michelangelo exhibition prospectuses - …€¦ · · 2013-04-15|works from casa buonarroti|...

|Casa Buonarroti|

Visiting the museum of the Casa Buonarroti arouses, first of all, the emotion of admiration for several early works by Michelangelo contained within its walls. But for those who pass through the main entrance of the lovely seventeenth century building, located at Via Ghibellina 70, Florence, it is even more interesting to relate the Michelangelo masterpieces housed there with the long story of the Buonarrotifamily.

The family did all it could to enlarge the dwelling and make it more attractive, while preserving a precious cultural heredity and assembling a precious art collection at the same time.The direct descendants of Michelangelo, who lived in the Casa Buonarroti for centuries, collected works of art of different genres and from different periods. The main additions to the collections can be ascribed to Michelangelo Buonarroti the Younger.

Mu

seum

www.casabuonarroti.it

|Works from Casa Buonarroti|

Vasari tells us that Michelangelo had burned "a largenumber of his own drawings, sketches and cartoons so that no one should see the labors heendured and the ways he tested his genius, and lesthe should appear less than perfect."

It is partly because of the artist's desire for perfection

that his graphic work is so rare and valuable.

Anyway, the collection of Michelangelo's drawings,

projects and artifacts owned by Casa Buonarroti is

today the largest in the world, with its over two

hundreds sheets, in spite of the serious inroads

that have been made into it.

Michelangelo BuonarrotiNude from the Back

circa 1504-1505pen and ink, traces of black pencil,

408x284 mminv. 73 F

Heritage

|Exhibition Proposals|

The Metamorfosi Association can offer your Institution the opportunity to expose the masterpieces from Casa Buonarroti, according to the style and choices of your Institution, with the scientific consultancy by Casa Buonarroti:

|ONE WORK| The

opportunity to expose one Michelangelo's masterpiece in agreement with us and Casa

Buonarroti Museum

|SIX MASTERPIECES|

6 Michelangelo's works, with the consultancy by Casa Buonarroti Museum

|BIG EXHIBITION| 30

or more works (up to 100 and over) with the concultancy by Casa Buonarroti Museum

Show

ONEW O R K

Exhibition Proposals

On

e Work

This drawing belongs to the group of Michelangelo's works known as presentation drawings. This definition, coined by Johannes Wilde, is applied to drawings made by the artist not for the purposes of design or study, but as gifts.

They are extremely elaborate images, with subjects that are complex, always profane and often

far from easy to interpret. And in fact the Cleopatra was executed for Tommaso Cavalieri,

the young Roman whom Michelangelo met in 1532 and who was the recipient of the largest

number and most extraordinary of these drawings. In 1562, when Michelangelo was still

alive, Tommaso Cavalieri was obliged to present the work to Duke Cosimo I dei Medici,

though he accompanied the gift with a letter in which he said that relinquishing the

drawing had caused him no less suffering than the loss of a child.

In fact, as the time approached to give up the work, he decided to have a copy made by an

"artist friend of his", as we are informed by a letter dated January 24, 1562, from Cosimo I's

ambassador to the papal court, Averardo Serristori. In 1614, however, Cosimo II had the

Cleopatra sent to Casa Buonarroti.

|Cleopatra|Analysis of the masterpiece 1|2

Ever since the time, in August 1988, when restoration work on the sheet revealed the existence of another drawing by Michelangelo on the verso, it has aroused considerable interest.

The removal of a layer of priming during the restoration brought to light another picture of

Cleopatra (inv. 2 Fv), identical in composition and with the same feature of the hair turning

into a serpent. But, in comparison with the noble and polished classicism of the drawing on

the recto, it is much more immediate and there is an expression of anguish on Cleopatra's

face. Alongside the ancient Egyptian queen, there is a barely sketched profile of an old man.

Michelangelo's works have been copied and translated into other media by many artist down

the centuries: the fact there are no copies of this verso leads us to assume that the drawing

was covered up very early on.

|Cleopatra|Analysis of the masterpiece 2|2O

ne W

ork

Michelangelo BuonarrotiCleopatracirca 1535black pencil,232 x 182 mminv. 2 Fr

Michelangelo BuonarrotiCleopatracirca 1535

black pencil,232 x 182 mm

inv. 2 Fv

|Cleopatra|

On

e Work

On

e Work

Fee: ..................................

