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Source Description
In order to understand the movement of the human form, Michelangelo was known to have studied flayed bodies (cadavers with their skin removed) and in fact made several drawings of them. Bartolommeo da Arezzo—a follower of Michelangelo working a generation after the master—became obsessed with studying corpses, even stealing them from local graveyards. On one side of this sheet (verso), he drew a flayed torso.
Scholar Source Context
Document identity
localId
148293
label
Study of a Flayed Torso (verso)
core
obj
dtoType
drawing
pageCount
1
Source metadata
id
148293
contentType
drawing
title
Study of a Flayed Torso (verso)
description
In order to understand the movement of the human form, Michelangelo was known to have studied flayed bodies (cadavers with their skin removed) and in fact made several drawings of them. Bartolommeo da Arezzo—a follower of Michelangelo working a generation after the master—became obsessed with studying corpses, even stealing them from local graveyards. On one side of this sheet (verso), he drew a flayed torso.
date
1554
rights
CC0
rightsUri
CC0
language
en
wikidata
Q79928548
creators
22471
genreSpecific
Drawing
imageCount
1
source
import
dimensionsRaw
Sheet: 40.5 x 27.6 cm (15 15/16 x 10 7/8 in.)
cul
Italy, 16th century
accession
1975.26.b
Source extras
tec
pen and brown ink and brush and brown wash over traces of black chalk; incised
tombstone
Study of a Flayed Torso (verso), 1554. Bartolommeo da Arezzo (Italian, active about 1550–80). Pen and brown ink and brush and brown wash over traces of black chalk; incised; sheet: 40.5 x 27.6 cm (15 15/16 x 10 7/8 in.). The Cleveland Museum of Art, L. E. Holden Fund, 1975.26.b
supportMaterials
description
cream(3) laid paper
collection
DR - Italian
inscriptions
inscription
signed, lower right, in brown ink: demano de bar / tolomeo aretino / 1554 ; by artist(?), upper right, in brown ink: [5?] [over- and underlined] ; by artist(?), lower left, in brown ink: N° 9 ; by artist(?), lower right, in brown ink: [N. 15?]
citations
citation
Peters, Emily. “Master/Apprentice: Imitation and Inspiration in the Renaissance.” <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 5 (September/October 2019): 8-9.
page_number
Reproduced: P. 9; Mentioned: P. 8.
creditline
L. E. Holden Fund
updatedAt
2026-05-29 07:37:21.248000
sourceId
148293
dept
Drawings
coll
DR - Italian
med
pen and brown ink and brush and brown wash over traces of black chalk; incised
creatorTags
male
thumbnail_url
image_url
Single page context
seq
1
pageIndex
0
type
photo
mediaId
24bb14fe7186ecaf