Piastra per il "Atlas anatomo' (non pubblicato). Artista: Crisóstomo Alejandrino José Martínez y Sorli (spagnolo, Valencia 1628-1694). Dimensioni: Piastra: 26 7/16 × 20 3/4 in. (67,1 × 52,7 cm) foglio: 27 7/16 x 21 9/16 in. (69,7 x 54,7 cm). Data: piastra ca. 1680-1694; stampato del XVIII secolo. Vista architettonico di un quadrato con colonnine e obelischi. La composizione è divisa in due metà, con sulla metà superiore 14 figure umane in pose diverse, raffigurato nel delineare con un particolare accento sulla loro struttura scheletrica. Dodici figure sono state numerate da A a M in lettere maiuscole. In primo piano, depic
Questa immagine potrebbe avere delle imperfezioni perché è storica o di reportage.
Plate for the 'Atlas Anatomico' (unpublished). Artist: Crisóstomo Alejandrino José Martínez y Sorli (Spanish, Valencia 1628-1694). Dimensions: Plate: 26 7/16 × 20 3/4 in. (67.1 × 52.7 cm) Sheet: 27 7/16 x 21 9/16 in. (69.7 x 54.7 cm). Date: Plate ca. 1680-1694; printed 18th century. Architectural view of a square with pedestals and obelisks. The composition is divided in two halves, with on the top half 14 human figures in various poses, depicted in outline with an emphasis on their skeletal structure. Twelve figures have been numbered A through M in capital letters. In the foreground, depicted on the bottom half of the sheet, various different bones from the human body are depicted leaning against and lying on the pedestals. Each is depicted multiple times to show the front and back as well as the section of the bone to reveal its internal structure. All are numbered with lower case letters a-z and numbers 1-12. In the center of the composition, a drawing is hung in front of the pedestal which shows the top half of the cranium held in front of a burning candle to reveal the seams and what looks like a fracture. The Atlas Anatomico as Chrisostomo Martinez y Sorli had planned it, contained the most authoritative anatomical prints made during the seventeenth century. He started the project in Spain in 1680, but moved to Paris where he continued working on it, until he died in 1694 during a trip in his home country. The plates for the book appear to have been left in Paris and were subsequently used to illustrate several 18th-century French publications. The monumental prints illustrate the state of knowledge of anatomy in late seventeenth-century Europe, as well as the incredible level of sophistication that printmaking and book production had reached in Europe at that time. Museum: Metropolitan Museum of Art, New York, USA.
