Mark, stamped in black, lower left: ? Pen flourish, l.l. (Could this be the mark of collector, Pierre Crozat, 1661-1740?) In pen, on front of mount: Guido Reni In pencil, on front of mount: Reni and 1?32 In pen, on back of mount: No 5. ?Guido Reni Zeich? In pencil, on back of mount: Lot 94 and 15.
Academic nudes firmly attributed to Piazzetta are rare. This sleeping nude figure was probably not drawn by Piazzetaa. Rather, it was drawn by a member of his studio school who was learning Piazzetta's style by copying one of the master's drawings. Piazzetta's characteristically dramatic lights and darks are evident in the broad modeling of the left leg and back. The artist aimed for tonal effects and gradation of value. His medium of chalk applied on blue paper is particularly successful. Astonishingly subtle effects in modeling were created with the application of red chalk alone. Surprisingly, no white chalk was used at all. The chalk was rubbed into the paper to create a middle value. Stronger applications of red were then used to create shadow on the ribs and shoulder while the pure, untouched paper becomes the projecting and highlighted area.
Label text done by student Sara L. Johnson in conjunction with the History of Art seminar 613, "Venetian Art at the University of Michigan", November 27, 1996.
Among the upper-class samurai of Edo-period Japan (1615–1867), marriages were negotiated between families and arranged to suit political or economic concerns. Families invested considerable resources in the education and material comfort of their daughters. Lavish bridal trousseaus, once a luxury reserved for daughters of court aristocrats or the most powerful warlords, became a social necessity for any high-ranking samurai family.
A standard trousseau would include a custom-made set of over forty items, made of lacquered wood and adorned with the family crests of the bride and groom. This piece is one part of a set in the UMMA collection of items used in personal grooming: a mirror stand, a washbowl, and several cosmetic cases. The love for seasonal motifs appears here as a lively floral scroll, centered on a crest of stylized paulownia blossoms, that meanders across every object in the trousseau. There are two additional family crests scattered among the scrolls, one a chrysanthemum and the other an abstract geometric design based on the character i , for “well”.
“Four Seasons In Japanese Art”: Special Installation of Japanese Gallery at UMMA: Object Labels