31:
133:
229:
are greatly valued in their own right, as they may show a freedom in execution and freshness of inspiration missing in the final work, and also may show changes in composition from the finished work, throwing light on the process of artistic creation. Earlier stages of the creative process may be
128:
for the subsequent ones. No doubt a modello was often modified after the main work was completed to reflect any changes in the composition during painting, thus making it a ricordo also; this would normally be impossible for art historians to distinguish from a modello altered during its original
271:: Vasari reports that a modello for Rosso's frescoes in Santa Maria delle Lagrime, Arezzo, was carried out by Rosso for Giovanni Pollastra, the inventor of the complex program there, "un bellisimo modello di tutto l'opera, che è oggi nelle nostre case di Arezzo." A preliminary
115:
completion of the work as a record for the workshop. Naturally it is not always easy for art historians to decide whether a particular piece is one or the other, and, especially in the Late
Renaissance and Baroque periods, when several versions of a painting were made, the
234:
334:
from that actually built. When accepted, such models were retained during the work, as concrete expressions of what was expected under the terms of the contract, and afterwards were preserved in storage through salutary neglect.
63:), from Italian, is a preparatory study or model, usually at a smaller scale, for a work of art or architecture, especially one produced for the approval of the commissioning patron. The term gained currency in art circles in
294:
Many modelli show versions of works which were never actually realised, or have been lost. Famous examples are the alternative designs produced for the competition in 1401 to design the North doors of the
175:, and it has been asserted that the National Gallery picture illustrated is a ricordo. The National Gallery still describe it as "probably a modello", presumably produced after work had already begun.
194:
is a design at a considerably reduced scale by the main artist, which is then (after approval by the patron) worked up into a full scale cartoon by the artist or others – probably his assistants; the
714:
were always at full scale; often cut into loom-width strips, they were set behind the warps of the loom as a direct guide for the weavers. The most famous tapestry cartoons are the "
506:
done to his specifications: "in
Michelagelo studies the presentation drawings are understood to be the group of finished drawings that Michelangelo gave to his friends such as
103:
Though in Gothic figural arts bishops and abbots are often represented carrying small simulacra of buildings they had constructed – "models" in the familiar modern sense –
507:
202:
is especially used of older
Italian art and architecture from the late Middle Ages onwards; initially these were mostly drawings, perhaps with some colour from chalk or
182:
paper on which they were generally executed, is usually used of working drawings, often at full scale, but the distinction is not a firm one, and the terms
107:
is only used of pieces which pre-date the finished work, and were at least in part produced by the main artist involved. The less frequently found term
383:
43:
699:
585:
Spanish
Paintings of the Fifteenth Through Nineteenth Centuries: The Collections of the National Gallery of Art Systematic Catalogue
441:
is a roughly-modelled preliminary sketch in clay for a sculpture; those that survive have mostly been kiln-fired to preserve them.
230:
recorded in "preparatory drawings" or "studies", either for the whole composition, or a part of it, such as a single figure.
487:'s early dictionaries; other early dictionary definitions in Italian are noted by Carmen Bambach Cappel 1992:173. See also
621:
807:
233:
67:
in the fourteenth century. Modern definitions in reference works vary somewhat. Alternative and overlapping terms are "
668:
648:
592:
542:
397:
671:
424:.1 (March 1992:172–173) are all Tuscan, as Hirst remarks, though the contemporaneous term extended as far as the
387:
596:
530:
327:
410:
275:
in the form of a painted three-dimensional model was especially important to prejudge the finished effect of
802:
719:
780:
525:, the actual construction could be by craftsmen from drawings by the architect. A discussion about a
156:
39:
455:
767:
In vol. II, section "Breve instruttione per dipingere a fresco", noted by Carmen
Bambach Cappel,
727:
687:
17:
484:
414:
276:
198:
are much the most famous of the few surviving examples. The weavers then worked from this.