The fee includes:

Art work transport

Art work insurance

Art work loan

Scientific consultancy by Casa Buonarroti

The Institution will provide:

Exhibition preparation

Three days hospitality for 3 persons (4 star hotel, full board) for the opening

Two days hospitality for 3 persons (4 star hotel, full board) for the closing and disassembly

Advertising

Timing:

The show will last from three to four months, in agreement with your Institution, Casa Buonarroti and Associazione Metamorfosi.

|Exhibition Fee|

SIXMASTERPIECES


Six Masterp

ieces

MICHELANGELO – SIX MASTERPIECES

This show, illuminated by the superb quality of six of Michelangelo’s drawings, sheds light on certain decisive moments in his career. This extraordinary pieces afford an all-around view of a master who left his mark on his times:

|Exhibition Description|

|1| MichelangeloStudy for the Head of the Madonna of the Doni Tondo1504(?)red pencil, mm. 200x172

|2| MichelangeloStudies of Nudes and of a Cornice for the Sistine Chapel Ceiling1508 -1509black pencil, pen, mm. 414x271

|3| MichelangeloStudies for Adam in “Expulsion from Paradise”1510black pencil, mm. 396x254

|4| MichelangeloStudy for the frame of the door between the vestibule and the Reading-Room of the Laurentian Library1510black pencil, mm. 396x254

|5| MichelangeloStudy of a male nude1532 - 1533red pencil, mm. 139x196

|6| MichelangeloPlan for the church of San Giovanni dei FiorentiniCirca 1559black pencil, pen and ink, watercolor and white lead, mm. 428x386

Six Masterp

ieces

The priceless sequence begins with the Study for the Head of the Madonna of the “DoniTondo”, one of the masterpieces from the collection at the Buonarroti House in Florence – one of his first red pencil practice – almost certainly drawn from a male model, according to a typical custom of that time.

The mysterious and evasive facial expression

of the character is still a matter of debate

between who identifies a study for the

Madonna of the Doni Tondo, the panel

picture featuring the Holy Family located

in the Uffizi Galley, and who interprets it

as a study for prophet Jonah in the Sistine

Chapel ceiling.

1|6

Study for the Head of the Madonna of the Doni Tondo

1504(?)red pencil, mm. 200x172

|Analysis of the works|

Six Masterp

ieces

The two following drawings evoke the great and lonely exploit of the Sistine Chapel.

In the Studies of Nudes and of a Cornice for the

Sistine Chapel Ceiling, it is likely that the study

for a cornice was executed first, decorated with

shell and acorn motifs, the latter being present in

the emblem of Della Rovere family, from which

came the pope who commissioned the work,

Julius II.

This motif was not used for the large ceiling cornice,

but in the frames that outline the spandrels and

lunettes.


Studies of Nudes and of a Cornice for the

Sistine Chapel Ceiling1508 -1509

black pencil, pen, mm. 414x271

2|6

Six Masterp

ieces

The drawing Studies for Adam in “Expulsion from Paradise” shows tree ideas for the torso of Adam and, down on the left, two more detailed sketch for the right hand of the same character.

Michelangelo here mainly focuses on the motion of

hands and arms that, as we are told by Luciano

Berti, shows more than enough a touching

expressiveness “with no need to see the face”.

Studies for Adam in “Expulsion from Paradise”

1510black pencil, mm. 396x254


3|6

Six Masterp

ieces

The show offers a piece that testifies the experience of Michelangelo’s as an architect: Study for the frame of the Door between the vestibule and the Reading-Room of the Laurentian Library.

In the vestibule, columns were set in recesses and

appeared to sit on consoles, while the blind

aedicules in the wall-panels between the orders

were designed with shafts tapering towards the

bases.

