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    content: Frits Scholten, 'Michelangelo's Mighty Models or the Legacy of Johan Gregor van der Schardt', in Stephan Koja en Claudia Kryza-Gersch (red.): Shadows of Time : Giambologna, Michelangelo and the Medici Chapel, Dresden 2018, p. 93-111.
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id: _:b42
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content: Study Models of Parts of the Body
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id: _:b43
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content: Studiemodellen van lichaamsdelen
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type: Name
content: Sculptor's Model of a Right Arm, after the Statue of Dusk (Medici Chapel, San Lorenzo, Florence)
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  content: Beeldhouwersmodel van rechterarm naar het beeld van de Avond (Medicikapel, San Lorenzo, Florence)
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content: BK-2013-9-1
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notation: terracotta (clay material) @en
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content: terracotta
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type: LinguisticObject
content: length 20 cm x width 6.3 cm
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content: Collection of the artist, c. 1560-70; acquired with the estate of the artist by Paul Praun (1548-1616), Nuremberg for his _Praunsche Kabinett_, c. 1581;{Nuremberg, Stadtarchiv, Familienarchiv von Praun, E 28 II, no. 224, inventory _Praunsche Kabinett_ 1616, fol. 38, no. 404: _Item in einem flachen behalterlein von der obern stuben hundert stuckh von relebo als kopf, arm, hendt, fuess und anders mehr, so zu solchem studio gehörig; 85 stuckh von der erden, 15 stuckh von wachss. Sind theils zerbrochen_ (Idem in a flat small container from the upper room, one hundred pieces of relief such as heads, arms, hands, feet and others, as such belonging to a studio; 85 pieces of terracotta, 15 pieces of wax. Are partly broken); see K. Achilles-Syndram, _Die Kunstsammlung des Paulus Praun: Die Inventare von 1616 und 1719_, Nuremberg 1994, p. 150. Nuremberg, Stadtarchiv, Familienarchiv von Praun, E 28 II, no. 1477, inventory _Praunsche Kabinett_ 1719, pp. 44, 45, nos. 99-162; see Achilles-Syndram 1994, no. 594; C.T. von Murr, _Description du Cabinet de Monsieur Paul de Praun à Nuremberg_, Nuremberg 1797, nos. 100-49. P.J. Lebrooy, _Michelangelo Models Formerly in the Paul von Praun Collection_, Vancouver 1972, p. 25 (referring to Von Murr, who states that Praun had purchased the remainder of Vasari’s drawing collection directly from one of his heirs in Bologna at the end of the 16th century). According to J. Meier-Gräfe, _Michelangelo: Die Terrakotten aus der Sammlung Hähnel_, Berlin 1924, p. 5 (based on Von Murr), Praun acquired the models in 1598 in Bologna, probably from one of Vasari’s heirs. This is nevertheless unlikely. Far more plausible is that Praun acquired the models in Nuremberg himself, as possibly confirmed by a drawing of c. 1580 after the model of Moses’s hand by the artist Hans Hoffman, whose presence in Nuremberg is documented in the years 1576-84. This would imply the model itself was also in Nuremberg at this point in time. My thanks to Titia de Haseth Möller…
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content: lengte 20 cm x breedte 6,3 cm
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content: Aankoop met steun van het Frits en Phine Verhaaff Fonds/Rijksmuseum Fonds en de heer William Middendorf II, Little Compton
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content: Purchased with the support of the Frits en Phine Verhaaff Fonds/Rijksmuseum Fonds and Mr William Middendorf II, Little Compton
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content: Deze negen beeldhouwersmodellen naar beroemde beelden van Michelangelo en afkomstig van Johan Gregor van der Schardt zijn extreem zeldzame voorbeelden van 16de-eeuwse atelier-props van een beeldhouwer. Ze zijn vergelijkbaar met getekende schetsen, maar in drie dimensies nauwelijks nog bewaard gebleven. Een studie van Quellinus uit 1658, eveneens naar Michelangelo's werk in de Medici-kapel, is recent in de Rijksmuseum collectie opgenomen (BK-2012-62) en behoort tot een vergelijkbare categorie; het grote verschil is echter dat de Van der Schardt-modellen allemaal losse ledematen voorstellen en daarmee eigenlijk nog dichter bij de werkpraktijk van de kunstenaar staan: ze boden hem zo de mogelijkheid nieuwe composities en poses te maken uit verschillende delen, al dan niet in de combinatie met eigen inventies. Deze groep dankt zijn bestaan aan het feit dat ze al vroeg werd opgenomen in een van de belangrijkste kunstverzamelingen van Duitsland in de 16de eeuw, het kabinet van de Neurenbergse zijde-koopman Paul Praun, waar ze tot de 19de eeuw onafgebroken zijn bewaard. Dat ze al zo vroeg in een kunstverzameling belandden bevestigt het grote belang dat aan de stukken werd gehecht; dat hangt samen met de groeiende status van en interesse voor het werkproces van kunstenaars enerzijds, met het specifiek verzamelen van het oeuvre van één enkele kunstenaar - in dit geval Van der Schardt - en, ten slotte, weerspiegelt het de grote waardering voor Michelangelo in de 16de eeuw. Thermoluminiscentie test heeft de ouderdom van deze stukken bevestigd. Ten overvloede, gezien de gesloten provenance van de stukken sinds ca. 1580. Of alle stukken eigenhandig werk van Van der Schardt zijn, is weliswaar niet zeker (de mogelijkheid bestaat dat stukken op de vrije markt werden verworven, toen de beeldhouwer in Italie reisde), maar de stijl sluit perfect aan bij het gedocumenteerde werk van de beeldhouwer. Zo is het hier voorgestelde torso nauw verwant aan dat van de bronzen Sol in de Rijksmus…
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    begin of the begin: 2013-04-11T00:00:00Z
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