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Michelangelo Buonarroti
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| b Caprese 1475 d Rome 1564 | ||||
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Ignudo new16/Michelangelo Buonarroti-495763.jpg ID de tableau:: 44264 |
Oil on canvas | ||
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Michelangelo Buonarroti
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| b Caprese 1475 d Rome 1564 | ||||
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Ignudo new16/Michelangelo Buonarroti-957999.jpg ID de tableau:: 44265 |
Oil on canvas | ||
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Michelangelo Buonarroti
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| b Caprese 1475 d Rome 1564 | ||||
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Ignudo new16/Michelangelo Buonarroti-763936.jpg ID de tableau:: 44267 |
Oil on canvas | ||
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Michelangelo Buonarroti
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| b Caprese 1475 d Rome 1564 | ||||
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Ignudo new21/Michelangelo Buonarroti-887954.jpg ID de tableau:: 62915 |
1509 Fresco Cappella Sistina, Vatican The picture shows the head of the Ignudo at the upper right corner of 1he Drunkenness of Noah (above the Delphic Sibyl). Artist: MICHELANGELO Buonarroti Title: Ignudo (detail) Date: 1501-1550 Italian , painting : religious | ||
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Michelangelo Buonarroti
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Ignudo new21/Michelangelo Buonarroti-548833.jpg ID de tableau:: 62918 |
Vatican The picture shows the Ignudo at the lower left corner of the Sacrifice of Noah (above the Erythraean Sibyl). The ignudi in the third bay are painted with greater fluency and the modeling is more delicate - with greater attention being paid to the reflections and the subtle effects of light and shade - than those of the first bay. Moreover, their poses are no longer wholly symmetrical. In fact, in the two figures on the left, only the lower part of the body is symmetrical, while the twisting of the bust and the head are expressions of contrapposto. The right arms of both are, however, extended toward the centre in order to hold the ribbon supporting the medallion. On the other hand, the ignudi on the right lean out toward the exterior, and the only difference between them appears to be the position of their arms. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious | ||
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