The Drawings of Michelangelo and his Followers in the Ashmolean Museum

This volume comprises the fullest and most detailed catalogue of the drawings by and after Michelangelo in the Ashmolean Museum. It is one of the most important collections of drawings by this artist, which also includes drawings after his own by contemporaries that shed light on lost works as well as the artist's reputation and influence during the sixteenth century. The introduction provides a history of Michelangelo's drawings generally and also surveys the various types of drawing practised by Michelangelo and an account of his development as a draughtsman. Most of the drawings in the Ashmolean Museum came from the collection of Sir Thomas Lawrence, and this book contains a detailed appendix that traces the histories of all of the drawings by or after Michelangelo that Lawrence owned, both before he acquired them and after they were dispersed.

Introductory essay: the dispersal and formation of Sir Thomas Lawrence's collection of drawings by Michelangelo; Michelangelo's drawings; Appendix 1. Drawings by or attributed to Michelangelo in William Young Ottley's sales; Appendix 2. The Lawrence collection of drawings by and after Michelangelo.

This volume comprises the fullest and most detailed catalogue of the drawings by and after Michelangelo in the Ashmolean Museum, Oxford. It contains 168 illustrations.

Paul Joannides, Reader in the History of Art at the University of Cambridge, has published widely on the painting, sculpture, architecture, and above all, the drawings of the Italian Renaissance. He has also written on topics in French painting of the late eighteenth and early nineteenth centuries.

This volume comprises the fullest and most detailed catalogue of the drawings by and after Michelangelo in the Ashmolean Museum. It is one of the most important collections of drawings by this artist, which also includes drawings after his own by contemporaries that shed light on lost works as well as the artist's reputation and influence during the sixteenth century. The introduction provides a history of Michelangelo's drawings generally and also surveys the various types of drawing practised by Michelangelo and an account of his development as a draughtsman. Most of the drawings in the Ashmolean Museum came from the collection of Sir Thomas Lawrence, and this book contains a detailed appendix that traces the histories of all of the drawings by or after Michelangelo that Lawrence owned, both before he acquired them and after they were dispersed.