← Polidoro da Caravaggio

Ornamental Design with Amphore and Antique Style Armor (recto); Sketch with Two Figures (verso)

Original title: Ornamental Design with Amphore and Antique Style Armor (recto); Sketch with Two Figures (verso)

Artist

Polidoro da Caravaggio

Date

16th century

Medium

Pen and brown ink, over traces of black chalk or leadpoint; partial framing line (recto); graphite or leadpoint; pen and brown ink (verso)

Dimensions

5 7/8 x 9 15/16 in. (14.9 x 25.2 cm)

Credit line

Gift of Mrs. Regina Slatkin

kurzbeschreibung

An eagle perches atop an ornate amphora at the heart of an ornamental design drawn by Polidoro da Caravaggio in the 16th century; pieces of antique armor are arranged alongside. On the reverse of the same sheet is a sketch of two figures in lively poses. Both sides are executed in pen and brown ink, the recto over traces of black chalk or leadpoint.

Description

The recto is arranged symmetrically: the decorated amphora forms the core, with an eagle on its lid. Armor parts flank it on either side, including a shoulder piece whose surface is stippled with fine dots. The verso shows two figures in expansive poses, arms and legs defined with sweeping strokes. The ground remains blank, so the bodies stand out clearly. Brown and black tones dominate the sheet, coming from ink and graphite or chalk.

Context

Polidoro da Caravaggio, active roughly between 1499 and 1543, was an Italian Renaissance painter known above all for his facade decorations in Rome. This sheet likely grew out of his study of antique ornaments and armor, which he needed for his large wall decorations. It probably served as a design or model for more extensive works. Such studies after antique models were part of the standard repertoire of Renaissance artists.

Impact

Clean contours and the dotted structure of the armor give the sheet a detailed yet calm character. The animated figures on the reverse stand in tension with the strictly ordered recto and reveal the draftsman's range. Thus the double-sided sheet offers a glimpse into the workshop of a Renaissance master and his handling of antique forms.

Technique

For the recto the artist used pen and brown ink over remnants of black chalk or leadpoint, supplemented by a partial framing line. The verso was made with graphite or leadpoint and also pen and brown ink. The interplay of these media produced precise details and delicate gradations, as can be seen in the stippling of the armor.

AI-generated description text

Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)