The vestibule stair (completed by Ammannati after

1559) is extraordinary, with two external flights

and a curious arrangement of steps. The whole

structure occupies the centre of the vestibule,

and was the very first grand stair of the

Renaissance period to be treated as a major

feature of architectural design. Study for the frame of the door

between the vestibule and the Reading-Room of the

Laurentian Library1510

black pencil, mm. 396x254

4|6


Six Masterp

ieces

In the Study of a Male Nude, the masculine figure is vigorously drawn in red chalk, with a rapidly sketched head, and it was connected in 1953 by Johannes Wilde to a group of preparatory studies for a portrayal of the Resurrection of Christ on which Michelangelo spent much time between 1532 and 1533.

Many have agreed with this hypothesis,

even though there are also different

suppositions: it was originally thought,

for example, that it may have been

intended for a tympanum to be frescoed

in the New Sacristy of San Lorenzo in

Florence, on which Michelangelo

worked for ten years, as from 1524.

Study of a male nude1532 - 1533

red pencil, mm. 139x196


5|6

Six Masterp

ieces

The show ends with an architectural masterpiece of the master. In 1559 the eighty-four-year-old Michelangelo was asked to design a church for the Florentine community in Rome.

This splendid work from Michelangelo's old age represents the last stage in the design, with an altar at the centersurrounded by eight pairs of columns and with chapels at the four corners: this is the design that was chosen and of which the artist's pupil Tiberio Calcagni made a copy to submit to Cosimo dei Medici in 1560. The drawing shows the extent to which Michelangelo modified his designs as he went along. In fact the blackish appearance of some parts of the plan, so different from the central part with the high altar, marks the points where Michelangelo corrected the drawing over and over again, working with pen and brush on top of the still wet white lead. The complex construction of this plan appears to based on a series of circles drawn with compasses, whose traces are still visible.

Michelangelo's project for San Giovanni dei Fiorentini was never carried out. The construction of the church, which is still standing, was begun in 1582 by Giacomo dellaPorta, who gave it a Latin-cross plan, and not completed until 1614, under the supervision of Carlo Maderno.

Plan for the church of San Giovanni dei Fiorentini

Circa 1559black pencil, pen and ink,

watercolor and white lead, mm. 428x386

6|6


|Exhibition Fee|

Six Masterp

ieces

Fee: ........................

The fee includes:

Art works transport

Art works insurance

Art works loan






Advertising

Timing:

The show will last from three to four months, in agreement with your Institution, Casa Buonarroti and Associazione Metamorfosi.

BIGEXHIBITION


Big E

xhibition

“Via Ghibellina” is an historical street in Florence city center. Ancient houses and buildings overlook on it. At number 70, in a seventeenth-century noble building whose name evokes important and deep memories, you can see “Casa Buonarroti”. Behind the stern façade, there is an institution intent to carry out the role that its traditions dictate, locally and also nationally and internationally. Obviously, its best-known feature is the Museum containing some Michelangelo's masterpieces, including the two symbols of Casa Buonarroti: the “Madonna dellaScala” and the “Battaglia dei Centauri” which were done in

|Exhibition Description|

Florence by Michelangelo, when he was very young. The first masterpiece is the proof of a detailed study of Donatello; the second one comes from the passion for classical art. The Museum also owns a rich collection of paintings, sculptures, ceramics, archaeological artifacts which was collected by Buonarroti family along the centuries; it holds the widest collection of Michelangelo's drawings in the world and the valuable documents of the hundred-year-old Buonarroti family Archive. Promoting the knowledge of this extraordinary heritage is one of the main purposes of the proposed exhibition.

MICHELANGELO BETWEEN FLORENCE AND ROME

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FIRST SECTION: Portraits of Michelangelo

|Michelangelo between Florence and Rome|

The exhibition opens with a series of portraits of the Artist, accompanied by witness accounts (both hand-written and printed) of his poetic activities: physical representation and poetic expression arranged side-by-side to depict a profile that goes well beyond the exterior appearance of the Tuscan master.

Jacopino del ConteFlorence 1510 - Rome 1598

Portrait of Michelangeloaround 1523

tablet,.98,5x68 cmFlorence, Casa Buonarroti, inv. Gallerie 1890, n. 1708

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The second section of the exhibition describes the Artist's relationship with the Florentine Republic under Pier Soderini, who in the early 16th commissioned the "David" and the "Battle of Cascina (Battaglia di Cascina)" from the young Michelangelo, whose political passions led him to side against the Medici faction during the tumultuous period between 1527 and 1530.

