Who painted A Standing Male Figure, Facing Left?

A Standing Male Figure, Facing Left was painted by Ludovico called Cigoli Cardi.

Where can I see A Standing Male Figure, Facing Left?

A Standing Male Figure, Facing Left is held by National Gallery of Art.

What movement is A Standing Male Figure, Facing Left?

A Standing Male Figure, Facing Left is associated with Renaissance.

Artwork

A Standing Male Figure, Facing Left

Ludovico called Cigoli Cardi

A Standing Male Figure, Facing Left is a chalk drawing by the Renaissance artist Ludovico called Cigoli Cardi. It is held in the collection of the National Gallery of Art. A standing male figure, rendered in profile and facing left, is executed in red chalk on laid paper.

About this work

Overview

A standing male figure, rendered in profile and facing left, is executed in red chalk on laid paper. The drawing is attributed to the Italian artist Ludovico Cardi, known as Cigoli, and is dated to around 1594. It exemplifies a single-figure study typical of late‑sixteenth‑century preparatory work, focusing on anatomical accuracy and pose.

Technique & Style

The work employs red chalk, a medium favored for its capacity to suggest volume through varied pressure and hatching. Laid paper, with its subtle ribbed texture, interacts with the chalk to enhance tonal modulation, allowing the artist to model the figure’s musculature and spatial presence without reliance on line alone. Such methods reflect the period’s interest in chiaroscuro drawing.

Subject & Meaning

The composition presents a solitary male nude, captured in a relaxed yet balanced stance. While no narrative context is provided, the study likely served as a reference for larger compositions, enabling the artist to explore the idealized human form that underpinned much of the era’s figurative art.

History & Provenance

Created circa 1594, the drawing belongs to the early phase of Cigoli’s career, when he was transitioning from Mannerist influences toward a more naturalistic approach. Its provenance traces through private collections before entering a museum holding, though specific ownership details remain limited in the surviving record.

Context

The late sixteenth century saw Italian artists experimenting with drawing as an autonomous discipline, using red chalk to achieve depth and texture. This piece aligns with contemporary practices that emphasized anatomical study and preparatory sketches as essential steps in the production of complex frescoes and paintings.