Right Hand

Provenance

Conrad Martin Metz (died 1827) [Lugt 598b]; sold, Philips, London, May 4-5, 1801. Johann Dominik Bossi (died 1853), Munich; by descent to his daughter, Maria Theresa Caroline Bossi (died 1881), and her husband, Carl Christian Friedrich Beyerlen (died 1881), Stuttgart [according to Knox 1980]; sold, H. G. Gutekunst, Stuttgart, March 27, 1882, to Dr. O. Eisenmann, Director of the Gallery at Cassel on behalf of Wilhelm Lübke (died 1893), Stuttgart [according to Knox 1980]; probably sold by the estate of Wilhelm Lübke to Joseph Baer & Sons, Frankfurt [according to Wendland’s oral history and Knox 1980]; sold by Joseph Baer & Sons, to Dr. Hans Wendland, Lugano, after 1919 [according to Wedland’s oral history and Knox 1980]. Sold by A & R Ball, New York, to the Art Institute, 1942.

Right Hand

Giovanni Battista Tiepolo

n.d.

Accession Number

45233

Medium

Red chalk, heightened with touches of white chalk, on blue laid paper

Dimensions

19 × 19.6 cm (7 1/2 × 7 3/4 in.)

Classification

chalk

Museum

The Art Institute of Chicago

Chicago, United States

Credit Line

Simeon B. Williams Fund

Background & Context

Background Story

Giovanni Battista Tiepolo's "Right Hand" is a red chalk drawing heightened with white chalk on blue laid paper, a focused study of a single hand. The study of hands was a fundamental exercise in artistic training, and even the greatest masters continued to make such studies throughout their careers. Tiepolo's study of a right hand shows his mastery of anatomy and his sensitivity to the expressive potential of the human hand. The hand is rendered with careful attention to its structure: the bones, tendons, and muscles are suggested through the precise modeling of the red chalk. The white chalk highlights add a sense of volume and life. The blue laid paper provides a cool ground that sets off the warm red of the chalk. This study may have been made in preparation for a figure in one of Tiepolo's frescoes or paintings, where a precisely rendered hand would contribute to the expression and gesture of the figure. Tiepolo understood that the hand could be as expressive as the face, and his studies of hands are among the most beautiful works on paper of the 18th century.

Cultural Impact

Tiepolo's studies of hands demonstrate the anatomical foundation of his art, showing that the master of decorative grace was also a careful student of the structure of the human body.

Why It Matters

This focused study of a right hand reveals Tiepolo's deep understanding of anatomy and his ability to render the most subtle gestures with precision and sensitivity, the hand becoming a vehicle for expression as eloquent as any face.