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alb3602771 Aubrey Beardsley. Artist: Frederick H. Evans (British, London 1853-1943 London). Dimensions: 13.6 x 9.7 cm (5 3/8 x 3 13/16 in.); 12.3 x 9.5 cm (4 13/16 x 3 3/4 in.). Date: ca. 1894.A major figure in British Pictorialism and a driving force of its influential society The Linked Ring, Frederick Evans is best known for his moving interpretations of medieval cathedrals rendered with unmatched subtlety in platinum prints. Until 1898, Evans owned a bookshop in London where, according to George Bernard Shaw, he was the ideal bookseller, chatting his customers into buying what he thought was right for them. In 1889, Evans befriended the seventeen-year-old Aubrey Beardsley, a clerk in an insurance company who, too poor to make purchases, browsed in the bookshop during lunch hours. Eventually, Evans recommended Beardsley to the publisher John M. Dent as the illustrator for a new edition of Thomas Malory's "Le Morte d'Arthur." It was to be Beardsley's first commission and the beginning of his meteoric rise to fame.Evans probably made these two portraits of Beardsley (1872-1898) in 1894, at the time the young artist was achieving notoriety for his scandalous illustrations of Oscar Wilde's "Salomé" and "The Yellow Book," two publications that captured the irreverent, decadent mood of the European fin de siècle. A lanky, stooped youth who suffered from tuberculosis and would die of the disease at the age of twenty-five, Beardsley, conscious of his awkward physique, cultivated the image of the dandy. Evans is reported to have spent hours studying Beardsley, wondering how best to approach his subject, when the artist, growing tired, finally relaxed into more natural poses. In the platinum print on the left, Evans captured the inward-looking artist lost in the contemplation of his imaginary world, his beaked profile cupped in the long fingers of his sensitive hands. In contrast, in the photogravure on the right, Beardsley peers out from under his smoothly combed fringe as if scrutinizing himself in an unseen mirror. Evans presented the portraits mounted as a diptych in a folder. Produced in an edition of twenty, the sets were probably issued as a commemorative tribute following the artist's death on March 16, 1898. Museum: Metropolitan Museum of Art, New York, USA. Author: FREDERICK H. EVANS.

alb3658563 Study for The Allegory of Spring. Artist: Federico Zuccaro (Zuccari) (Italian, Sant'Angelo in Vado 1540/42-1609 Ancona). Dimensions: sheet: 8 11/16 x 13 3/4 in. (22 x 35 cm). Date: 1579.Related to the frescoed ceiling of Federico's home in Florence ('Casa Zuccari'), this newly discovered drawing presents the season of Spring as a combat between Chastity and Love. In the central fountain, a virgin is seated beside a unicorn who purifies the fountain with his horn. At left, the chaste nymphs of the huntress Diana are seen bathing, while at right other nymphs dance around a statue of Flora and are attacked by cupids' arrows. All these features appear in the fresco, but the drawing contains additional figures-nymphs of Diana who break one cupid's bow and bind another, as well as cupids who fight with each other. The more complicated iconography of the drawing, together with its rectangular format-the fresco fields are irregularly shaped-and elaborate border, suggest that Federico may have planned to publicize this private project through an engraving.This drawing by Federico Zuccaro, a study for the Allegory of Spring, of 1577-79, was preparatory for the fresco-cycle in the ground floor of his house in Florence: this "Casa Zuccaro" at Via del Mandorlo constituted an extensive rebuilding of what had been the house of Andrea del Sarto, a property which had also belonged to the Sangallo Family. The monumental Metropolitan sheet by Federico Zuccaro (correctly identified before the time of its acquisition) exhibits an extensive underdrawing in black chalk, with numerous pentimenti, may illustrate one of the earliest ideas for the project since the design may have initially been intended for a wall, instead of a 'riquadro' on a vault or ceiling as in the final fresco, and since the composition is also much more complex (nearly confusing in its prolixity of elements), with respect to the final fresco and the other surviving preparatory drawings (in Rome, Lisboa, and Florence). (Carmen C. Bambach). Museum: Metropolitan Museum of Art, New York, USA.

