Neun Moses-Studien in Santa Maria della Steccata, Parma (recto); neun Eve-Studien in Santa Maria della Steccata, Parma (verso) 1503–40 Parmigianino (Girolamo Francesco Maria Mazzola) Italienisch die atemberaubenden Skizzen für die Figuren von Moses und Eva auf diesem gefeierten doppelseitigen Blatt sind Vorbereitung für zwei der vier großen fiktiven Statuen (in monochromer Freskenmalerei) innerhalb der ovalen Nischen, die sich am Fuß der beiden schmalen Soffits, an den Unterseiten der Stützbögen, befinden, Auf beiden Seiten des Tonnengewölbes der Kirche Santa Maria della Steccata in Parma. In den Fresken, Mose
2674 x 3817 px | 22,6 x 32,3 cm | 8,9 x 12,7 inches | 300dpi
Aufnahmedatum:
19. 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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Nine Studies of the Moses in Santa Maria della Steccata, Parma (recto); Nine Studies for the Eve in Santa Maria della Steccata, Parma (verso) 1503–40 Parmigianino (Girolamo Francesco Maria Mazzola) Italian The stunning sketches for the figures of Moses and Eve on this celebrated double-sided sheet are preparatory for two of the four large fictive statues (frescoed in monochrome) within the oval niches that are at the base of the two narrow soffits, undersides of the supporting arches, on either side of the barrel vault of the Church of Santa Maria della Steccata in Parma. In the frescoes, Moses is paired with Aaron on the underside of the arch toward the crossing, and Eve with Adam on that toward the apse. This drawing offers an amazing glimpse into Parmigianino's sketching process, for each idea unfolds with the kind of spellbinding facility that instantly speaks of genius. He explored at least nine poses for each figure, and also fluently moved about the figure from various angles of view. The viewing angles for the fictive marble sculptures in monochrome, with respect to the larger figures of the canephori, were crucially important in the overall illusionism of the frescoes. The enormity of the actual architecture space toward the crossing in the church offers multiple vantage points for Parmigianino's frescoes. In each of the sketches on the sheet, the figure is always seen carefully integrated within corresponding oval niche (the artist faintly indicated the borders of the soffit with parallel lines drawn in leadpoint). On the recto, the Moses figure in the bottom row, second from the left border - showing the irate patriarch with raised arms, about to shatter the tablets of the Ten Commandments - comes closest to the final form of the fresco. A softly drawn study in the Louvre (Popham no. 355) develops this active pose for Moses on a larger scale. Studies in the Louvre and in Parma showing Moses in a seated static pose, although more detailed and finished th
