Who painted Figure of a Man [recto]?

Figure of a Man [recto] was painted by Ventura Salimbeni in 1590.

Where can I see Figure of a Man [recto]?

Figure of a Man [recto] is held by National Gallery of Art.

What movement is Figure of a Man [recto]?

Figure of a Man [recto] is associated with Renaissance.

Can I buy a print of Figure of a Man [recto]?

Museum-quality prints of Figure of a Man [recto] are available made-to-order from Artifact World Gallery.

Artwork

Figure of a Man [recto]

Ventura Salimbeni , 1590

Figure of a Man [recto] is a chalk drawing by the Renaissance artist Ventura Salimbeni. It dates from 1590 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:in later hand, lower left in brown ink: Van. Dyck (underlined)

About this work

Overview

Ventura Salimbeni's Figure of a Man [recto] is a drawing executed in black and white chalk on blue laid paper, dated to 1590.

Subject & Meaning

The subject of the drawing is a solitary male figure. The intent and specific interpretation of the figure are not explicitly documented, leaving its meaning open to contextual analysis within Salimbeni's broader oeuvre and the artistic themes of the late 16th century.

Technique & Style

Salimbeni utilized black and white chalk on blue laid paper, a technique common among Renaissance artists for preliminary studies and portraits. The choice of media and support suggests a possibly preparatory or exploratory work, highlighting the artist's draftsmanship.

History & Provenance

Created in 1590, the drawing's early history and ownership trail are not detailed in available information. Its current location and any notable exhibitions or sales are also unspecified.

Context

Figure of a Man [recto] emerges from the late Renaissance, a period marked by intense artistic innovation. Salimbeni, active in Siena, reflects the broader Italian artistic trends while contributing to the local Sienese school's character.

Legacy

The impact of Figure of a Man [recto] on Salimbeni's overall legacy or the broader artistic canon is not prominently highlighted in available sources, suggesting it may be valued more for its representative quality of the artist's technique and period rather than groundbreaking influence.