alb3655455 Speculum Romanae Magnificentiae: Laocoon. Artist: Sisto Badalocchio (Italian, Parma 1585-after 1619 Rome or Parma). Dimensions: sheet: 14 15/16 x 11 5/8 in. (38 x 29.6 cm)mount: 18 7/8 x 14 3/4 in. (48 x 37.4 cm). Publisher: Agostino Veneziano (Agostino dei Musi) (Italian, Venice ca. 1490-after 1536 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 1561.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 2, plate 79 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.

alb3606146 Denis Diderot (1713-1784). Artist: Jean Antoine Houdon (French, Versailles 1741-1828 Paris). Culture: French, Paris. Dimensions: Height (bust): 15 3/4 in. (40 cm); Height (stand): 4 11/16 in. (11.9 cm). Date: 1773.A philosopher and man of letters, and one of the internationally famous exponents of the French Enlightenment, Denis Diderot is best known for the multivolume encyclopedia that he compiled and coedited with Jean Le Rond d'Alembert (1717-1783) between 1751 and 1772. In the entry for painted portraits, Diderot's Encyclopédie states that the principal merit of the genre is to render the sitter exactly, by capturing both his character and his physiognomy.[1] A portrait bust of Diderot, believed to be the terracotta bust now in the Musée du Louvre, which served as a model for the Museum's marble version, was exhibited by the sculptor Jean-Antoine Houdon at the Salon of 1771. The sitter approved of that work, describing it as très ressemblant ( having a very strong resemblance). It was also well received by contemporary critics, one of whom wrote: "I single out the bald head of the editor of the Encyclopédie. The flame of genius brought that bust to life; there is a fire, an expression, that gives it a striking resemblance; I don't want to say it out loud, but our colleagues the painters have done nothing equal."[2]Winner of the Prix de Rome in 1761, Houdon had spent ten years in Italy and was profoundly influenced by the arts of antiquity. Diderot is shown as a classical philosopher, bare-chested and without wig or other paraphernalia. Justly known for his naturalistic portraiture and his classic simplicity, Houdon was very successful in capturing his sitter's lively eyes and conveying the determination and intelligence that won Diderot many admirers and some enemies--as attested by the words inscribed on the plinth: "il eut de grands Amis et, quelques bas jaloux / le Soleil plait à l'aigle, et blesse les hiboux" ( He had great friends and a few low jealous ones / the sun pleases the eagle and wounds the owls). The slightly parted lips are said to have suggested the brilliance of Diderot's conversation. This is consistent with Horace Walpole's description of the philosopher in his journal entry for September 19, 1765, as "a very lively old man, and great talker."[3]Possibly shown at the Salon of 1773, the Museum's marble bust, signed and dated by the artist, was acquired by a patron of Houdon's, the Russian Francophile Count Alexander Sergeyevich Stroganoff (1733-1811), during a sojourn in Paris. It remained for many years at the Stroganoff palace in Saint Petersburg. In 1773 Diderot himself traveled to Russia, at the invitation of Empress Catherine the Great (1729-1796), a supporter of his work with whom he had corresponded.[Daniëlle Kisluk-Grosheide, 2010]Footnotes:[1] Diderot 1751-72, vol. 13 (1765), p. 153.[2] Journal encyclopédique (Collection Deloynes 49, no. 1320), quoted by Scherf 2008b, p. 44.[3] Walpole 1937-83, vol. 7 (1939), p. 262. Museum: Metropolitan Museum of Art, New York, USA.