797:
331:
312:
304:
257:
An example of a modello of a fresco cycle, which was rescued for its intrinsic value is in
566:
A small finished bronze representing a completed sculpture on a reduced scale, made for a
8:
510:", remarked Bernadine Barnes (Barnes "A Lost Modello for Michelangelo's 'Last Judgment'"
323:
172:
92:
521:
for the lost original of two copies in public collections. In the case of architectural
296:
144:
664:
644:
588:
538:
526:
460:
Studien zur
Geschichte der Opera Santa Reparata zu Florenz in Vierzehnten Jahrhundert
393:
715:
300:
268:
195:
140:
55:
111:(Italian for "record" or "memory") means a similar piece produced as a small copy
553:
that were "done expressly for patronal approval, criticism or rejection" (Hirst,
726:
tapestries; they were re-used in the 17th century in
England to produce sets of
322:
There are alternative, unrealised, modelli for many famous buildings, including
30:
723:
488:
258:
241:
171:
it was closer to another, very different and less finished modello, now in the
791:
636:
168:
160:
121:
84:
550:
499:
284:
237:
167:
investigation of the huge finished work in Munich has revealed that in its
567:
409:
The texts from five contracts and other documents 1376–1508 published by
371:
215:
203:
690:, Vol. 138, No. 1120 (Jul., 1996), p. 479, note 3. JSTOR – on free page
344:
68:
641:
The 17th and 18th century
Italian Schools; National Gallery Catalogues
537:, National Gallery of Art, Washington catalogue (Cambridge UP), 1986,
190:
are often used interchangeably. Often, for example in tapestries, the
132:
480:
308:
263:
711:
683:
625:
600:
529:
drawing that illustrates when the term is appropriate to use is in
316:
315:; the modelli survive, for a single panel, of the first two named (
148:
88:
80:
76:
517:.3 (Autumn 1988:239–248) p. 247 note 4) in justifying her use of
210:
will always be used of small-scale versions. As an
Italian word,
64:
425:
374:
that provided detailed inspiration for a variant or later copy.
545:; the correspondence concerning the appropriateness or not of
143:'s successful competition modello for the bronze doors of the
587:, National Gallery of Art, Oxford University Press US, 1990,
164:
206:, or with colours indicated in writing. The diminutive term
287:, the perfector of the illusionistic ceiling, noted in his
222:, may be used of French works, and is normally italicised.
758:
of all the works, which is today in our houses in Arezzo."
91:, plastico or bozzetto for sculpture or architecture; and
741:
739:
Surprisingly, the word does not appear in the original
674:– note this is reversed compared to the final painting.
502:
was in the habit of assigning to members of his studio
607:
for the first version of a work, and then used as the
248:
of St Peter's in this 19th-century artist's impression
663:, p. 74, Courtauld Institute Galleries, London 1981,
549:
applied by
Michael Hirst to presentation drawings by
483:" is given as source for the usage in the Tusacan
789:
684:Francisco Bayeu. Saragossa; Review of Exhibition
283:on the curved surfaces of vaulted ceilings, as
225:Especially in the case of oil sketches, many
159:above right was catalogued as a modello by
370:, which may equally refer to the finished
303:won, beating six other artists, including
218:, or not. The French version of the word,
643:, p.223, 1971, National Gallery, London,
232:
131:
29:
27:Preparatory study or model of an artwork
46:five-metre-high (16 ft) altarpiece
14:
790:
781:Explore St Paul's – Wren's Great Model
583:See: Jonathan Brown, Richard G. Mann;
389:Renaissance Art: A Topical Dictionary
289:Perspectiva pictorum et architectorum
54:
392:, Greenwood Publishing Group, 1987,
622:Brunelleschi's unsuccessful version
366:avoids the ambiguity in English of
24:
384:Glossary, National Gallery, London
124:might serve in the atelier as the
25:
819:
417:, "A Note on the Word Modello',
330:, showing a different design by
178:"Cartoon", named for the sturdy
774:
761:
748:
745:or the First Supplement of 1933
733:
704:
693:
677:
653:
630:
614:
599:, the view is advanced that an
577:
560:
533:of: J.O. Hand & M. Wolff,
493:
465:
444:
431:
403:
377:
356:
13:
1:
555:Michelangelo and His Drawings
350:
98:
535:Early Netherlandish Painting
7:
661:The Princes Gate Collection
450:Fourteenth century uses of
338:
328:St Paul's Cathedral, London
252:
10:
824:
720:Victoria and Albert Museum
557:, 1988:79) is noted above.
