 1852 - in or before 1857 photograph Windsor Castle paper albumen print Venus and Cupid (Cupid not being mere attribute)

Johannes the Baptist Wearing at the Lamb, Bernardino Campi (Attributed to), 1550 - 1591 drawing John the Baptist, sitting in a landscape and pointing to the Lamb. paper. chalk

Francisco de Goya y Lucientes / 'Dream 14. Dream of Lies and Fickleness'. 1796 - 1797. Indian ink wash, Black chalk, Pencil, Iron gall ink on dark yellow laid paper. Museum: Museo del Prado, Madrid, España.

Venus and Adonis. Artist: Simone Cantarini (Italian, Pesaro 1612-1648 Verona). Dimensions: Sheet: 4 5/8 × 6 7/8 in. (11.8 × 17.4 cm). Date: ca. 1637-1639. Museum: Metropolitan Museum of Art, New York, USA.

Toorenvliet, Jacob, Hercules and Deïanira, Hercules sits next to Deïanira and has his left hand around her shoulder. His left leg rests on her lap. Hercules' club lies on the ground. Sheet 29 recto from a sketchbook with 63 sheets., sketchbook sheet, drawings, Noord-Nederlands, 1640-07-01 - 1719-01-25, draughtsman, draftsman, 1701 - 1701, paper, papier, chalk, kras

Venus Blindfolding Cupid late 16th century School of Cambiaso Italian. Venus Blindfolding Cupid. School of Cambiaso (Italian, 1527-1585). late 16th century. Pen and brown ink, brown wash, on tan paper.. Drawings

The Triumph of History over Time. Artist: Anton Raphael Mengs (German, Ústi nad Labem (Aussig) 1728-1779 Rome). Dimensions: Sheet: 18 13/16 × 11 13/16 in. (47.8 × 30 cm). Date: 1771-1775 (). Museum: Metropolitan Museum of Art, New York, USA.

Holy Family. Artist: Anonymous, Italian, 18th century. Dimensions: 14-1/2 x 9-1/2 in. Former Attribution: Formerly attributed to Girolamo da Carpi (Girolamo Sellari) (Italian, Ferrara 1501-1556 Ferrara). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Study of legs, feet, and a young man leaning, Abraham Bloemaert, 1574 - 1651 drawing paper. chalk pen legs. foot. arms

Pencil drawing by Lucas Stipperger depicting Chronos, showing figure, gesture, and compositional arrangement.

The Good Samaritan. Artist: Gaspare Diziani (Italian, Belluno 1689-1767 Venice). Dimensions: 8 1/16 x 12 11/16in. (20.4 x 32.2cm). Date: 1689-1767. Museum: Metropolitan Museum of Art, New York, USA.

Rijn, Rembrandt van, Jupiter and Antiope: large plate, verso lower left, print, prints, Rembrandt f 1659, center lower, SC in an oval with the letters BRITISH MUSEUM DUPLICATE, height 139 mm, width 205 mm, Noord-Nederlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1659 - 1659, third quarter 17th century, paper, papier, etching, etchings, drypoint, dry needle, burin, plate tone, Work conception, Northern Netherlands, after own design by

Juno, Zeus and Aeolus 1675-1699 Italy. Pen and brown ink, on ivory laid paper, laid down on ivory laid paper . Pietro da Cortona

Sacrifice of Manoah. Possibly Michel Corneille (French, c. 1601-1664); or possibly Carlo Maratti (Italian, 1625-1713). Date: 1645-1713. Dimensions: 430 × 285 mm. Black chalk, on ivory laid paper, laid down on ivory laid card. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Time Seated, with Two Attendant Figures 1696-1770 Giovanni Battista Tiepolo Italian. Time Seated, with Two Attendant Figures 339355

The Holy Family with the Infant Saint John the Baptist (recto); Amorous Putti at Play; Head of a Bird (verso). Michelangelo Buonarroti (Italian, 1475 - 1564)

Allegory on the Zijndandel.Mercurius stands at a sitting woman to whose foot two children play. Design for a painting.

Franz Xaver Wagenschön's depiction of the Baptism of Christ using lead and chalk on paper.

Birth of Alexander. After Polidoro Caldara, called Polidoro da Caravaggio; Italian, c. 1499-c. 1543. Date: 1601-1700. Dimensions: 105 x 92 mm. Pen and brown ink with brush and brown wash, on ivory laid paper, laid down on tan wove paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

A red chalk drawing showing Bathsheba in a bath with two attendants beside her, while David observes from a palace window above.

Landscape male nude. .

Francesco Solimena depicts old martyrs on a slope receiving a palm branch from a putto, drawn in chalk before 1700.

Study for a Prometheus Bound (recto); slight sketch of head and shoulders of man in lead pencil (verso) 1615-73 Salvator Rosa Italian. Study for a Prometheus Bound (recto); slight sketch of head and shoulders of man in lead pencil (verso). Salvator Rosa (Italian, Arenella (Naples) 1615-1673 Rome). 1615-73. Pen, brown ink and lead graphite. Drawings

Red chalk sketch by Girolamo Macchietti depicting a central male nude stretched to the right, additional head and arm studies, and a pitcher on the left.

