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Three drawings by the sixteenth-century Bolognese

Three drawings by the sixteenth-century Bolognese painter Prospero Fontana, connected with a newly discovered fresco cycle in a long-neglected Renaissance villa Rome, are discussed in a fascinating article in the current issue of MASTER DRAWINGS (Vol. 61, no.3). Giulia Daniele, a post-doctoral researcher at the Scuola Normale Superiore in Pisa, describes how known Fontana drawings in the Louvre and British Museum help confirm that the frescos were indeed by the artist. Despite the fact that the rooms were still partially covered, Daniele notes in her article, “by looking at them carefully, I was able to recognize the intervention (until now unknown) of…Prospero Fontana (1509–1597) in the Hall of the Gods; this can be reasonably assigned to the end of 1549.”
Subscribe now (https://masterdrawings.org/subscribe/) and start reading right away. Digital access is free with your individual subscription. The platform offers enhanced options for interacting with our content.
(Image: Prospero Fontana, “Bacchanal,” Musée du Louvre, Département des Arts Graphiques
Paris)
#masterdrawings #italiandrawings #giuliadaniele #prosperofontana

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/plugins/instagram-feed/img/placeholder.png?w=900&ssl=1" alt="Three drawings by the sixteenth-century Bolognese painter Prospero Fontana, connected with a newly discovered fresco cycle in a long-neglected Renaissance villa Rome, are discussed in a fascinating article in the current issue of MASTER DRAWINGS (Vol. 61, no.3). Giulia Daniele, a post-doctoral researcher at the Scuola Normale Superiore in Pisa, describes how known Fontana drawings in the Louvre and British Museum help confirm that the frescos were indeed by the artist. Despite the fact that the rooms were still partially covered, Daniele notes in her article, “by looking at them carefully, I was able to recognize the intervention (until now unknown) of…Prospero Fontana (1509–1597) in the Hall of the Gods; this can be reasonably assigned to the end of 1549.” Subscribe now (https://masterdrawings.org/subscribe/) and start reading right away. Digital access is free with your individual subscription. The platform offers enhanced options for interacting with our content. (Image: Prospero Fontana, “Bacchanal,” Musée du Louvre, Département des Arts Graphiques Paris) #masterdrawings #italiandrawings #giuliadaniele #prosperofontana" data-recalc-dims="1" />

“Call and Response: American Watercolors in Conv

“Call and Response: American Watercolors in Conversation,” @artsmia features a selection of watercolors by American artists from the Minneapolis Institute of Art’s collection. The works, on view until March 3, 2024, were chosen for their variety of approaches and arranged to “speak” to one another with shared content or styles. Artists represented include Henry W. Bannarn, Charles Burchfield, John E. Costigan, Childe Hassam, Kenji Nakahashi, and Agatha Wojciechowsky, among others.
(Image: John E. Costigan, “Bathers,” watercolor on paper, Minneapolis Institute of Art)
#masterdrawings #callandresponse #amercianwatercolorsinconversation

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/plugins/instagram-feed/img/placeholder.png?w=900&ssl=1" alt="“Call and Response: American Watercolors in Conversation,” @artsmia features a selection of watercolors by American artists from the Minneapolis Institute of Art’s collection. The works, on view until March 3, 2024, were chosen for their variety of approaches and arranged to “speak” to one another with shared content or styles. Artists represented include Henry W. Bannarn, Charles Burchfield, John E. Costigan, Childe Hassam, Kenji Nakahashi, and Agatha Wojciechowsky, among others. (Image: John E. Costigan, “Bathers,” watercolor on paper, Minneapolis Institute of Art) #masterdrawings #callandresponse #amercianwatercolorsinconversation" data-recalc-dims="1" />

“Drawing the Line: Michelangelo to Asawa,” @le

“Drawing the Line: Michelangelo to Asawa,” @legionofhonor, Fine Arts Museum in San Francisco, explores the expressive possibilities of the outline through rarely seen works by five decades of artists. Drawn from the museum’s works on paper collection, the selection ranges from minimal line drawings by Michelangelo and Andy Warhol to fluid figure studies by Pablo Picasso and Ruth Asawa. Also featured in the exhibition is Paul Gauguin’s large-scale portrait L’Arlésienne (Madame Ginoux), on display for the first time in more than a decade. Visit this fascinating display of works before February 25, 2024.
(Auguste Edouart, “The Garves Family,” cut-out paper silhouettes painted black and mounted on heavy wove paper, Legion of Honor, Fine Arts Museums of San Francisco)
#masterdrawings #drawingtheline #michaelangelotoasawa #ruthasawa #gauguin #l’arlésienne

