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Lot Essay
This drawing, previously attributed to Tiburzio Passarotti and more recently to Bartolomeo Passarotti, is a characteristic work by the Florentine Andrea Commodi and derives from a section of Michelangelo’s Last Judgement in the Sistine Chapel. Commodi’s idiosyncratic version of an Angel sounding the Last Trump is particularly striking; the Angels holding the books of the Blessed and of the Damned are also portrayed. On the verso of the sheet are further studies of folds and draperies.
Very few paintings by the Florentine Andrea Commodi are known; larger is instead the corpus of his drawings. In his own time, the artist’s reputation was mainly based on his ability to make copies after the paintings of the great masters of previous generations. Commodi particularly admired Michelangelo and, being familiar with the Buonarroti family, had access to many of the master’s studies which he avidly copied in numerous drawings now in the Uffizi (see G. Papi and A. Petrioli Tofani, Andrea Commodi. Dall’attrazione per Michelangelo all’ansia del nuovo, exhib. cat., Florence, Casa Buonarroti, 2012).
The artist’s pen and ink studies show a highly distinctive and consistent style: the figures are traced with parallel hatching in brown ink that thickens, almost creating stains, in the darker areas. Like several of the sheets in the Uffizi, this small page is filled with multiple studies crowded together.
Very few paintings by the Florentine Andrea Commodi are known; larger is instead the corpus of his drawings. In his own time, the artist’s reputation was mainly based on his ability to make copies after the paintings of the great masters of previous generations. Commodi particularly admired Michelangelo and, being familiar with the Buonarroti family, had access to many of the master’s studies which he avidly copied in numerous drawings now in the Uffizi (see G. Papi and A. Petrioli Tofani, Andrea Commodi. Dall’attrazione per Michelangelo all’ansia del nuovo, exhib. cat., Florence, Casa Buonarroti, 2012).
The artist’s pen and ink studies show a highly distinctive and consistent style: the figures are traced with parallel hatching in brown ink that thickens, almost creating stains, in the darker areas. Like several of the sheets in the Uffizi, this small page is filled with multiple studies crowded together.