Seated Male Nude Facing Right by Alessandro Tiarini

Seated Male Nude Facing Right 1577 - 1668

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drawing, print, paper

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drawing

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print

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paper

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nude

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male-nude

Dimensions 11 1/2 x 7 1/4in. (29.2 x 18.4cm)

Curator: This intriguing drawing, titled "Seated Male Nude Facing Right," comes to us from the hand of Alessandro Tiarini, likely sometime between 1577 and 1668. It's currently housed here at the Met. Editor: The first word that springs to mind is 'vulnerability.' He's so exposed, and that hand almost shielding his heart… it gives him a deeply personal feel, you know? Curator: Indeed. And that vulnerability plays out on paper, doesn't it? Notice the medium: red chalk. It lends a warmth but also a fragility to the image. Editor: Chalk… Yes, you get this sense that he could almost rub away if you touched him too hard. It adds to the feeling that we're seeing something intensely private. Like catching a glimpse of him in his studio before he was ready. Curator: Well, artistic nudes throughout art history, were very commonly used in workshops. Artists could have models sitting in a specific way for artists to copy and study anatomy. Editor: Interesting, the historical function gives some unexpected humanity to the nude study. He almost looks tired, right? Curator: I find the repetition fascinating; see the suggestion of other figures behind him, almost like ghostly echoes. That reinforces the sense of study, of repetition and practice. Editor: True! He's not just one man but a process, an exploration of the body. I also love the choice to frame him in this seated position; he doesn't seem heroic or larger than life. He’s very human. Curator: Absolutely. Tiarini's treatment subverts the traditional idealization we might expect. He is looking at a more everyday and accessible representation. Editor: It's like he's saying, "This is us. This is the beauty and the rawness of being." And to see that rendered so delicately… it's moving, actually. I think it asks the viewer to contemplate and think, you know? Curator: It does leave you with that sense of reflective intimacy. It's always fascinating when art encourages us to engage with ourselves as much as the subject depicted. Editor: Completely!

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