{"id":2110,"date":"2011-11-23T14:45:25","date_gmt":"2011-11-23T18:45:25","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/"},"modified":"2014-04-22T16:27:23","modified_gmt":"2014-04-22T20:27:23","slug":"d5-standing-woman","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/drawings\/d5-standing-woman\/","title":{"rendered":"D.5 Standing Nude Woman"},"content":{"rendered":"

\"6478<\/a>c. 1520<\/p>\n

Florence, Uffizi, no. 6478F.<\/p>\n

Fig.D.5<\/a><\/p>\n

Red chalk over faint outlines in black chalk, 36.7 x 17.7, irregularly cut; laid down; wm.?<\/p>\n

LITERATURE:<\/p>\n

Berenson, 1903, no. 2410, as Rosso.<\/p>\n

Ferri, 1917, no. 19, as Rosso.<\/p>\n

Leoporini, Die Kunstlerzeichnung<\/em>, 1928, 269, Pl. 136, as Rosso.<\/p>\n

Kusenberg, 1931, 135, 140, no. 18, as Rosso, around 1521-1523.<\/p>\n

Berenson, 1938, no. 2410, as Rosso.<\/p>\n

Barocchi, 1950, 193-194, 223, Fig. 160, as Rosso, around 1523, the so-called Incinta;<\/em>\u00a0related to D\u00fcrer.<\/p>\n

Bologna and Causa, 1952, 59, as Rosso.<\/p>\n

Bertini, BdA<\/em>, 1952, 312, as Rosso.<\/p>\n

Luisa Marcucci, in Mostra di disegni<\/em>, 1954, 23, no. 32, as Rosso, around 1522-1523.<\/p>\n

Ames, 1954, 99, Fig. 5, as Rosso, and as showing a physique probably intended to be unattractive.<\/p>\n

Sinibaldi, 1960, 17, no. 85, as Rosso.<\/p>\n

Berenson, 1961, no. 2410, as Rosso.<\/p>\n

Carroll, 1961, 446, 447, Fig. 3, 449, as Rosso, around 1521.<\/p>\n

Carroll, 1964 (1976), I, Bk. I, 64-69, 71, 76-77, 79-80, 82, 87-88, 95, 97, Bk. II, 213-215, D.9, II, Bk. III, Fig. 21, as Rosso, c. 1520.<\/p>\n

Carroll, 1978, 25, 27, Fig. 4, 39, as Rosso, around 1520.<\/p>\n

Forlani Tempesti, in Primato del disegno<\/em>, 1980, 193, no. 458, as Rosso, c. 1522-1523.<\/p>\n

Darragon, 1983, 33-34, Fig. 10, as c. 1520, and an idea of the nude contrary to Raphael\u2019s ideal theory as in his Galatea<\/em>.<\/p>\n

Wilmes, 1985, 85.<\/p>\n

Carroll, 1987, 39, 58-60, no. 3, with Fig., as Rosso, c. 1520.<\/p>\n

Franklin, 1988, 326, No. 3, as not representing Eve because of her necklace [in response to my statement that it was unlikely, though not impossible, that it does].<\/p>\n

Mundy, 1988, 79, with Fig., believes extended speculation on the purpose of this drawing is not necessary if Vasari\u2019s story is correct that he drew from the model every day.<\/p>\n

Leone de Castris, 1988, as Rosso, 1520s.<\/p>\n

Franklin, 1994, 65-66, Pls. 47 and 49, as done around the time of the Volterra Deposition<\/em>.<\/p>\n