alb3658002 Girl in a Straw Bonnet. Artist: Albert-Ernest Carrier-Belleuse (French, Anizy-le-Château 1824-1887 Sèvres). Culture: French, Paris. Dimensions: Overall without base (confirmed): H. 32 1/2 x W. 22 1/8 x D. 15 1/2 in. (82.6 x 56.2 x 39.4 cm);Height on base: 36 1/8 in. (91.8 cm). Date: ca. 1868-70.The prolific Albert-Ernest Carrier-Belleuse found great success in France and in England, where he lived from 1850 to 1855. He marketed his work astutely, organizing special auctions, producing editions in bronze and terracotta, and designing decorative sculptural pieces that circulated widely in copies. Reacting against the static imagery that clung to portraiture, which was still under the sway of late Neoclassicism, he breathed new life into the genre in the 1850s by following the example of such realistic sculptors as Pierre-Jean David d'Angers. As June Ellen Hargrove has observed, his portraits of women are few, and for them he often worked in a neo-Rococo mode, participating in the eighteenth-century revival that began and flourished in the mid-nineteenth century.[1] One critic described his busts as made "with a skill and spirit seldom seen in sculpture since the end of the eighteenth century." [2] The Goncourt brothers, devotees of the art of the eighteenth century, found this return to the artistic values of an earlier century mawkish; they described him as a "shoddy merchandiser of the nineteenth century, this copier of Clodion." [3] Still others deplored what they saw in his work as excessive realism.In its appealing freshness, Girl in a Straw Bonnet exemplifies the best in Carrier-Belleuse's art. With her right arm, the subject clutches her robes up to her breast while the lace ties of her bonnet, dripping with field flowers, flutter across her chest. The straw hat itself is a tour de force, suggesting the pliable nature of its material beneath a pile of even more petals. The broad brim frames her face; her expression is a knowing smile beneath a fringe of attractively unkempt hair. The sculptor used the devices of past masters, such as Jean-Antoine Houdon, to create lifelike effects: the swirled lines gouged in the pupils to give a glint to the eyes and the virtuosic jabbing of the clay to form the dentelles of the lace. The girl's soft cheeks and shoulders show that the artist could rival the eighteenth-century master of modeling, Clodion, in his ability to smooth the clay to approximate the texture of flesh. Neither Houdon nor Clodion, however, would have piled on as many effects as the nineteenth-century sculptor does here. He exaggerates the accessories of the dress to make a theatrical effect, layering flowers over lace over cloth to create lively lines and shadows. Carrier-Belleuse gets away with this excess because of his sure touch as an artist and the sense of immediacy he is able to achieve. He appears to have responded instinctively to his subject, and the reported speed of his working methods matched the rapidity of his eye. Describing a series of modeling sessions when the artist was making a bust of Emperor Napoléon III at the Tuileries Palace in July 1864, the royal librarian Alfred Maury wrote: "This Carrier works with incredible quickness. We watch him manipulate the clay with extraordinary ease." [4] Carrier-Belleuse often cast his terracottas from molds, sometimes freshening details or adding new ones afterward. This bust -- unique rather than part of an edition -- appears to combine some casting with virtuoso modeling of flowers that could never have emerged intact from a mold. More important, it captures a fleeting moment in the spirit of a lively woman.The identity of the girl is unknown. The women Carrier-Belleuse portrayed were generally, as Hargrove notes, actresses or singers, wives or daughters of friends, and high-society ladies, whose identities were discreetly concealed. This portrait bears some resemblance to Carrier-Belleuse's bust of the actress Marguerite Bellanger, mistress of Napoléon III, who was something of a muse to the artist (ca. 1864, private collection, London).[5] Her heavy eyelids, sensuous mouth, and dreamy expression recall those features of this terracotta bust. Another bust of Bellanger, described in a sale catalogue as "a study of a woman in meadow flowers" (sold in 1868, now lost), may have inspired the present one.[6] Carrier-Belleuse signed his work before 1868 "A. Carrier" and afterward, almost without exception, "A. Carrier-Belleuse."[7] Since the Museum's bust bears his full name, it was likely made toward the end of the decade 1860 - 70. The sculptor also produced a good number of "fantasy busts" in editions, sometimes of historical personages, often simply of pretty women garbed in period accessories. Girl in a Straw Bonnet has some of the inventiveness of those works, but the subject is clearly a specific individual, animated and witty, breezing through a spring day.[Ian Wardropper. European Sculpture, 1400-1900. New York, 2011, no. 88, pp. 254-55.]Footnotes:[1] June Ellen Hargrove. The Life and work of Albert Carrier-Belleuse. Outstanding Dissertations in the Fine Arts. New York, 1977, p. 120.[2] "avec une adresse et un esprit auxquels la sculpture n'était plus habituée depuis la fin du dix-huitième siècle"; Théophile Thoré [William Bürger]. Salons de W. Bürger, 1861 à 1868. 2 vols. Paris, 1870, vol. 1, p. 179.[3] "ce pacotilleur du XIXe siècle, ce copieur de Clodion"; Edmond and Jules de Goncourt. Journal: Mémoires de la vie littéraire. [Written 1851-95.] 9 vols. Paris, 1935, vol. 3, p. 102 (entry of May 31, 1867). [4] "Ce Carrier travaille avec une incroyable prestesse! nous le regardons monter sa terre avec une aisance extraordinaire"; Antonin Jérôme Mallat. Histoire contemporaine de Vichy de 1789 à 1889. Vichy, 1921, p. 794 (letter to his wife of July 31, 1864). [5] Hargrove 1977, pp. 125 - 27, pl. 75.[6] Catalogue of a sale at Hôtel Drouot, Paris, December 26, 1868, no. 17.[7] See Hargrove 1977, p. 126. Museum: Metropolitan Museum of Art, New York, USA.

