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Source Description
To make this drawing—which could be a <em>ricordi</em> (a visual record of a painting)—the artist first sketched part of the composition with charcoal before completing it with pen and ink. Charcoal was not regularly used as a drawing medium until the second half of the 1400s. Even then, it was usually a secondary medium, as seen here, meant to sketch or outline figures to be completed in other media. Charcoal and black chalk became more popular with later generations of artists, including Michelangelo, who found the supple qualities of the media ideal for rendering the human figure.
Scholar Source Context
Document identity
localId
133841
label
Crucifixion with the Two Thieves
core
obj
dtoType
drawing
pageCount
1
Source metadata
id
133841
contentType
drawing
title
Crucifixion with the Two Thieves
description
To make this drawing—which could be a <em>ricordi</em> (a visual record of a painting)—the artist first sketched part of the composition with charcoal before completing it with pen and ink. Charcoal was not regularly used as a drawing medium until the second half of the 1400s. Even then, it was usually a secondary medium, as seen here, meant to sketch or outline figures to be completed in other media. Charcoal and black chalk became more popular with later generations of artists, including Michelangelo, who found the supple qualities of the media ideal for rendering the human figure.
date
1450–1500
citation
rights
CC0
rightsUri
CC0
language
en
wikidata
Q60759503
genreSpecific
Drawing
imageCount
1
source
import
dimensionsRaw
Sheet: 24.4 x 19.4 cm (9 5/8 x 7 5/8 in.)
cul
Italy, Piedmont
accession
1956.43
Source extras
tec
pen and brown ink and black chalk
tombstone
Crucifixion with the Two Thieves, 1450–1500. Italy, Piedmont. Pen and brown ink and black chalk; sheet: 24.4 x 19.4 cm (9 5/8 x 7 5/8 in.). The Cleveland Museum of Art, Delia E. and L. E. Holden Funds and John L. Severance Fund, 1956.43
supportMaterials
description
beige(1) laid paper partially prepared with red chalk wash
collection
DR - Italian
didYouKnow
In the left foreground Christ's grieving mother, Mary, is supported by two other women: Mary Magdalene and Mary of Clopas. This common grouping is often called the Three Marys.
citations
citation
Francis, Henry S. “Rare Italian Drawings” <em>The Bulletin of the Cleveland Museum of Art</em> 45, no. 8 (1958): 195–202.
page_number
Reproduced: cover; Mentioned: p. 195-197.
citation
Ragghianti, Carlo L., ed. “Acquisti di Musei.” <em>Sele arte</em>, no. 40 (March 1959).
page_number
Mentioned and reproduced p.58 (as Altichiero)
citation
Verdier, Phillippe, ed. <em>The International Style: The Arts in Europe Around 1400</em>. Walters Art Gallery, 1962.
page_number
Mentioned and reproduced: p.1, n.1; pl.XXXVII (as circle of Altichiero)
citation
Ames, Winslow.<em> Great Drawings of All Time: Italian</em>. Vol. 1, edited by Ira Moskowitz and Victoria Thorson. Great Drawings of All Time. Shorewood Publishers, 1962.
page_number
n.6 (As Altichiero Altichieri)
citation
The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.
page_number
Reproduced: p. 58
citation
Kruft, Hanno-Walter. “Altichiero Und Avanzo : Untersuchungen Zur Oberitalienischen Malerei Des Ausgehenden Trecento.” Dissertation, Rheinische Friedrich-Wilhelms-Universität, 1966.
page_number
Mentioned: 186, no. 13
citation
Scholz, Janos. “Italian Drawings in the Art Museum of Princeton University.” <em>The Burlington Magazine </em>109, no. 770 (1967): 290–99.
page_number
Mentioned: p.293 (as attributed to Altichiero)
citation
The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.
page_number
Reproduced: p. 58
citation
Evans, M. W. <em>Medieval Drawings</em>. Feltham: Hamlyn, 1969.
page_number
Mentioned and reproduced: p.40, pl.121 (as circle of Altichiero)
citation
The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.
page_number
Reproduced: p. 66
citation
Olszewski, Edward J. <em>Drawings in Midwestern Collections: Early Works</em>. Vol. 1, edited by Burton L. Dunbar and Edward J. Olszewski. Drawings in Midwestern Collections: A Corpus Compiled by the Midwest Art History Society. University of Missouri Press, 1996.
page_number
Mentioned and reproduced: n.3, p. 14-17 (as Bernardino Jacopi Butinone)
citation
Karet, Evelyn, and Peter Windows. “The ‘Antonio II Badile Album’ of Drawings: A Reconstruction of an Early Sixteenth Century Collection.” <em>Arte Lombarda</em>, no. 145 (3) (2005): 23–56.
page_number
Mentioned and reproduced: 50-51, fig 6, 26v[93] (as Veronese artist after Altichiero Altichieri)
citation
Degenhart, Bernhard, Annegrit Schmitt, Hans-Joachim Eberhardt, et al. <em>Verona Badile-Album: Studiensammlung Einer Veroneser Künstlerwerkstatt</em>. Vol. 3. Corpus Der Italienischen Zeichnungen 1300-1450. Biering & Brinkmann, 2010.
page_number
Mentioned and reproduced: 290-299, n.836, pl.59
citation
Karet, Evelyn. The Antonio II Badile Album of Drawings: The Origins of Collecting Drawings in Early Modern Northern Italy. With Peter Windows and Alessandra Zamperini. Burlington, VT: Ashgate Publishing Company, 2014.
page_number
Mentioned and reproduced: 77-78, appendix 1: 26v; appendix 2b: 26v
creditline
Delia E. and L. E. Holden Funds and John L. Severance Fund
updatedAt
2026-06-13 11:47:05.483000
sourceId
133841
dept
Drawings
coll
DR - Italian
med
pen and brown ink and black chalk
thumbnail_url
image_url
Single page context
seq
1
pageIndex
0
type
photo
mediaId
1f0888f167774d89