 <\/p>\n

The traditional attribution of this drawing to Rosso has never been questioned.\u00a0 As it represents a nude woman the drawing is not wholly comparable with any other work by Rosso from the time around which the drawing seems to have been made.\u00a0 But the head of the woman with its large round and deeply set eyes, its straight nose, and small, partly opened mouth is very similar to several of the heads in Rosso\u2019s Volterra Deposition<\/em> (Fig.P.9a<\/a>) and Marriage of the Virgin<\/em> (Fig.P.13a<\/a>).\u00a0 The draughtsmanship of the drawing\u2014the contours, in places firmly drawn, in other places delicately varied; the shading rendered by fine, regular hatching that resembles the evenly chiseled surface of an unpolished piece of sculpture; and the sharp delineation of details\u2014is virtually identical to that of Rosso\u2019s study (Fig.D.7<\/a>) for the figure of St. Sebastian in the Dei Altarpiece.\u00a0 Furthermore, the description of flickering light in these two drawings is extraordinarily alike.\u00a0 The draughtsmanship of the Standing Nude Woman<\/em> is also extremely similar to that of Rosso\u2019s Bacchus in a Niche<\/em> in Besan\u00e7on (Fig.D.18a<\/a>) and Virt\u00f9 Vanquishing Fortune<\/em> in Darmstadt (Fig.D.6a<\/a>).\u00a0 There can be no doubt that the Uffizi drawing is an autograph work by Rosso Fiorentino.<\/p>\n

Although generally dated between 1521 and 1523 it is more probable that it was done slightly earlier, around 1520, when Rosso\u2019s style would seem to have been most Pontormesque.\u00a0 Around 1519, in the Study for an Altarpiece<\/em> (Fig.D.4<\/a>) and in the Holy Family<\/em> in Baltimore (Fig.P.7a<\/a>), the influence of Pontormo is first clearly discernible, and to an extent that makes these works significantly different from the drawings and paintings that were done before them.\u00a0 By 1521, this influence was fully assimilated by Rosso, as visible in the Volterra and Villamagna pictures (Fig.P.9a<\/a>; Fig.P.10a<\/a>), but without any indication that in adopting aspects of Pontormo\u2019s manner that Rosso had in these paintings given up his style.\u00a0 In Rosso\u2019s later Florentine works Pontormo\u2019s influence is only occasionally echoed in the shapes of the features of a head or in the swelling form of an arm.<\/p>\n

Still, the Standing Nude Woman <\/em>is so strikingly Pontormesque that she almost appears as the female counterpart to Pontormo\u2019s St. Michael <\/em>in Empoli of around 1519 (Fig.Pontormo, Empoli<\/a>).\u00a0 The finely executed drawing in the Uffizi for the Saint\u2019s leg (Fig.Pontormo, Florence, 6506F<\/a>) may indicate, in its subtle fluctuating contours and closely hatched shading, a sharing of drawings with Rosso, also indicated in a bending figure in D.14, one of the St. Roch drawings of c. 1524.1<\/sup><\/a>\u00a0 Rosso\u2019s most Pontormesque moment would seem to have been around 1520, at which time this drawing should most probably be placed, along with the Portrait of a Young Man<\/em> in Washington (Fig.P.8a<\/a>).<\/p>\n

\n

<\/a>1<\/sup> See Proto Pisani, Rosana Caterina, in Il Pontormo a Empoli<\/em>, Venice, 1994, pp. 105-108, no. 13, and pp. 1110-111, no. 16, for Ufizzi, n. 6506F recto<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

c. 1520 Florence, Uffizi, no. 6478F. Fig.D.5 Red chalk over faint outlines in black chalk, 36.7 x 17.7, irregularly cut; laid down; wm.? LITERATURE: Berenson, 1903, no. 2410, as Rosso. Ferri, 1917, no. 19, as Rosso. Leoporini, Die Kunstlerzeichnung, 1928, 269, Pl. 136, as Rosso. Kusenberg, 1931, 135, 140, no. 18, as Rosso, around 1521-1523. […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":820,"menu_order":5,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2110","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2110","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/comments?post=2110"}],"version-history":[{"count":18,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2110\/revisions"}],"predecessor-version":[{"id":10561,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2110\/revisions\/10561"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/820"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=2110"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}