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/plugins/instagram-feed/img/placeholder.png?w=900&ssl=1" alt="“Drawing the Line: Michelangelo to Asawa,” @legionofhonor, Fine Arts Museum in San Francisco, explores the expressive possibilities of the outline through rarely seen works by five decades of artists. Drawn from the museum’s works on paper collection, the selection ranges from minimal line drawings by Michelangelo and Andy Warhol to fluid figure studies by Pablo Picasso and Ruth Asawa. Also featured in the exhibition is Paul Gauguin’s large-scale portrait L’Arlésienne (Madame Ginoux), on display for the first time in more than a decade. Visit this fascinating display of works before February 25, 2024. (Auguste Edouart, “The Garves Family,” cut-out paper silhouettes painted black and mounted on heavy wove paper, Legion of Honor, Fine Arts Museums of San Francisco) #masterdrawings #drawingtheline #michaelangelotoasawa #ruthasawa #gauguin #l’arlésienne" data-recalc-dims="1" />

Young scholars, gain international recognition for

Young scholars, gain international recognition for your research on drawings. Don’t miss the opportunity to win the $5,000 Ricciardi Prize. The winning submission will be featured in the journal next year with the opportunity to present your topic at our annual symposium. Research needs to be in article form and is due by November 15, 2023.
Visit https://masterdrawings.org/ricciardi-prize/ for more information about requirements and how to apply.
(Image: Honoré Daumier, “Art Lovers,” gray and black wash, charcoal, and graphite, with watercolor, Cleveland Museum of Art)
#masterdrawings #ricciardiprize #drawingresearchprize #youngscholars

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/plugins/instagram-feed/img/placeholder.png?w=900&ssl=1" alt="Young scholars, gain international recognition for your research on drawings. Don’t miss the opportunity to win the $5,000 Ricciardi Prize. The winning submission will be featured in the journal next year with the opportunity to present your topic at our annual symposium. Research needs to be in article form and is due by November 15, 2023. Visit https://masterdrawings.org/ricciardi-prize/ for more information about requirements and how to apply. (Image: Honoré Daumier, “Art Lovers,” gray and black wash, charcoal, and graphite, with watercolor, Cleveland Museum of Art) #masterdrawings #ricciardiprize #drawingresearchprize #youngscholars" data-recalc-dims="1" />

A sheet traditionally attributed to Correggio is a

A sheet traditionally attributed to Correggio is actually a drawing by sixteenth-century Northern Italian Mannerist artist Bernardino Gatti, called il Sojaro, posits scholar Per Widén. The in-depth analysis of the drawing, appearing in the current issue of MASTER DRAWINGS (Vol. 61, no.3), argues for a connection with Gatti’s fresco of the Ascension of Christ in the church of S. Sigismondo, Cremona.
Widén, an assistant professor and archivist at Uppsala University as well as a researcher at the Nationalmuseum in Stockholm, provides a detailed analysis of the sheet’s relationship to other drawings associated with the fresco and other projects. He also shares important insights about the drawing’s provenance.
Subscribe now (https://masterdrawings.org/subscribe/). Digital access is free with your individual subscription. The platform offers enhanced options for interacting with our content.
(image: Bernardino Gatti, “Study of a Standing Apostle,” Uppsala, University Library, Sweden)
#masterdrawings #italiandrawings #italianmanneristdrawings #berardinogatti #perwidén

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/plugins/instagram-feed/img/placeholder.png?w=900&ssl=1" alt="A sheet traditionally attributed to Correggio is actually a drawing by sixteenth-century Northern Italian Mannerist artist Bernardino Gatti, called il Sojaro, posits scholar Per Widén. The in-depth analysis of the drawing, appearing in the current issue of MASTER DRAWINGS (Vol. 61, no.3), argues for a connection with Gatti’s fresco of the Ascension of Christ in the church of S. Sigismondo, Cremona. Widén, an assistant professor and archivist at Uppsala University as well as a researcher at the Nationalmuseum in Stockholm, provides a detailed analysis of the sheet’s relationship to other drawings associated with the fresco and other projects. He also shares important insights about the drawing’s provenance. Subscribe now (https://masterdrawings.org/subscribe/). Digital access is free with your individual subscription. The platform offers enhanced options for interacting with our content. (image: Bernardino Gatti, “Study of a Standing Apostle,” Uppsala, University Library, Sweden) #masterdrawings #italiandrawings #italianmanneristdrawings #berardinogatti #perwidén" data-recalc-dims="1" />

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