Studies for Five Figures of Angels Standing, and Seated on Clouds. Artist: Anonymous, Spanish, School of Seville, 17th century. Dimensions: 4-1/2 x 5-1/4 in. (11.4 x 13.3 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Allegorical Figures for a Ceiling Decoration 17th century Michel Corneille the Elder French Trained in the studio of Simon Vouet (French, 1590-1649), Corneille the Elder was one of the twelve original members of the Académie Royale de Peinture et de Sculpture, founded in Paris in 1648. He painted commissions for churches and décors for private homes. Perched on ornamental elements and seen from below, these softly modeled, draped figures were likely intended as part of a ceiling design.. Allegorical Figures for a Ceiling Decoration 337775

Three Nude Women 1600-1699 Italy. Red chalk on ivory laid paper, laid down on card . Workshop of Raphael

Design for a Medallion: Figure of a Woman, Hubert-François Gravelot, 1699-1773, French, active in Britain (1733-45), undated, Graphite and black charcoal on medium, slightly textured, beige laid paper mounted on medium, slightly textured, cream laid paper, with gold leaf, watercolor, pen in black and red ink, border lines, Mount: 11 1/8 × 7 7/8 inches (28.3 × 20 cm), Contemporary drawn border: 5 3/8 × 4 inches (13.7 × 10.2 cm), and Sheet: 3 5/8 × 2 1/2 inches (9.2 × 6.3 cm), design, figure (illustration), genre subject, medallion (medal), woman

Pen and ink drawing by Pirro Ligorio depicting Venus and Amor, showing figures, posture, and classical mythology subject matter.

Climbing Lion, Anonymous, 1550 - 1599 drawing Design for a banner. Florence paper. chalk. ink pen

The Rape of Ganymede, Additional, Specimens of Polyautography, 1804, 31.4 x 24.1 cm, Lithography

Christ Being Crowned with Thorns 1700-1740 Karl Dankwart Polish. Christ Being Crowned with Thorns 370852

Hercules and Antaeus, by Andrea Mantegna (1431-1506), drawing.

A winged putto flogging a satyr tied to a tree ca. 1625-1650 Attributed to Jusepe de Ribera (called Lo Spagnoletto) Spanish. A winged putto flogging a satyr tied to a tree 650833

Bacchic Putti 17th century Anonymous, French, 17th century French. Bacchic Putti 639424

Pencil drawing by Rudolf Weyr of a standing female figure holding a harp on transparent paper.

Air October 1, 1784 Francesco Bartolozzi Italian. Air. After Giovanni Battista Cipriani (Italian, Florence 1727-1785 Hammersmith (active London)). October 1, 1784. Etching and engraving, printed in color. William Palmer (British, active 1782-94). Francesco Bartolozzi (Italian, Florence 1728-1815 Lisbon). Prints

A red chalk study by Charles Le Brun depicting an angel figure, executed between 1640 and 1690.

A stone study by Martin Johann Schmidt depicting Archangel Michael, focusing on figure, posture, and compositional arrangement for religious context.

Sebastiano Ricci, Chronos Chronos

Vittorio Maria Bigari / 'The Virgin and Child'. Ca. 1745. White chalk, Red chalk on brown paper. Museum: Museo del Prado, Madrid, España.

Angel of the court depicted with trombones, drawn on yellow-brown tinted paper using red and white chalk, circa 1725.

Vertumnus and Pomona (), draughtsman: Abraham Bloemaert, 1574 - 1651, paper, brush, h 217 mm × w 190 mm

Follower of Bartholomaeus Spranger, Seated Nude with Drapery Seated Nude with Drapery

Saint Matthew. Correggio (Antonio Allegri) (Italian, about 1489 - 1534)

Study of a Nude Child. Date/Period: Ca. 1775. Drawing. White chalk, black chalk, sanguine and graphite on brown paper. Author: Francesco Saverio Mergolo.

Copy after Drawing by Carlo Maratta 1731-1783 Italy. Red chalk, on ivory laid paper, laid down on cream laid card . Francisco Vieira de Mattos, the elder

Hercules and Deeanira. Hercules is next to Deeanira and has his left hand beaten her shoulder. His left leg is on her lap. On the ground lies the clubs of Hercules. Leaf 29 Recto from a sketchbook with 63 sheets.

Charity. Dimensions: overall (lunette): 24.5 × 11.2 cm (9 5/8 × 4 7/16 in.) mount: 34.61 × 19.37 cm (13 5/8 × 7 5/8 in.). Medium: pen and brown ink with brown wash on gray paper mounted to brown laid paper. Museum: National Gallery of Art, Washington DC. Author: Benjamin West.

The Holy Family Resting on the Flight into Egypt 1600-1617 France. Jacques Bellange was among the most celebrated painters at the court of Lorraine, based 150 miles north of Paris in the sity of Nancy. Few of his paintings have survived, however, and he is appreciated today primarily for his drawings and etchings. The graceful elegance of the figures and the chiaroscuro effect of the brown wash in this drawing are trademarks of Bellangeís style.. Pen and brown ink and brush and brown wash, with charcoal, heightened with white gouache, over black chalk, on cream laid paper . Jacques Bellange

Two putti. A putto pulls his sword, next to him lies his helmet on a cloud. Another putto holds a laurel wreath and a lance in his hands.

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