Die Anbetung der Heiligen Drei Könige. Künstler: Correggio (Antonio Allegri) (Italienisch, Correggio, aktiv von 1514 - gestorben 1534 Correggio). Abmessungen: 11-7/16 x 7-3/4 in. (29,1 x 19,7 cm). Datum: Ca. 1517. Es ist möglich, Correggio diese Zeichnung als autonome Arbeit in sich selbst erzeugt, als stolzer Display seines Bauzeichnen, anstatt als eine vorbereitende Studie für eine Malerei, die Zustand der Oberfläche Ausarbeitung des Designs und der Grad der Fertigstellung der Details gegeben. Diese werden wie es kann, keiner der späteren Zeichnungen des Künstlers würde ein ähnlich fertigen Zusammensetzung aufweisen. A. E. Popham erste verglichen.
Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel
The Adoration of the Magi. Artist: Correggio (Antonio Allegri) (Italian, Correggio, active by 1514-died 1534 Correggio). Dimensions: 11-7/16 x 7-3/4 in. (29.1 x 19.7 cm). Date: ca. 1517. It is possible Correggio produced this drawing as an autonomous work in and of itself, as a proud display of his draftsmanship, rather than as a preparatory study for a painting, given the state of surface elaboration of the design and the degree of completion of the details. Be this as it may, none of the artist's later drawings would exhibit a similarly finished composition. A. E. Popham first compared the Metropolitan Museum sheet to the motif at left in Correggio's painting of the Adoration of the Magi, of ca. 1517, today in the Pinacoteca di Brera, Milan. The drawing and the Brera painting have been reunited for the first time in their modern history for two exhibitions done in 2008 ('Correggio e l'antico, ' Galleria Borghese, Rome) and 2015 ('Il Primato del Disegno, ' Pinacoteca di Brera, Milan.) The relatively finished Metropolitan drawing has been cut on the left and right borders. It presents the composition of the Adoration in a relatively tall, vertical solution of the design, in contrast to the arrangement of the subject in the Brera painting, which is in a horizontal format and in which the disposition of the figures is in a mirror orientation. The group of the Virgin with the seated Christ Child on her lap is seen in a profile view in the Metropolitan drawing, and seems more monumental than the relatively frontal design of these figures in the Brera painting. Only about 100 drawings by Correggio are extant, and his early drawings are particularly rare. The Metropolitan sheet can be dated around 1517-19, because of its relationship to his Brera painting and the monumentality of form of certain figures which anticipates his Camera di San Paolo frescoes of ca. 1519. In particular, the delightfully chubby, Raphaelesque seated Christ Child is quite unlike the holy infant
