Vol. I · The open image paperWinnipeg · Musée sans mursRecovered · Remembered · Returned
Cleveland Museum of Art693408squareMassimo Stanzione (Italian, 1585–1656)c. 1620sCC0cma sacred-art design-assets ink-paper-impressions sacred art design assets ink paper impressions angels sketch drawing pencil brown line art religious classical renaissance study figure movement dynamic draft gesture anatomy composition the seven archangels recto studies archangel and wind god versoMassimo Stanzione (Italian, 1585–1656) c. 1620s Italy Pen and brown ink, brown wash, traces of black chalk (recto); pen and brown ink (verso), Drawing European ReligiousSacred & Devotional The Maker’s Cabinet Ink, Paper & Impressions
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The Seven Archangels (recto); Studies of an Archangel and a Wind God (verso) by Massimo Stanzione (Italian, 1585–1656) (c. 1620s). Purchase from the J. H. Wade Fund Rights: CC0. https://clevelandart.org/art/2025.132
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From the museum record
Massimo Stanzione worked in the Spanish-held Kingdom of Naples, where, during the 1600s, painting was characterized by dramatic expression, emphatic naturalism, and intense chiaroscuro derived from the profound influence of Caravaggio (1571–1610). Stanzione, however, was known in the city as one of the main purveyors of a more classical style, a kind of antithesis to the passion and drama of such Neapolitan painters as Jusepe de Ribera. This drawing relates directly to a painting Stanzione made depicting the seven archangels at the Monasterio de la Descalzas Reales in Madrid. The iconography of the seven archangels was a regional focus of devotion in the Neapolitan kingdom, and in Spain, where the cult of the “Seven Angelic Princes” had been promoted by the 16th-century Sicilian friar Antonio Del Duca (1491–1564).
Lupin’s visual index
A collection of detailed pencil sketches depicts various angel figures in dynamic poses, rendered with expressive linework and shading.
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