808:Italian words and phrases
672:Courtauld Institute image
458:, are noted in A. Grote,
326:and the "Great Model" of
700:National Gallery, London
570:or the art market, is a
456:Santa Reparata, Florence
688:The Burlington Magazine
597:last paragraph of p.73
508:Tommaso de' Cavallieri
485:Accademia della Crusca
249:
152:
47:
611:for a second version.
415:Carmen Bambach Cappel
236:
135:
33:
462:(Munich 1960:113ff).
332:Sir Christopher Wren
313:Jacopo della Quercia
305:Filippo Brunelleschi
75:) and "cartoon" for
728:Mortlake tapestries
718:" conserved in the
454:in connection with
173:Courtauld Institute
93:architectural model
803:Visual arts genres
754:"A most beautiful
624:. Both are in the
603:was produced as a
531:note 23 on page 21
319:– picture above).
297:Florence Baptistry
250:
214:may be printed in
153:
145:Florence Baptistry
137:Sacrifice of Isaac
56:[moˈdɛllo]
48:
42:, 69 x 55 cm, for
527:Hieronymous Bosch
16:(Redirected from
815:
783:
778:
772:
765:
759:
752:
746:
737:
731:
716:Raphael Cartoons
708:
702:
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686:by Xavier Bray,
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581:
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419:The Art Bulletin
407:
401:
381:
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324:St Peter's, Rome
301:Lorenzo Ghiberti
273:modello colorito
269:Rosso Fiorentino
196:Raphael Cartoons
141:Lorenzo Ghiberti
58:
21:
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475:, a synonym of
471:The Latin term
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436:
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408:
404:
386:; Irene Earls;
382:
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341:
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188:working drawing
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5:
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724:Sistine Chapel
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659:Braham Helen,
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637:Levey, Michael
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489:Donor portrait
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277:illusionistic
259:Giorgio Vasari
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242:Pope Julius II
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710:Cartoons for
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669:0-904563-04-9
666:
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649:0-901791-09-1
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620:Compare with
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593:0-521-40107-0
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543:0-521-34016-0
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411:Michael Hirst
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398:0-313-24658-0
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169:underpainting
166:
163:, but recent
162:
161:Michael Levey
158:
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123:
122:prime version
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85:stained glass
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551:Michelangelo
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500:Michelangelo
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367:
363:
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321:
293:
288:
285:Andrea Pozzo
281:perspectives
278:
272:
262:
256:
245:
238:Michelangelo
226:
224:
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211:
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199:
191:
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154:
136:
129:production.
125:
117:
112:
108:
104:
102:
72:
60:
51:
49:
35:
798:Art history
568:connoisseur
413:(Hirst and
372:work of art
279:sotto-in-su
204:watercolour
34:Oil sketch
792:Categories
722:, for the
351:References
345:Pentimento
291:(1700–17)
99:Background
69:oil sketch
769:loc. cit.
595:. In the
572:reduction
481:archetype
362:The term
309:Donatello
246:modellino
208:modeletto
77:paintings
712:tapestry
626:Bargello
601:El Greco
439:bozzetto
339:See also
317:Bargello
253:Examples
149:Bargello
120:for the
89:maquette
81:tapestry
59:(plural
756:modello
609:modello
605:ricordo
547:modello
523:modelli
519:modello
504:modelli
473:modulus
452:modello
364:modello
227:modelli
216:italics
212:modello
200:Modello
192:modello
184:cartoon
180:cartone
157:Tiepolo
126:modello
118:ricordo
109:ricordo
105:modello
73:schizzo
65:Tuscany
61:modelli
52:modello
40:Tiepolo
36:modello
18:Ricordo
667:
647:
591:
541:
426:Marche
396:
240:shows
220:modèle
477:typus
368:model
165:x-ray
113:after
83:, or
665:ISBN
645:ISBN
589:ISBN
539:ISBN
394:ISBN
311:and
264:vita
244:his
186:and
155:The
44:this
742:OED
479:, "
267:of
261:'s
71:" (
38:by
794::
639:,
515:26
437:A
422:74
307:,
299:.
147:,
139:;
95:.
87:;
79:,
50:A
771:.
730:.
574:.
428:.
400:.
151:.
20:)
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