Drei stehende Figuren (recto); sitzende Frau und ein männlicher Einsiedler in halber Länge (rückseitig) 1435–38 Stefano da Verona (Stefano di Giovanni d'Arbosio di Francia) Italienisch die drei stehenden Figuren auf dem Rekto dieses Blattes dienten vermutlich als Studien für eine 'Verkündigung', nach einem Stil der Ikonographie, der für die Steinskulpturen von Portalen in den französischen gotischen Kathedralen charakteristisch war. Das berühmteste Beispiel sind die freistehenden Skulpturen der 'Verkündigung und Heimsuchung' von ca. 1245-55 bei der Kathedrale von Reims (rechter Pfosten des zentralen Portals im Westen façade). In der Tat, das Volum

• Bildanbieter: MET/BOT / Alamy Stock Foto
• Bild-ID: 2HH9AYN
• Dateigröße: 28 MB (1,7 MB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 2710 x 3611 px | 22,9 x 30,6 cm | 9 x 12 inches | 300dpi
• Aufnahmedatum: 21. Januar 2022

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Dieses Bild ist ein gemeinfreies Bild. Dies bedeutet, dass entweder das Urheberrecht dafür abgelaufen ist oder der Inhaber des Bildes auf sein Urheberrecht verzichtet hat. Alamy berechnet Ihnen eine Gebühr für den Zugriff auf die hochauflösende Kopie des Bildes.

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Three Standing Figures (recto); Seated Woman and a Male Hermit in Half-length (verso) 1435–38 Stefano da Verona (Stefano di Giovanni d'Arbosio di Francia) Italian The three standing figures on the recto of this sheet probably served as studies for an 'Annunciation, ' according to a style of iconography that was characteristic in the stone sculptures of portals in French Gothic Cathedrals. The most famous example are the pairs of freestanding sculptures of the 'Annunciation and Visitation' of ca. 1245-55 at Reims Cathedral (right jamb of the central portal in the west façade). In fact, the volumetric modeling of the forms and the relative isolation of each standing figure on the sheet seems to confirm they were studied from sculptures in the round. At center and left is the same figure of a youth but portrayed from two different points of view, front and back, and these studies were probably intended for the annunciating Angel Gabriel, although he is not winged and the position of the arm has been changed. At right, the figure of the Annunciate Virgin reads a book, her traditional attribute. On the verso, the seated female figure may have been preparatory for a saint or a 'Madonna of Humility ' (the Virgin always sits on the ground in this iconography). The old bearded man at right, dressed in rags and holding an open book in his right hand and in his left a staff with a Tau-shaped handle and a bell, was preparatory for the hermit saint, Antony Abbot (or St. Antony the Great). It is possible that the seated beautiful woman at left on the verso was intended for a depiction of St. Elizabeth of Hungary (1207-1231), who is a symbol of charity for the Franciscan order and whose traditional attribute is an apron full of loaves of bread which were transformed into roses by a miracle. This would explain the elegant cloth with cascading small, round objects adorning the woman’s torso and lap in the Metropolitan drawing. In any case, this design for the seated woman on the