Perino del Vaga

Buonaccorsi, Pietro
Vaga, Perino del

Italian, 1501 - 1547

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Five men and two women gather around an infant in a landscape in this vertical painting. The people all have pale or peachy skin with delicate facial features. Halos, like gold rings, float behind each head. All the men but one have beards, and most of the people’s lips are parted. The pudgy baby, Jesus, lies nude on a white cloth on the grassy ground near the bottom center of the composition. Three people kneel around and look down at him. To our left, a man wearing a fur-lined, powder-blue tunic under a rose-pink robe crosses his arms to touch opposite shoulders. A tall staff with a gold cross at the top rests in one elbow. Just behind Jesus, a woman wearing a gold crown and sage-green and pink robes holds a palm frond in one hand and extends the other over the baby. To our right, Mary wears a gold diadem and an apple-red dress. The cloak billowing behind her shoulders and fluttering to our right is emerald green on one side and silvery blue on the other. She also crosses her hands over her shoulders. Four men stand behind the group. Starting behind Mary, to our right, a man faces our left in profile. He holds a tall staff in one hand and points at Mary with the index finger of the other. The next man looks at the first with his hand held by his own face, the first two fingers splayed over his beard near his mouth. Next, another man looks down at Jesus with his hands together in prayer by the shoulder farther from us. These three men wear robes in canary yellow, burnt orange, dark blue, vivid green, or raspberry pink. The fourth man, along the left edge of the painting, is nude except for a coral-orange and yellow cloth tied around his hips. He has short brown hair and is cleanshaven. The feathered ends of three arrows project from his torso and three more wounds on his neck, shoulder, and thigh trickle blood. He holds an arrow by his side with one hand and reaches out with this other to hold the first two fingers and thumb up over Jesus. A gray stone building rises along the right edge of the composition behind the group. A person wearing a white tunic, red robe, and a straw-colored hat climbs a set of stairs there. That person holds a long staff over one shoulder and carries a lamb by the animal’s four legs in the other. In the sky above the main group, a bearded man a triangular halo over gray hair floats among about a dozen winged, child-like angels on a cloud bank. The man holds up one hand in blessing and holds an orb topped with a cross in the other hand. A bank of winged baby heads clusters in the distance, farther along the cloud bank. A few people, tiny in scale, sit or walk through the landscape, which leads back to ice-blue, craggy mountains. Cream-white and muted blue clouds fill the sky above. The artist signed the work as if he had left an inscribed tablet near Jesus. It reads, “M.D.XXXIIII. PERINO BONAC CORSSI FLORENTIN OPVS FACEBA.” The letters of the artist’s name, PERINO, are then combined into two monograms.
Perino del Vaga, The Nativity, 1534, oil on panel transferred to canvas, Samuel H. Kress Collection, 1961.9.31

The Nativity

Perino del Vaga · 1534 · oil on panel transferred to canvas ·  Accession ID  1961.9.31

This is a drawing of a group of historical or mythological figures around a detailed architectural structure. The artwork depicts an assembly of figures dressed in classical or ancient attire, standing adjacent to an ornate architectural element with intricate relief work. The figures are positioned closely together, with expressive gestures that suggest an interaction or narrative taking place among them. The drawing uses strong lines and shading to create depth and highlight the intricate details of the figures' clothing and the architectural motifs.
Perino del Vaga, Alexander Consecrating the Altars for the Twelve Olympian Gods, 1545/1547, pen and brown ink with gray wash over black chalk on laid paper; laid down, Woodner Collection, Gift of Dian Woodner, 2011.42.1

Alexander Consecrating the Altars for the Twelve Olympian Gods

Perino del Vaga · 1545/1547 · pen and brown ink with gray wash over black chalk on laid paper; laid down ·  Accession ID  2011.42.1

Drawings of bodies fill the left half of this vertical, parchment-colored paper, and writing fills the right half. The drawings and writing are in dark brown ink, and lines from the other side of the sheet show through, creating blurred forms. On the left, several nude male bodies are loosely drawn and appear upside down in this view. Their actions are indistinct but they gesture and turn. The right half is filled with horizontal lines of hand-written text and numbers. A vertical line splitting the two halves was presumably made when folded in half at some point in the sheet's history.
Perino del Vaga, Figure Studies [verso], c. 1530/1540, pen and brown ink on laid paper (red chalk line across center), Pepita Milmore Memorial Fund, 1980.31.1.b