Michelangelo(Caprese 1475 - Rome 1564)

Fortification plan for the Porta al Prato di Ognissanti

1529red pencil, pen, brown water paintings,

388 x 558 mm.Florence, Casa Buonarroti, inv. 14 A


SECOND SECTION: Michelangelo and the Florentine Republics

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xhibition

The third section gives an insight into a dramatic moment of the Tuscan genius human and artistic experience: his tormented relations with his clients, the works completed and the unfulfilled projects of the San Lorenzo workshop in Florence. The exhibition affords the visitor a closer look at the circumstances surrounding the façade of the basilica of San Lorenzo, vainly pursued by the artist through three stages, as represented by three of his sketches. It also follows the steps that brought the New Sacristy to its current layout, as well as the long, complex gestation of the LaurentianLibrary. Michelangelo

(Caprese 1475 - Rome 1564)First plan for the façade of San Lorenzo

1516black pencil, pen, brown water paintings,

724x870 mm.Florence, Casa Buonarroti, inv. 45 A


THIRD SECTION: Michelangelo and the San Lorenzo Factory

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In the fourth section, Michelangelo autographed drawings evoke the adventure of the Sistine Chapel with the 16th century works of various authors - including a priceless miniature depicting "the Last Judgement (Giudizio finale)" before it was notoriously censored - and 18th century prints.


Masculine face for the Sistine Chapel1509-1510

red pencil, 125x142 mm.Florence, Casa Buonarroti, inv. 47 F


FORTH SECTION: Michelangelo and the Sistine Chapel

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xhibition

The exhibition concludes with an overview of the Roman architectural drawings of the Artist in his later years, from the dome of St Peter's to the urban planning of the Capitoline Hill. This is the opportunity to expose some of Michelangelo's graphical masterpieces, i.e. the study of San Giovanni dei Fiorentini Church and the Porta Pia projects. The relationship between Michelangelo and Casa Buonarroti is so deep and durable that it can be expected to be perpetual: during three centuries after his death - when his descendants lives in “Via Ghibellina” building – the vicissitudes of the its ownership never did scratched the strong memory of the Artist.


Study for Porta Pia and study of a figureapproximately 1561

black pencil, penna, brown water paintings and white lead, 442x282 mm

Florence, Casa Buonarroti, inv. 106 A


FORTH SECTION: His Old Age Roman Architectures

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xhibition

CONCLUSION

His shadow drives the visitor and accompanies “Casa Buonarroti” in its daily work. This is the starting point to understand how the proposed exhibition can draw a portrait of Michelangelo using “Casa Buonarroti”-owned works only, including about twenty drawings that are masterpieces in Michelangelo's graphical production. But it is also the wishes, for who will accept this “invite”, to feel the same sensation of those going through the doot of “Via Ghibellina”.

Some other famous masterpieces from the show:

Madonna and ChildNude from the Back Studies for the head of Leda


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xhibition

First Section | Portraits of Michelangelo

|List of Works|

1|Giuliano Bugiardini Florence 1475-1554Portrait of Michelangelo1522canvas, 58x45,5 cm.Florence, Casa Buonarroti, inv. 65

2| Sigismondo FantiFerrara, documented from 1514 to 1527Triumph of fortuneVenice, 1527Milan, Library of Giovanni Agosti

3) Jacopino del ConteFlorence 1510 - Rome 1598Portrait of Michelangeloaround 1523tablet,.98,5x68 cmFlorence, Casa Buonarroti,

4) Giorgio GhisiMantova 1520-1582Portrait of Michelangelo1545-1565chisel, 268x212 mm.Florence, Casa Buonarroti, inv. 785

5| Luca GauricoGauro, 1475 – Rome 1558Tractatus AstrologicusVenice 1552Rome, Ancient library of the astronomical observatory, XII.B.21

6| Leone Leoni(Arezzo 1509 - Milan 1590) Medallion of Michelangelo1561lead, 63 mm diameterFlorence, Casa Buonarroti, inv. 611

7| Daniele Ricciarelli da Volterra(Volterra 1509 – Rome 1566)Portrait of Michelangelo1564 - 1566bronze (head) and greyish black marble (bust), 58 cm highRome, Musei Capitolini, inv.1165

8| Michelangelo(Caprese 1475 – Rome 1564)Credo, perc’ancor forsemadrigal1536-1546pen, 225 x 155 mmFlorence, Buonarroti archive, XIII, 68

9| Poems by Michelagnolo Buonarroti collected by Michelangnolo his nephew Florence 1623Florence, The Casa Buonarroti Library, B.464.R.