alb3664110 Design for the Tomb of Pope Julius II della Rovere. Artist: Michelangelo Buonarroti (Italian, Caprese 1475-1564 Rome). Dimensions: 20-1/16 x 12-9/16 in. (51 x 31.9 cm). Date: 1505-6.By 1505, eight years before his death, Pope Julius II della Rovere (reigned 1503-1513) had apparently already began contemplating plans to erect a grandiose tomb for himself in the new Saint Peter's Basilica being constructed according to Bramante's design, and entrusted Michelangelo with the sculptural project. In March-April 1505, Michelangelo probably began the first drawings for the tomb project which according to a first (lost) contract, was to cost 10,000 ducats, was to be finished in five years, and was to be sited in Saint Peter's at a location that was to be determined. Some of these intentions are already alluded to indirectly in Michelangelo's letter from Florence to his friend, the architect Giuliano da Sangallo in Rome, on May 2, 1506, for it was Giuliano who had encouraged the Pope in his choice of Michelangelo as the sculptor of the funerary program, amidst the heated artistic jealousies of the papal court. As described in Ascanio Condivi's biography of Michelangelo (Rome, 1553), the tomb of Julius II was to have been a three-story freestanding monument and may have included as many as forty-seven large figures carved of Carrara marble, but Michelangelo's project was interrupted by other papal commissions, chiefly the frescoes on the Sistine Ceiling (executed from 1508 to 1512), with which the early drawings for the Julius Tomb share considerable similarities of style. Following the pope's death on February 21, 1513, Michelangelo signed a second contract for a reduced version of the tomb to be finished in seven years. For a number of reasons, the Metropolitan Museum's drawing with its subtly pictorial illusionism of the architecture appears to reflect the first version of the Julius Tomb project, around 1505-6, as was convincingly argued by Michael Hirst in 1988, rather than that of the various designs produced after 1513, as has frequently been maintained in the literature. It is of much more subdued design and scale than the recto of the comparably large, nearly ruined drawing in the Kupferstichkabinett (inv. KdZ 15305), Berlin, which is the design most likely reflecting the contract of May 1513 for the Tomb of Pope Julius II. But the damaged autograph drawing by Michelangelo in Berlin is best understood through the faithful if awkward copy after it by Jacomo Rocchetti, preserved in the same collection (Kupferstichkabinett inv. KdZ 15306, Berlin; Fig. 1). To the present author's eye, the appearance of Rocchetti's design is that of a very clean copy-drawing, in which the underdrawing was the result of a "calco" method of transfer from Michelangelo's sheet (Kupferstichkabinett inv. KdZ 15305 recto); in a process much like a carbon-paper copy, the original by Michelangelo was placed on top of a sheet with a black-chalk-rubbed verso and another blank sheet underneath (Rocchetti's surface), and the outlines of the original were then incised with a stylus through the two layers of paper. Tellingly, the deriving copy is inscribed on the bottom of the sheet: "questo disegno é di Michelangelo buonarota hauuto da M[aestro] Iacomo rocchetti" (this design is by Michelangelo Buonarroti derived by Maestro Iacomo Rocchetti). The Berlin design by Michelangelo (as understood from Rocchetti's clean copy) is also more subdued in design than what is seen of the lower part of the monument in the drawing at the Uffizi (inv. 608 E recto), Florence, once owned by Pierre-Jean Mariette and which is perhaps a somewhat earlier version of the design than the Berlin drawings while being from the same 1513 campaign.The diagrammatic clarity of form and precise construction of architectural elements in the large Metropolitan Museum sheet are typical of modelli (demonstration drawings), produced for presentation of the design to a patron or to be used for the execution of the design by members of the workshop. As may be deduced from the Metropolitan drawing, the massive tomb ensemble was to be a three-sided structure attached to a wall, and in a daring departure from tradition, Michelangelo designed the pope's effigy to be seen frontally, and within the tall arched niche, angels raise the dead pope toward the Virgin and Child. A quick outline sketch in pen and brown ink for the Pope's raised effigy, seen in a side view facing left (Casa Buonarroti inv. 43A verso, Florence; Fig. 3), best allows one to envision the design of this main figure in elevation, as it were, in the 1505-6 monument. The upper part of the wall tomb with its monumental niche, or cappelletta, as it is called in the Julius Tomb documents, is of approximately the same design, though squatter than in the Berlin