Figure Studies [verso]

Perino del Vaga · c. 1530/1540 · pen and brown ink on laid paper (red chalk line across center) ·  Accession ID  1980.31.1.b

This is a drawing of human figures in different poses. Various sketches of human forms in dynamic positions are shown, some intertwined with others and some standalone. The drawing is detailed with fine lines, conveying movement. The style is reminiscent of Michelangelo, focusing on human anatomy and movement studies. This page could be a preparatory sheet where the artist tested different poses and compositions, emphasizing accurate anatomical representation and expressive posture.
Perino del Vaga, Figure Studies [recto], c. 1530/1540, pen and brown ink on laid paper, Pepita Milmore Memorial Fund, 1980.31.1.a

Figure Studies [recto]

Perino del Vaga · c. 1530/1540 · pen and brown ink on laid paper ·  Accession ID  1980.31.1.a

The image shows a sketch of a seated figure at the center, potentially on a throne, with two other standing figures close by. The central figure is holding a smaller figure on their lap. The sketch does not show detailed facial features or hair, but instead the figures from head to toe. The figures are wearing robes or draped garments, with flowing lines in the sketch to represent this. No jewelry or objects other than the smaller figure are included in the sketch. Around the scene is an architectural structure with columns and an arch, decorated with ornamental elements above, suggesting a religious or ceremonial setting. The background consists of the architectural features, without any additional scenery depicted.
Perino del Vaga, Altarpiece of the Madonna and Child with Saints, in Its Architectural Setting, 1528/1537, pen and brown ink on laid paper, Gift of The Circle of the National Gallery of Art, 1988.34.1

Altarpiece of the Madonna and Child with Saints, in Its Architectural Setting

Perino del Vaga · 1528/1537 · pen and brown ink on laid paper ·  Accession ID  1988.34.1

The image is a portrait of a man with a beard and mustache, turned to his right in a three-quarter profile view. His gaze is towards the viewer. He has neatly combed back hair, a high forehead, sharp nose, and thoughtful eyes. He is wearing a dark robe with a hint of red underneath and a white collar. The background is muted brown. The lower section of the image has an inscription that reads "PIERINO del' VAGA" with additional text surrounding the name.
Carlo Lasinio, Pierino del Vaga, 1789, color mezzotint, Rosenwald Collection, 1964.8.1179

Pierino del Vaga

Carlo Lasinio · 1789 · color mezzotint ·  Accession ID  1964.8.1179

This is a painting of a classical scene with various figures interacting. In the center, a figure is seated on draped fabric, extending one arm towards a kneeling figure. On the left, a long-haired child stands with inscriptions around its head. The central figure is surrounded by other figures, some carrying loads. Behind them is an architectural structure with columns and foliage. In the background, an angelic figure oversees the scene. The painting is in monochromatic sepia tones and done in the style of Peter Paul Rubens.
Elisha Kirkall, The Adoration of the Shepherds, 1724, etching, mezzotint, engraving, and chiaroscuro woodcut, printed in ochre and brown on laid paper, Purchased as the Gift of Lawrence Lawver, 2013.186.1

The Adoration of the Shepherds

Elisha Kirkall · 1724 · etching, mezzotint, engraving, and chiaroscuro woodcut, printed in ochre and brown on laid paper ·  Accession ID  2013.186.1

This is a drawing featuring two main sections. The upper section shows a group of figures surrounded by clouds in a celestial realm. A bearded figure sits centrally, with other figures gesturing around him. The lower section depicts figures in varied poses on rocky terrain, expressing turmoil or despair. The drawing is detailed and includes intricate shading, focusing on the physiques, drapery, and landscape.
Master FG, Jupiter Defeating the Giants, 1540s, engraving on laid paper, Ruth and Jacob Kainen Memorial Acquisition Fund, 2020.89.1

Jupiter Defeating the Giants

Master FG · 1540s · engraving on laid paper ·  Accession ID  2020.89.1

The image shows a person sitting on a stone bench with a book or tablet in one hand, appearing to be reading. The individual has short curly hair, a beard, and a mustache, and is wearing flowing robes. A winged lion is positioned to the right of the person, with an architectural setting in the background.
Giulio Bonasone, Saint Mark Writing His Gospels, engraving on laid paper, Gift of Jacob Kainen, 2002.98.372

Saint Mark Writing His Gospels

Giulio Bonasone · · engraving on laid paper ·  Accession ID  2002.98.372