AP®︎/College Art History
Course: AP®︎/College Art History > Unit 5
Lesson 3: Renaissance Art in Europe- Workshop of Campin, Annunciation Triptych (Merode Altarpiece)
- Brunelleschi, Pazzi Chapel
- Van Eyck, The Arnolfini Portrait
- Donatello, David
- Donatello, David
- Alberti, Palazzo Rucellai
- Alberti, Palazzo Rucellai
- Fra Filippo Lippi, Madonna and Child with two Angels
- A celebration of beauty and love: Botticelli's Birth of Venus
- The Last Supper
- The Last Supper
- Dürer, Adam and Eve
- Ceiling of the Sistine Chapel
- Ceiling of the Sistine Chapel
- Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso)
- Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso)
- Last Judgment (altar wall, Sistine Chapel)
- Raphael, School of Athens
- Raphael, School of Athens
- Grünewald, Isenheim Altarpiece
- Pontormo, The Entombment of Christ
- Cranach, Law and Gospel (Law and Grace)
- Titian, Venus of Urbino
Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso)
Met curator Carmen Bambach on the presence of genius in Michelangelo Buonarroti’s Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), c. 1510–11.
This is the most magnificent drawing by Michelangelo in the United States. A male studio assistant posed for the anatomical study, which was preparatory for the Libyan Sibyl, one of the female seers frescoed on the ceiling of the Sistine Chapel (Vatican Palace) in 1508-12. In the fresco, the figure is clothed except for her powerful shoulders and arms, and has an elaborately braided coiffure. Michelangelo used the present sheet to explore the elements that were crucial in the elegant resolution of the figure's pose, especially the counterpoint twist of shoulders and hips and the manner of weight-bearing on her toe. Recent research shows that this sheet of studies was owned by the Buonarroti family soon after Michelangelo's death. The "no. 21" inscribed on the verso of the sheet (at lower center) fits precisely into a numerical sequence found on many other drawings by the artist that have this early Buonarroti family provenance.
View this work on metmuseum.org.
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- Anyone else think her voice is amazing?(5 votes)
- Yes, and her accent as well, I wonder where she is from?(5 votes)
- How can Ms. Bambach know what Michelangelo was thinking or what those markings actually represent or is she assuming their meaning? I'm curious about her credentials? Pls and thnx(3 votes)
- It's possible that many people, including her, could've studied markings around that time frame or later and was using that knowledge for these particular markings too. Or she might have been assuming.(1 vote)
- what do you think the mask is.(1 vote)
- I listened to the entire video and heard nothing about a mask. Did you put your question in the wrong lesson?(3 votes)
- Why was red chalk used? And why did he do all the drawings on one sheet? Was there a limited amount of paper at the time?(1 vote)
- i think they only had red chalk during those times?(1 vote)