drawings and the architectural detailing is in a style closer to that of the Quattrocento. Also similar to the solution evident in the Berlin drawings are the motifs of the Virgin and Child in the mandorla (anticipating the design of Raphael's Sistine Madonna, Gemäldegalerie, Dresden, of 1513), with the dead pope in frontal view being supported over the sarcophagus by angels. But eliminated from the Berlin drawings are the figures of the youths with hirsute hair and somewhat whimsical expression who flank and face the niche in the Metropolitan sheet -- that on the left with an aspergillum and bucket of holy water, that on the right with a censer; in the Berlin sheets, these flanking figures are idealized and more schematic, while looking outward. The lower part of the Metropolitan drawing, however, most radically differs from the designs in the Uffizi and Berlin sheets. It omits the classicizing figures of the slaves and herm pilasters seen in the latter, and the nearly square relief at center offers an inventive portrayal of the Gathering of Manna (Exodus 16:11 - 36; Numbers 11:7 - 9), with acorns falling from an oak tree, in allusion to the heraldic device of the Della Rovere family (in Italian, "rovere" means oak). The Della Rovere acorns abound elsewhere in the design, filling a footed cup between two reclining river gods at lower center, and they decorate the finials of the thrones of the sibyl and prophet on the second storey of the monument. Allegorial figures of Charity and Faith stand within the niches to the left and right on the lower storey. The projection of the tomb from the wall is indicated by statues of standing figures seen in profile at extreme left and right, and the ensemble portrayed in the Metropolitan Museum drawing would have rested on a stepped base, as is seen in the Uffizi and Berlin designs, but which in this case is cropped by the lower border of the sheet.The early date of the Metropolitan sheet in 1505-6 is confirmed by the style of the figures, similar to those in the small pen-and-ink jottings on the sheet connected with the Battle of Cascina (Uffizi inv. 233 F, Florence); as well as further by the discovery in 1990, of the fragmentary designs for the Julius Tomb, on the versos of two corresponding portions of the same sheet now in the Musée du Louvre, Paris, and of which the recto of one sheet depicts a nude seen from the back for the Battle of Cascina, began in 1504. "The tragedy of the tomb," as Condivi called Michelangelo's forty-year ordeal in producing the Tomb of Julius II, did not end until 1545, when the present, much scaled-down structure was installed in San Pietro in Vincoli in Rome, far away from the papal majesty of Saint Peter's Basilica (Fig. 2); the most in-depth study of the related drawings for the Julius monument is by Claudia Echinger Maurach. The gradual reinstatement of the large, carefully rendered Metropolitan Museum drawing in the Michelangelo literature is due to Michael Hirst in 1976, who published the first detailed analysis of it, also advocating for the authorship of Michelangelo himself; the Metropolitan Museum of Art had acquired the drawing fourteen years earlier, as a work by the school of Michelangelo. While the attribution to Michelangelo has met mostly with approval since 1976, it was not endorsed by Charles de Tolnay in his Corpus (1975-80), who considered it a copy, with a style of outline-drawing too calligraphic, too soft, and less dynamic than Michelangelo's autograph studies, and the drawing was also more recently rejected by Frank Zöllner, Christof Thoenes, and Thomas Pöpper in 2008, without offering any reasoning. Hirst's opinion in 1976 was that the Metropolitan sheet dated more or less to the time of the Berlin design (Kupferstichkabinett inv. KdZ 15305), but in a revised opinion in 1988, proposed instead the Metropolitan drawing as Michelangelo's original project of 1505 for the Julius Tomb. Michelangelo's designs for the Tomb of Julius II offered meaningful visual sources (perhaps even normative ones) for artists of the following generation, as is seen, for example, in the design produced by Antonio da Sangallo "The Younger" for the Tomb of Pope Clement VII. Both drawings served as modelli, or demonstration drawings, perhaps for the patron, being precisely executed over a comprehensive construction with the stylus, compass, and ruler. While Michelangelo's working drawing is in good overall condition, the design has been roughly silhouetted and mounted onto a larger sheet, and the drawing surface seems sufficiently abraded for the underdrawing to have disappeared in several passages; the sheet also exhibits minor accretions, a horizontal crease at center, and some brown stains.Carmen C. Bambach (2009, revised in 2014). Museum: Metropolitan Museum of Art, New York, USA.

