20:
122:
218:
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
117:
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
260:: 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
104:
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
323:
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.
52:), 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
283:
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
164:, 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.
183:
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
223:
703:
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 "
495:
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
92:
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 –
191:
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
171:
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
96:
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
372:
222:
32:
688:
796:
657:
637:
581:
574:
Spanish
Paintings of the Fifteenth Through Nineteenth Centuries: The Collections of the National Gallery of Art Systematic Catalogue
531:
386:
430:
is a roughly-modelled preliminary sketch in clay for a sculpture; those that survive have mostly been kiln-fired to preserve them.
219:
recorded in "preparatory drawings" or "studies", either for the whole composition, or a part of it, such as a single figure.
316:
476:'s early dictionaries; other early dictionary definitions in Italian are noted by Carmen Bambach Cappel 1992:173. See also
610:
399:
56:
in the fourteenth century. Modern definitions in reference works vary somewhat. Alternative and overlapping terms are "
791:
708:
660:
413:.1 (March 1992:172–173) are all Tuscan, as Hirst remarks, though the contemporaneous term extended as far as the
376:
145:
28:
585:
519:
496:
444:
264:
in the form of a painted three-dimensional model was especially important to prejudge the finished effect of
716:
676:
473:
403:
265:
769:
786:
514:, the actual construction could be by craftsmen from drawings by the architect. A discussion about a
320:
301:
293:
312:
161:
81:
756:
In vol. II, section "Breve instruttione per dipingere a fresco", noted by Carmen
Bambach Cappel,
285:
133:
19:
653:
633:
577:
527:
515:
382:
187:
are much the most famous of the few surviving examples. The weavers then worked from this.
704:
289:
257:
184:
129:
44:
246:
An example of a modello of a fresco cycle, which was rescued for its intrinsic value is in
555:
A small finished bronze representing a completed sculpture on a reduced scale, made for a
499:", remarked Bernadine Barnes (Barnes "A Lost Modello for Michelangelo's 'Last Judgment'"
510:
for the lost original of two copies in public collections. In the case of architectural
712:
477:
247:
230:
780:
625:
449:
Studien zur
Geschichte der Opera Santa Reparata zu Florenz in Vierzehnten Jahrhundert
157:
149:
110:
73:
539:
488:
273:
226:
121:
100:(Italian for "record" or "memory") means a similar piece produced as a small copy
542:
that were "done expressly for patronal approval, criticism or rejection" (Hirst,
715:
tapestries; they were re-used in the 17th century in
England to produce sets of
556:
360:
311:
There are alternative, unrealised, modelli for many famous buildings, including
204:
192:
160:
it was closer to another, very different and less finished modello, now in the
333:
57:
469:
297:
252:
156:
investigation of the huge finished work in Munich has revealed that in its
700:
614:
589:
398:
The texts from five contracts and other documents 1376–1508 published by
305:
137:
77:
69:
65:
679:, Vol. 138, No. 1120 (Jul., 1996), p. 479, note 3. JSTOR – on free page
53:
630:
The 17th and 18th century
Italian Schools; National Gallery Catalogues
526:, National Gallery of Art, Washington catalogue (Cambridge UP), 1986,
179:
are often used interchangeably. Often, for example in tapestries, the
414:
672:
518:
drawing that illustrates when the term is appropriate to use is in
304:; the modelli survive, for a single panel, of the first two named (
221:
153:
120:
18:
506:.3 (Autumn 1988:239–248) p. 247 note 4) in justifying her use of
199:
will always be used of small-scale versions. As an
Italian word,
363:
that provided detailed inspiration for a variant or later copy.
730:
534:; the correspondence concerning the appropriateness or not of
132:'s successful competition modello for the bronze doors of the
576:, National Gallery of Art, Oxford University Press US, 1990,
195:, or with colours indicated in writing. The diminutive term
276:, the perfector of the illusionistic ceiling, noted in his
211:, may be used of French works, and is normally italicised.
747:
of all the works, which is today in our houses in Arezzo."
80:, plastico or bozzetto for sculpture or architecture; and
728:
Surprisingly, the word does not appear in the original
663:– note this is reversed compared to the final painting.
