Tre figure in piedi (recto); donna seduta ed eremita maschile a mezza lunghezza (verso) 1435–38 Stefano da Verona (Stefano di Giovanni d'Arbosio di Francia) Italiano le tre figure in piedi sul recto di questo foglio probabilmente servivano da studi per una 'Annunciazione', secondo uno stile di iconografia che era caratteristico nelle sculture in pietra dei portali delle cattedrali gotiche francesi. L'esempio più famoso sono le coppie di sculture autoportanti dell'Annunciazione e Visitazione di ca. 1245-55 alla Cattedrale di Reims (jamb destro del portale centrale nella facciata ovest). Infatti, il volume
2710 x 3611 px | 22,9 x 30,6 cm | 9 x 12 inches | 300dpi
Data acquisizione:
21 gennaio 2022
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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