alb3622610 Saint John the Baptist Baptizing the Multitude. Artist: Pellegrino Tibaldi (Italian, Puria di Valsolda 1527-1596 Milan). Dimensions: 9 5/16 x 12 11/16in. (23.7 x 32.3cm). Date: 1554-56.The drawing is a study for the lower half of a fresco on the left wall of the Poggi Chapel, representing 'Saint John The Baptist Baptizing the Multitudes' (San Giacomo Maggiore, Bologna), and probably dating between 1554 and 1556. The energetic tangle of lines of this drawing recalls the style of Taddeo Zuccaro, who, like Tibaldi, was active in Rome in the 1540s and 1550s. Like Tibaldi's imaginative frescoes for the Palazzo Poggi (for which see also the preparatory study for the figure of Aeolus in the Museum's collection: acc. no. 2007.127), the frescoes in the Poggi chapel had considerable influence on such Bolognese artists as Samacchini and Passarotti. Moreover, when Lodovico, Agostino, and Annibale Carracci founded their famous academy in Bologna - in which they sought to reform painting through a renewed study of nature combined with a study of the best artworks - the Poggi Chapel was among the models they recommended to their students.A companion sheet for the upper portion of this same fresco, with figures of exactly the same scale but drawn in a more complex tonal technique and with extensive black chalk underdrawing, is in the Collection of David and Julie Tobey, New York (promised gift to the Metropolitan Museum of Art; see Carmen C. Bambach in 'An Italian Journey: Drawings from the Tobey Collection, Correggio to Tiepolo,' 2010, no. 24). As the techniques of execution seem slightly different, it is probable that the two drawings are not fragments from the same sheet of paper. Tibaldi's fresco on the opposite wall represents the 'Conception of St. John The Baptist,' for which a composition study exists at the Royal Library, Windsor Castle ( RL 5965, see: Popham and Wilde 1949, no. 947, pl. 109 and Zamboni 1967, fig. 46).(Carmen C. Bambach, 2006, revised 2010). Museum: Metropolitan Museum of Art, New York, USA.

alb3630641 Christ Appearing to Saint Mary Magdalen ("Noli Me Tangere"). Artist: Attributed to Jacopo Bassano (Jacopo da Ponte) (Italian, Bassano del Grappa ca. 1510-1592 Bassano del Grappa). Dimensions: sheet: 12 3/16 x 8 11/16 in. (31 x 22 cm). Date: ca. 1560.In this expressively pictorial composition of the "Noli me tangere" (John 20:14-18), done quickly with the brush and brown wash with white gouache highlights, the resurrected Christ, in the guise of a gardener, stands at left before the kneeling Saint Mary Magdalen on the right, who is seen from behind. The present sheet, acquired in 2008, marks a new addition to Jacopo Bassano's oeuvre, who is best known for his innovative pastel drawings. Around 1561, Jacopo Bassano's manner of painting radically changed to embrace what scholars have called a "style of light": This new period of work coincided with Bassano's experimentation with a light-handed brush with wash drawing technique, often highlighted with whites. The present drawing exemplifies this new brush style: no use of fine contours or of the pen is made, and if any outlines are suggested, they flutter with pictorial light and movement. In terms of drawing technique, a precise comparison is the composition study for the altarpiece of Sant'Eleuterio (Montpellier, Musée Fabre inv. 837.I. 281), of 1565. At least three other drawings of similar technique and date are also in the Uffizi, Florence.Bassano seems to have painted a few "Noli me tangere" compositions: a damaged painting at the Parish Church of Santa Maria Maddalena at Oriago (near Venice), of 1543-44, and an altarpiece in the Parish Church of San Biagio at Onara di Tombolo (Padua) of 1546. While the present drawing is stylistically from about twenty years later, the composition of the Onara di Tombolo altarpiece is surprisingly similar, down to the Christ holding his pick axe over the shoulder; the placement of the Magdalen is also the same. The figural anatomy though is that of Bassano's earlier period. Museum: Metropolitan Museum of Art, New York, USA.