10| The poems of Michelagnolo Buonarroti painter, sculptor, architect and Florentine poetRome 1817Florence, The Casa Buonarroti Library, B.466.R.

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|List of Works|

11| Poems of the aged Michelagnolo Buonarroti, commented by G.BiagioliParis 1821Florence, The Casa Buonarroti Library B.467.R.

12| Poems of Michelangelo Buonarroti painter, sculptor and architect without the autographs and published by Cesare Guasti academic of the CruscaFlorence 1863Florence, The Casa Buonarroti Library B.471

13| Die Dichtungen des Michelagniolo Buonarroti, coordinated by Carl FreyBerlin 1897Florence,The Casa Buonarroti Library B.490(open at the pages 278-279, with a with a gphotoengraving of Michelangelo's portrait by Francisco de Hollanda)

14| Ernst Steinmann(Jördenstorf 1866-Basulea 1934)Die Portraitdarstellungen des Michelangelomanuscript1913Florence, The Casa Buonarroti Library B.1478a.R.(open at the page with the reproduction of the Sigismondo Fanti's xylograph The Triumph of Fortune)

15| Ernst Steinmann(Jördenstorf 1866-Basulea 1934)Die Portraitdarstellungen des MichelangeloLeipzig 1913Florence, The Casa Buonarroti Library B.1479.G.F. (open to the pages 94-95, with the reproduction of FracescoBartololozzi's print of Michelangelo's portrait)

16| Federico Zuccari(Sant’Angelo in Vado 1542-Ancona 1609)Michelangelo observes the young Taddeo Zuccari while he paints the façade of Palazzo Mattei1570-1580leather, 81,5x172 cm.Rome, National Ancient Art Gallery of Palazzo Barberini , inv.1561

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Second Section | Michelangelo and the Florentine Republics

|List of Works|

17| Model of the cart for transporting the "David" from Piazza della Signoria to the Galleria dell'Accademia1873wood, 47x34,5x34,7 cm, maximum height 64 cm.Florence, Casa Buonarroti, inv. 698

18| Michelangelo(Caprese 1475 - Rome 1564)Studies of torsos for the "Battle of Cascina"1504-1505black pencil, pen, 285x213 mm.Florence, Casa Buonarroti, inv. 9 F

19| Michelangelo(Caprese 1475 - Rome 1564)Nude back1504-1505pen, traces of black pencil, 408x284 mm.Florence, Casa Buonarroti, inv. 73 F

20| Agostino Veneziano(Venice approximately 1490 - Rome approximately 1538)Group of men dressing (from Michelangelo)1524chisel, 331x441 mm.Rome, National Graphic Institute, Gabinetto Nazionale delleStampe, sc.13, 30754

21| Michelangelo(Caprese 1475 - Rome 1564)Fortification plan of a door1528-1529red pencil, pen, brown water paintings, 240x408 mm.Florence, Casa Buonarroti, inv. 25 A

22| Michelangelo(Caprese 1475 - Rome 1564)Fortification plan for the Porta al Prato di Ognissanti1529red pencil, pen, brown water paintings, 388 x 558 mm.Florence, Casa Buonarroti, inv. 14 A

23| Michelangelo(Caprese - Rome 1564)Studies for the head of the "Leda"1530 circaapproximately 1530red pencil, 355x269 mm.Florence, Casa Buonarroti, inv. 7 F

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|List of Works|

24| Michelangelo(Caprese 1475 - Rome 1564)First plan for the façade of San Lorenzo1516black pencil, pen, brown water paintings, 724x870 mm.Florence, Casa Buonarroti, inv. 45 A

25| Michelangelo(Caprese 1475 - Rome 1564)Secondo plan for the façade of San Lorenzo1517red pencil, 140X182 mm.Florence, Casa Buonarroti, inv. 47 A

