Artwork

Copy of an Antique Statue of a Standing Woman (two views), over a Sketch of a Putto

Copy of an Antique Statue of a Standing Woman (two views), over a Sketch of a Putto is a drawing by the Renaissance artist Jacopo da Empoli. It dates from 1574 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

Jacopo Chimenti, known as Jacopo da Empoli, executed this drawing circa 1574. The sheet presents two orthogonal studies of a standing female form—one frontal and one rear—paired with a separate sketch of a putto. The work exemplifies the Florentine Reformist’s engagement with classical models during the late Renaissance, using the drawing as a means of anatomical and compositional investigation.

Subject & Meaning

The primary focus is a nude woman rendered in two complementary perspectives, allowing the artist to capture the full volume of the figure. Adjacent to these studies is a quick, gestural rendering of a putto, a common allegorical child figure in Renaissance art. Together they illustrate the practice of dissecting antiquarian sources to understand human anatomy and idealized beauty.

Technique & Style

Executed on aged, yellowed paper, the drawing employs light, loose strokes for hair and a more defined contour for the body’s mass. The lines are intentionally rough, suggesting a preparatory study rather than a finished composition. Chimenti’s handling reflects the period’s emphasis on rapid observation and the transfer of sculptural forms onto paper.

History & Provenance

Created in Florence during the artist’s mature phase, the drawing remained within private collections before entering a museum context in the 20th century. Its provenance traces a typical path for Renaissance drawings, moving from workshop archives to later collectors interested in studies of classical sculpture.

Context

In the late sixteenth century, Florentine artists frequently copied ancient statues to refine their grasp of proportion and movement. This drawing aligns with that educational tradition, serving both as a personal exercise for Chimenti and as a pedagogical example for apprentices studying the human figure through the lens of antiquity.