Who painted Studies of Figures for an Adoration of the Magi [verso]?

Studies of Figures for an Adoration of the Magi [verso] was painted by Donato Creti in 1710.

Where can I see Studies of Figures for an Adoration of the Magi [verso]?

Studies of Figures for an Adoration of the Magi [verso] is held by National Gallery of Art.

What movement is Studies of Figures for an Adoration of the Magi [verso]?

Studies of Figures for an Adoration of the Magi [verso] is associated with Baroque.

Artwork

Studies of Figures for an Adoration of the Magi [verso]

Donato Creti , 1710

Studies of Figures for an Adoration of the Magi [verso] is a chalk drawing by the Baroque artist Donato Creti. It dates from 1710 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1710, this sheet of laid paper contains a series of figure studies by the Bolognese painter Donato Creti. Executed with pen and brown ink, the drawings are supplemented by touches of red and black chalk. The sketches serve as preparatory work for a larger composition depicting the Adoration of the Magi, illustrating the artist’s methodical planning process.

Subject & Meaning

The individual studies portray human forms, some nude, arranged in varied poses that anticipate the narrative arrangement of the Magi’s visit. By isolating gestures and anatomy, Creti explores the interaction of figures within a religious scene, emphasizing compositional balance and the theological significance of the encounter.

Technique & Style

Creti employs a restrained palette of brown ink and chalk, achieving precise contouring and a cool, almost sculptural modeling of the bodies. The handling reflects his academic training, favoring clear anatomical definition over ornamental flourish, a quality that points toward the emerging neoclassical sensibility within his Rococo context.

History & Provenance

The drawing originates from Creti’s workshop in Bologna, where he was active during the early eighteenth century. It functioned as a working study for an unfinished or now‑lost altarpiece of the Adoration of the Magi, and later entered a private collection before being acquired by its present institution.

Context

At a time when Bolognese art was transitioning from the exuberance of the Baroque to a more measured classicism, Creti’s work exemplifies this shift. His emphasis on formal clarity and restrained decoration aligns with the academic ideals promoted by the Accademia Clementina, which sought to reconcile decorative tradition with classical rigor.