26| Michelangelo(Caprese 1475 - Rome 1564)Third plan for the façade of San Lorenzo (on the right); Study of figures for Giulio II's tomb (on the left)1517black pencil, red pencil, pen (on the right); pen (on the left), 212x144 mm.Florence, Casa Buonarroti, inv. 43 A

27| Michelangelo(Caprese 1475 - Rome 1564)Plinths of the pillars for the New Sacristy1524red pencil, 282x213 mm.Florence, Casa Buonarroti, inv. 9 A

28| Michelangelo(Caprese 1475 - Rome 1564)Study of legs1524-1525pen, 172x196 mm.Florence, Casa Buonarroti, inv. 11 F

29| Michelangelo(Caprese 1475 - Rome 1564)Studies of a figure sitting for a Pope1524-1525pen, 157x115 mm.Florence, Casa Buonarroti, inv.21 F

30| Michelangelo(Caprese 1475 - Rome 1564)Madonna with childapproximately 1525black pencil, red pencil, white lead and ink, 541x396 mm.Florence, Casa Buonarroti, inv. 71 F

31| Michelangelo(Caprese 1475 - Rome 1564)Study for the door which goes from the entrance to the reading room of the Laurentian libraryapproximately 1526pen, brown water paintings, 346x239 mm.Florence, Casa Buonarroti, inv. 98 A

Third Section | Michelangelo and the San Lorenzo Factory

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|List of Works|

32| Michelangelo(Caprese 1475 - Rome 1564)Study for the door from the reading room to the entrance of the Laurentian libraryapproximately 1526black pencil, pen, brown water paintings, 403x253 mm.Florence, Casa Buonarroti, inv. 111 A

33| Bernardo Sansone Sgrilli(active in Florence from 1733 to 1755)according to a drawing by Giuseppe IgnazioRossi(he died in Florence before 1729)Ceinling of the Laurentian Libraryapproximately 1739chisel, 220x365 mm.in Giuseppe Ignazio Rossi, The Medici Library .-Laurentian-Architecture by MichelagnoloBuonarroti, Firenze 1739, ill. XIFirenze, Biblioteca della Casa Buonarroti, B.1414a.R.G.F.Florence, Casa Buonarroti Library, B.1414a.R.G.F.

34| Michelangelo(Caprese 1475 - Rome 1564)Study of a bench with a seated figure for the Laurentian library1524-1525pen, red pencil, 158x199 mm.Florence, Casa Buonarroti, inv. 94 A

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|List of Works|

35| G. TognettiThe Sistine Chapel before Michelangelo’s interferences (reconstruction)1899lithograph, 331x461 mm.Florence, Casa Buonarroti Library, B.1475.3.G.F.

36| XIX century artistVault of the Sistine Chapel (from Michelangelo)Before 1865chromolithograph, 460x1030 mminserted on the top of a contemporary Tuscan made tableFlorence, Casa Buonarroti, inv.619

37| Michelangelo(Caprese 1475 - Rome 1564)Masculine face for the Sistine Chapel1509-1510red pencil, 125x142 mm.Florence, Casa Buonarroti, inv. 47 F

38| Michelangelo(Caprese 1475 - Rome 1564)Study of an arm for the Sistine Chapel1509-1510black pencil, 98x131 mm.Florence, Casa Buonarroti, inv. 8 F

39-44| Giovanni Volpato(Angarano di Bassano 1735 - Rome 1803)The seers (from Michelangelo)post 1790etching and chisel, 560x410 mm.Florence, Casa Buonarroti, inv. 686-691

45| Michelangelo(Caprese 1475 - Rome 1564)Study for a resurrected ChristApproximately 1532black pencil, 331x198 mm.Florence, Casa Buonarroti, inv.66 F

46| Michelangelo(Caprese 1475 - Rome 1564)Study of a kneeling masculine nude figureApproximately 1540black pencil, 269x169 mm.Florence, Casa Buonarroti, inv. 54 F

47| XVI century artistTwo resurrected figures (from Michelangelo)post 1541red pencil on blue paper, 228x232 mm.Florence, Casa Buonarroti, inv. 20 F

