Two Studies of a Standing Youth in Quattrocento Clothing (recto); a cardinal's hat on a fragmentary coat of arms with a griffin (the arms of the city of Perugia) (verso) ca. 1504 Workshop of Perugino (Pietro di Cristoforo Vannucci) Italian The differences between the two figures, in terms of pose, gesture, clothing, and hair, probably reveal a common artistic practice by which the artist began by drawing the live model and, on the same sheet, experimented with variations that would be adaptable to a particular Two Studies of a Standing Youth in Quattrocento Clothing (recto); a cardin
Two Studies of a Standing Youth in Quattrocento Clothing (recto); a cardinal's hat on a fragmentary coat of arms with a griffin (the arms of the city of Perugia) (verso) ca. 1504 Workshop of Perugino (Pietro di Cristoforo Vannucci) Italian The differences between the two figures, in terms of pose, gesture, clothing, and hair, probably reveal a common artistic practice by which the artist began by drawing the live model and, on the same sheet, experimented with variations that would be adaptable to a particular Two Studies of a Standing Youth in Quattrocento Clothing (recto); a cardinal's hat on a fragmentary coat of arms with a griffin (the arms of the city of Perugia) (verso). Workshop of Perugino (Pietro di Cristoforo Vannucci) (Italian, Città della Pieve, active by 1469–died 1523 Fontignano). ca. 1504. Metalpoint on pinkish prepared paper; retouched by a later hand in pencil, particularly the figure at the right (recto); black chalk, over dots obtained by the pouncing of a model; partly retouched with brush and brown ink (verso). Drawings
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