Pier Francesco Mazzucchelli, called Morazzone

Mazzucchelli, Pier Francesco
Morazzone

Lombard, 1573 - 1626

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Five people gathered around a woman holding a nude baby boy fill this square painting. The woman is at the center of the composition with her head almost touching the top edge. She has pale skin, blond hair, and a gold halo painted as a single line. She looks down at the child she supports on her left knee, to our right. She wears a marine-blue robe over a raspberry-red dress. The child also has pale skin and blond hair. His cheeks are flushed, and he reaches forward with one chubby arm. The balding, light-skinned man kneeling in front of him and to our left holds out a gold, orb-shaped vessel. That man is bearded with white hair, and he wears a canary-yellow cloak over a leaf-green robe and pale brown, calf-high boots. A smaller person, also kneeling, holds a crown just behind the older man. That person and the two men who stand on the far side have pale, peachy skin. One of the standing men wears honey orange and forest green and a gold crown over his long brown hair. He holds up another vessel, this one bronze brown with gold fittings, out to another bearded, balding man standing behind the woman. To the right, a man with brown skin also wears a crown, holds a gold vessel, and has a cloak patterned with crimson red over pearl white. The underside of the cloak is laurel green, and this man appears to be barefoot. He stands facing away from us so only his cheek and one ear are visible as he faces the baby. A gray horse with a gold halter is behind the Black man in the upper right corner.
Pier Francesco Mazzucchelli, called Morazzone, The Adoration of the Magi, c. 1600, oil on panel, Pepita Milmore Memorial Fund, 2016.87.1

The Adoration of the Magi

Pier Francesco Mazzucchelli, called Morazzone · c. 1600 · oil on panel ·  Accession ID  2016.87.1

This is a drawing of figures in various poses. It features sketches of individuals in different stances and activities, including a seated figure, a figure with a cloak, and others in dynamic poses with outstretched arms. The sketch is done in a classic style, likely with charcoal or graphite, providing strong contrasts and gentle shading to give depth and form to the figures. The style and depiction suggest studies or preparatory sketches for a larger work, possibly capturing movement and the human form in a timeless, classical manner.
Pier Francesco Mazzucchelli, called Morazzone, Studies for Christ Before Caiaphas, 1608/1609, black chalk heightened with white gouache on gray-green laid paper, laid down, Gift of Andrea Woodner, 2021.3.1

Studies for Christ Before Caiaphas

Pier Francesco Mazzucchelli, called Morazzone · 1608/1609 · black chalk heightened with white gouache on gray-green laid paper, laid down ·  Accession ID  2021.3.1

This is a drawing of a group of figures gazing upwards at a central figure seated on clouds. The figures below appear to be in motion, gathered closely, some with arms extended towards the hovering central figure. The central figure is depicted in a relaxed, seated posture, arms extended outward, surrounded by clouds. This is in the style of an artist from the Renaissance period, featuring draped clothing on the figures, which creates a sense of movement and dynamism in the composition. The use of soft shading and delicate lines emphasizes the ethereal quality of the scene. The entirety of the image is done in a monochrome palette.
Italian 17th Century, The Assumption of the Virgin, pen and brown ink with brown wash over graphite on laid paper, Ailsa Mellon Bruce Fund, 1973.36.1

The Assumption of the Virgin

Italian 17th Century · · pen and brown ink with brown wash over graphite on laid paper ·  Accession ID  1973.36.1