491:
was in the habit of assigning to members of his studio
596:
for the first version of a work, and then used as the
237:
of St Peter's in this 19th-century artist's impression
652:, p. 74, Courtauld Institute Galleries, London 1981,
538:
applied by
Michael Hirst to presentation drawings by
472:" is given as source for the usage in the Tusacan
673:Francisco Bayeu. Saragossa; Review of Exhibition
272:on the curved surfaces of vaulted ceilings, as
214:Especially in the case of oil sketches, many
8:
148:above right was catalogued as a modello by
359:, which may equally refer to the finished
292:won, beating six other artists, including
207:, or not. The French version of the word,
632:, p.223, 1971, National Gallery, London,
16:Preparatory study or model of an artwork
344:
35:five-metre-high (16 ft) altarpiece
770:Explore St Paul's – Wren's Great Model
572:See: Jonathan Brown, Richard G. Mann;
378:Renaissance Art: A Topical Dictionary
278:Perspectiva pictorum et architectorum
43:
7:
381:, Greenwood Publishing Group, 1987,
611:Brunelleschi's unsuccessful version
355:avoids the ambiguity in English of
373:Glossary, National Gallery, London
113:might serve in the atelier as the
14:
406:, "A Note on the Word Modello',
319:, showing a different design by
167:"Cartoon", named for the sturdy
734:or the First Supplement of 1933
588:, the view is advanced that an
522:of: J.O. Hand & M. Wolff,
1:
544:Michelangelo and His Drawings
524:Early Netherlandish Painting
650:The Princes Gate Collection
439:Fourteenth century uses of
317:St Paul's Cathedral, London
813:
709:Victoria and Albert Museum
546:, 1988:79) is noted above.
797:Italian words and phrases
661:Courtauld Institute image
447:, are noted in A. Grote,
315:and the "Great Model" of
689:National Gallery, London
559:or the art market, is a
445:Santa Reparata, Florence
677:The Burlington Magazine
586:last paragraph of p.73
497:Tommaso de' Cavallieri
474:Accademia della Crusca
238:
141:
36:
600:for a second version.
404:Carmen Bambach Cappel
225:
124:
22:
451:(Munich 1960:113ff).
321:Sir Christopher Wren
302:Jacopo della Quercia
294:Filippo Brunelleschi
64:) and "cartoon" for
717:Mortlake tapestries
707:" conserved in the
443:in connection with
162:Courtauld Institute
82:architectural model
792:Visual arts genres
743:"A most beautiful
613:. Both are in the
592:was produced as a
520:note 23 on page 21
308:– picture above).
286:Florence Baptistry
239:
203:may be printed in
142:
134:Florence Baptistry
126:Sacrifice of Isaac
45:[moˈdɛllo]
37:
31:, 69 x 55 cm, for
516:Hieronymous Bosch
804:
772:
767:
761:
754:
748:
741:
735:
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705:Raphael Cartoons
697:
691:
686:
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675:by Xavier Bray,
670:
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458:
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408:The Art Bulletin
396:
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370:
364:
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313:St Peter's, Rome
290:Lorenzo Ghiberti
262:modello colorito
258:Rosso Fiorentino
185:Raphael Cartoons
130:Lorenzo Ghiberti
47:
812:
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501:Master Drawings
487:
483:
464:, a synonym of
460:The Latin term
459:
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438:
434:
425:
421:
397:
393:
375:; Irene Earls;
371:
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177:working drawing
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713:Sistine Chapel
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648:Braham Helen,
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626:Levey, Michael
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478:Donor portrait
453:
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266:illusionistic
248:Giorgio Vasari
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231:Pope Julius II
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699:Cartoons for
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609:Compare with
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400:Michael Hirst
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158:underpainting
155:
152:, but recent
151:
150:Michael Levey
147:
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111:prime version
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74:stained glass
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540:Michelangelo
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489:Michelangelo
484:
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427:
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407:
394:
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368:
356:
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310:
282:
277:
274:Andrea Pozzo
270:perspectives
267:
261:
251:
245:
234:
227:Michelangelo
215:
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143:
125:
118:production.
114:
106:
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97:
93:
91:
61:
49:
40:
38:
24:
787:Art history
557:connoisseur
402:(Hirst and
361:work of art
268:sotto-in-su
193:watercolour
23:Oil sketch
781:Categories
711:, for the
340:References
334:Pentimento
280:(1700–17)
88:Background
58:oil sketch
758:loc. cit.
584:. In the
561:reduction
470:archetype
351:The term
298:Donatello
235:modellino
197:modeletto
66:paintings
701:tapestry
615:Bargello
590:El Greco
428:bozzetto
328:See also
306:Bargello
242:Examples
138:Bargello
109:for the
78:maquette
70:tapestry
48:(plural
745:modello
598:modello
594:ricordo
536:modello
512:modelli
508:modello
493:modelli
462:modulus
441:modello
353:modello
216:modelli
205:italics
201:modello
189:Modello
181:modello
173:cartoon
169:cartone
146:Tiepolo
115:modello
107:ricordo
98:ricordo
94:modello
62:schizzo
54:Tuscany
50:modelli
41:modello
29:Tiepolo
25:modello
656:
636:
580:
530:
415:Marche
385:
229:shows
209:modèle
466:typus
357:model
154:x-ray
102:after
72:, or
654:ISBN
634:ISBN
578:ISBN
528:ISBN
383:ISBN
300:and
253:vita
233:his
175:and
144:The
33:this
731:OED
468:, "
256:of
250:'s
60:" (
27:by
783::
628:,
504:26
426:A
411:74
296:,
288:.
136:,
128:;
84:.
76:;
68:,
39:A
760:.
719:.
563:.
417:.
389:.
140:.
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