This fusion is effectively demonstrated in the present study where wide flat forms are used to build up the face, simulating the modulations of sculpted marble, alongside more realistic features, such as the free flowing curls of hair which add life and movement to the drawing.
The impact of classical sculpture on Annibale's work can be seen in all its glory in the decoration of the ceiling of the Farnese Gallery. For a learned and in-depth account of Annibale's drawings after classical sculpture see Aidan Weston-Lewis, 'Annibale and the Antique' Master Drawings, vol. 30, no. 3, 1992, pp. 287-313.
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