Ceiling Design with the Presentation in the Temple 1647-1726 Gregorio de' Ferrari Italian Gregorio de Ferrari's virtuosity as a designer of illusionistic fresco paintings can be appreciated with particular immediacy in his numerous extant compositional drawings. Their mastery of perspective and architecture were particularly admired by his contemporaries (see Soprani-Ratti 1768-69, vol. 2, p. 115). As in the present drawing, the artist often projected his figural narratives in steep 'sotto in su' (seen from below) perspective, framing them with delightful fictive architectural detailing. Mary L. Myers attributed the Metropolitan Museum's sheet to Gregorio (New York 1975, no. 22), an attribution reinforced by a related drawing in the print room of the Palazzo Rosso, Genoa (inv. no. 2130), which is drawn in the same medium and depicts another Marian subject, the Immaculate Conception (Newcome 1973-74, pp. 82-83; Gruitrooy 1987, pp. 431-32, 458-59). Both figural designs are set within irr

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Ceiling Design with the Presentation in the Temple 1647-1726 Gregorio de' Ferrari Italian Gregorio de Ferrari's virtuosity as a designer of illusionistic fresco paintings can be appreciated with particular immediacy in his numerous extant compositional drawings. Their mastery of perspective and architecture were particularly admired by his contemporaries (see Soprani-Ratti 1768-69, vol. 2, p. 115). As in the present drawing, the artist often projected his figural narratives in steep 'sotto in su' (seen from below) perspective, framing them with delightful fictive architectural detailing. Mary L. Myers attributed the Metropolitan Museum's sheet to Gregorio (New York 1975, no. 22), an attribution reinforced by a related drawing in the print room of the Palazzo Rosso, Genoa (inv. no. 2130), which is drawn in the same medium and depicts another Marian subject, the Immaculate Conception (Newcome 1973-74, pp. 82-83; Gruitrooy 1987, pp. 431-32, 458-59). Both figural designs are set within irr

SuperStock offers millions of photos, videos, and stock assets to creatives around the world. This image of Ceiling Design with the Presentation in the Temple 1647-1726 Gregorio de' Ferrari Italian Gregorio de Ferrari's virtuosity as a designer of illusionistic fresco paintings can be appreciated with particular immediacy in his numerous extant compositional drawings. Their mastery of perspective and architecture were particularly admired by his contemporaries (see Soprani-Ratti 1768-69, vol. 2, p. 115). As in the present drawing, the artist often projected his figural narratives in steep 'sotto in su' (seen from below) perspective, framing them with delightful fictive architectural detailing. Mary L. Myers attributed the Metropolitan Museum's sheet to Gregorio (New York 1975, no. 22), an attribution reinforced by a related drawing in the print room of the Palazzo Rosso, Genoa (inv. no. 2130), which is drawn in the same medium and depicts another Marian subject, the Immaculate Conception (Newcome 1973-74, pp. 82-83; Gruitrooy 1987, pp. 431-32, 458-59). Both figural designs are set within irr by Piemags/PL Photography Limited is available for licensing today.

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