Although he does not mention this cartoon in particular, Ascanio alludes to the help he received from Michelangelo in his 1553 biography. The mediocre artistic quality of Condivi`s panel confirms Vasari`s opinion. In the end however the high expectations for him vanished in smoke). He spent many years on a panel for which Michelangelo had given him a cartoon. (Ascanio`s hard labour bore fruit neither in paintings or drawings. Nel fine se n è ito in fummo quella buona aspettatione che si credeva da lui.` E pestó parecchi anni intorno una tavola di che Michelagnolo gli aveva dato un cartone. `Ascanio della Ripa Transone durava gran fatiche ma mai non si ne vedde il frutto ne in opere ne in disegni. Vasari recorded the collaboration between Michelangelo and Condivi in the second edition of `Le Vite` published in 1568, eighteen years after the first: W75 is extremely well documented and its attribution to Michelangelo has in consequence been rarely contested. W75 was mounted on wood in the 16th century and this has no doubt contributed to the considerable darkening of the sheets. 1546 for a portion of one of Michelangelo`s own commissions, the group of soldiers within the frescoed `Crucifixion of St Peter` in the Pauline Chapel in the Vatican.
The only other extant cartoon by Michelangelo is that in the Galleria di Capodimonte, Naples (Corpus 384), produced c. W75 is a cartoon, a term deriving from the Italian for a large piece of paper, `cartone`, meaning that it is drawn to the same scale as the intended painting for which it is preparatory. This aid to an otherwise undistinguished artist, is bound to the fact that Condivi was nominally responsible for the biography of Michelangelo published in 1553, conceived as a riposte to Vasari`s life of the artist published in 1550, and, especially, the Aretine artist`s account of the Julius tomb project, the `tragedy of the tomb`. 1525-74) in the production of a panel painting which survives, unfinished, in the Casa Buonarroti in Florence. This drawing (henceforth described as W75 after its catalogue number in Wilde 1953) was executed in the early 1550s to aid Ascanio Condivi (c. The cartoon within Michelangelo`s surviving graphic oeuvre
The cartoon as a composition for an altarpieceĦ. The iconographical interpretations of Thode and Gombrichĥ. Fragments of paper missing from bottom and left edge.Ĭurator's comments Michelangelo`s `Epifania` cartoon is discussed under seven headings:Ĥ. Cartoon made up of 26 sheets of paper, of which at least 12 were originally folded in half, and of which nine remain uncut, 61 x 48 cm each. A strip at least 22 cm wide is missing from the left-hand side.
To the left of the Virgin is the incomplete oval of another head looking outwards, perhaps an initial idea for the head of the Virgin.īlack chalk, rubbed in places.
Behind the Virgin to the right is a bearded head, his eyes either closed or cast downwards two further background heads, schematically drawn appear in the top left. To the right the Infant St John the Baptist, with his arms raised, looks down at the Christ Child. The Virgin`s right hand rests on her upper right thigh above the head of the Christ Child who sits on a cushion between her legs. Her left arm reaches back to a bearded man, St Joseph, who stands, with his arms crossed, turned away from her. The Epifania: the Virgin is in the centre, in conversation with a standing, gesturing man, a young saint or prophet (Isaiah?) to her right.
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