Forth Section | Michelangelo and the Sistine Chapel

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|List of Works|

48| Ambiente di Giulio Clovio(Grizane 1498-Rome 1578)Last judgement (from Michelangelo)approximately 1570tempera on parchment, 32x23 cmFlorence, Casa Buonarroti, inv. Gallerie 1890, n. 810

49| Federico Zuccari(Sant’Angelo in Vado 1542-Ancona 1609)Taddeo Zuccari copies Michelangelo’s “Last Judgement”1570-1580leather, 44,6 x 16 cmRome, National Ancient Art Gallery of Palazzo Barberini, inv.1564

50| Ambrogio Brambilla(active in Rome from 1579 to 1599)Last judgement and scenes from the Sistine vault (from Michelangelo.from Giacomo Vivio)1588-1590chisel, 1700x1090 mm.Vatican City, Vatican Apostolic Library, Cabinet of the Prints and Drawings, Stampe IV, 126

51| Francesco Barbazza(active in Rome at the end of the XVIII century)according to a drawing by Francesco Panini(Roma 1738-1800)View of the Sistine Chapel1766etching, 485x690 mm.Florence, Casa Buonarroti, inv. 543

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|List of Works|

52| Giuseppe GalliMichelangelo’s so called home in Rome1825lithograph, 380x310 mm.Florence, owned by Pina Ragionieri

53| Paul Letarouilly(Coutances 1795-Paris 1855)Michelangelo’s so called home in Rome1853lithograph, 542x400 mm.in Paul Letarouilly, Édifices de Rome moderne ou recueildes palais, maisons, églises, couvents et autresmonuments publics et particuliers les plus remarquables, III, Liège 1853, ill.326Florence, Casa Buonarroti, inv 562

54| XIX century artistMichelangelo’s so called home in Romeapproximately 1850lithograph, 145x104 mm.Florence, Casa Buonarroti, inv. 555

55| Michelangelo(Caprese 1475 - Rome 1564)Plan of a buttress and a part of St. Peter's drumapproximately 1559pen, brown water painting, charcoal and red pencil, 558x387 mm.Florence, Casa Buonarroti, inv.31 A

56| Etienne Dupérac(Paris around 1525 - 1604)Section of the façade of St. Peter's in Rome according to Michelangelo's planapproximately 1569chisel, 332x468 mm.Florence, Casa Buonarroti, A.458a.R.G.F.

57| mid XVI century artistPerspective view with the equestrian statue of Marco Aureliochisel, 270x412 mm.Florence, Casa Buonarroti Library, A.458a.R.G.F.

58| Cornelis Bos(Bois-le-Duc around 1506 -Roma 1570)Statue of Marco Aurelio con the base by Michelangeloapproximately 1560chisel, 365x254 mm.Florence, Casa Buonarroti Library, A.458a.R.G.F.

59| Michelangelo(Caprese 1475 - Rome 1564)Plan for San Giovanni dei Fiorentini1559-1560black pencil, pen, brown water paintings, 417x376 mm.Florence, Casa Buonarroti, inv. 124 A

Fifth Section | His Old Age Roman Architectures

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|List of Works|

60| Michelangelo(Caprese 1475 - Rome 1564)Plans of buildings, front elevations and sketches for the Sistine Chapel approximately 1560black pencil, 179x227 mmFlorence, Casa Buonarroti, inv. 109 A

61| Michelangelo(Caprese 1475 - Rome 1564)Study for Porta Pia and study of a figureapproximately 1561black pencil, penna, brown water paintings and white lead, 442x282 mmFlorence, Casa Buonarroti, inv. 106 A

|Exhibition Fee|

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xhibition

Fee: €.............................

The fee includes:

Art works transport

Art works insurance

Art works loan






Advertising

Timing:

The show will last from seven to ten months, in agreement with your Institution, Casa Buonarroti and Associazione Metamorfosi.

AssociazioneMetaMorfosi

Contact

MELOS INTERNATIONAL sasViale Regina Margerita, 1600198 ROMAPer contatti Dante Mariti 3355269978Email : [email protected]

melosinternational.com

michelangelo exhibition prospectuses - …€¦ · · 2013-04-15|works from casa buonarroti|...

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