{"id":"cma-132148","titulo":{"en":"Lot and His Daughters (recto) by Pietro da Cortona","es":"Lot y sus hijas (recto) de Pietro da Cortona"},"titulo_original":"Lot and His Daughters (recto)","autor":"Pietro da Cortona (Italian, 1596–1669)","fecha":"1600s","cultura":"Italy","tecnica":"pen and brown ink over black chalk(?), heightened with traces of white gouache","fuente":"Cleveland Museum of Art","licencia":"CC0-1.0","licencia_url":"https://creativecommons.org/publicdomain/zero/1.0/","credito":"Cleveland Museum of Art, The Norweb Collection","url_original":"https://clevelandart.org/art/1954.696.a","imagen_url":"https://openaccess-cdn.clevelandart.org/1954.696.a/1954.696.a_web.jpg","ficha":{"en":{"titulo":"Lot and His Daughters (recto) by Pietro da Cortona","se_ve":"On a sheet of grey-blue laid paper stained with ochre age spots, three standing figures move toward the left in the foreground, drawn with brown pen and heightened with white gouache. On the left, a young woman in three-quarter view with lowered head, wearing a loose draped tunic with full sleeves; in the center, an older bearded man barefoot, his mantle open at the chest and his mouth slightly open as if speaking; on the right, a second young woman facing the man, also barefoot, holding a small handled vessel or jug in her left hand. The line work is nervous and layered, with broken contours and hatching made of short cross-strokes and diluted washes that model the folds of the garments, creating a rough yet translucent texture. Highlights in white pick out shoulders and drapery, while the ink pools in deeper browns along hems and shadows. The background is barely sketched: at right a thin tree trunk with a scribbled crown, and further back two tiny companion figures walking, rendered with a few strokes. Light seems to come from the upper left, catching the white heightening and leaving the rest in warm half-shadow. The whole has the intimate scale of a preparatory study, with irregular edges and visible foxing at the top.","contexto":"The work is attributed to Pietro da Cortona (1596–1669), a leading painter and architect of the Roman Baroque, and dated to the 1600s. According to Cleveland Museum of Art data, it is a drawing in pen and brown ink over black chalk, heightened with traces of white gouache, from the Norweb Collection. The title Lot and His Daughters refers to the Genesis episode in which Lot flees Sodom with his family, a subject often depicted in Baroque art for its moral and dramatic implications. Its precise purpose is not documented; it was probably a compositional study or narrative sketch, a common practice in seventeenth-century workshops.","como_mirarla":"Start with the triangle formed by the three faces at the center and follow the exchange of glances between the old man and the two women. Then look at the hands and bare feet, where the ink grows denser and more expressive. Finally, find the two tiny figures in the background at right that balance the scene and suggest a journey or exodus.","dato_curioso":"Pietro da Cortona is renowned for his vast illusionistic ceiling fresco in the Palazzo Barberini in Rome, a landmark of High Baroque painting, and his quick ink sketches with white heightening were widely copied as models for rendering drapery in motion.","preguntas":["How does seeing the three figures clothed and walking, rather than in an intimate interior, change your reading of the biblical story?","What does the rapid, broken line tell you about the moment when the drawing was made?","If you were an artificial eye that sees only lines and stains, what emotion would you assign to this small family exodus?"]},"es":{"titulo":"Lot y sus hijas (recto) de Pietro da Cortona","se_ve":"En el centro de un papel verjurado de tono gris azulado y manchas ocres por la edad, tres figuras de pie avanzan hacia la izquierda en primer plano, dibujadas con tinta parda y realces de clarión blanco. A la izquierda, una mujer joven de perfil bajo con el torso ligeramente inclinado, vestida con túnica drapeada de mangas amplias; al centro, un hombre mayor y barbado, de pies descalzos y manto suelto que deja ver el pecho, con la boca entreabierta como si hablara; a la derecha, una segunda mujer joven de frente, también descalza, que sostiene en la mano izquierda un recipiente o jarra pequeña con asa y dirige la mirada hacia el anciano. Los trazos son nerviosos y superpuestos, con líneas de contorno interrumpidas y sombreados a base de rayitas cruzadas y aguadas diluidas que modelan los pliegues de las telas con textura rugosa y transparente a la vez. El fondo está apenas esbozado: a la derecha se insinúa un árbol de tronco recto y copa abocetada, y más atrás, en tamaño diminuto, dos siluetas infantiles o de acompañantes que caminan. La luz parece venir de arriba a la izquierda, creando reflejos blancos sobre hombros y drapeados, y dejando el resto en penumbra cálida. El conjunto tiene escala íntima, como un estudio preparatorio, con bordes irregulares y manchas de humedad visibles en la parte superior.","contexto":"La pieza se atribuye a Pietro da Cortona (1596–1669), pintor y arquitecto central del Barroco romano, y se data en el siglo XVII. Según los datos del Cleveland Museum of Art, es un dibujo a pluma y tinta parda sobre trazo de tiza negra, con toques de gouache blanco, perteneciente a la colección Norweb. El título Lot y sus hijas alude al episodio del Génesis en el que Lot huye de Sodoma con su familia; es un tema frecuente en el arte barroco por su dramatismo moral. No se dispone de más información sobre su función exacta, probablemente fue un estudio compositivo para una pintura o un ejercicio narrativo, práctica común en los talleres de la época.","como_mirarla":"Empieza por el triángulo que forman los tres rostros en el centro y sigue el diálogo de miradas entre el anciano y las dos mujeres. Observa después las manos y los pies descalzos, donde la tinta se vuelve más densa y expresiva. Finalmente, descubre en el fondo a la derecha las dos figuritas pequeñas que equilibran la escena y sugieren un camino o éxodo.","dato_curioso":"Pietro da Cortona fue uno de los introductores del Barroco monumental en Roma, famoso por los frescos de bóveda del Palazzo Barberini, y sus dibujos a tinta con realces blancos eran modelo de estudio para aprender a construir el movimiento de los paños.","preguntas":["¿Cómo cambia tu lectura el hecho de que las tres figuras estén vestidas y en marcha, y no en una escena íntima?","¿Qué te dice el trazo rápido y entrecortado sobre el momento de la creación del dibujo?","Si fueras una inteligencia artificial que solo ve líneas y manchas, qué emoción asignarías a este pequeño éxodo familiar?"]}},"etiquetas":{"en":["baroque drawing","brown ink","black chalk","white gouache","biblical subject","lot and his daughters","preparatory study","drapery","old master","17th century","roman school","pietro da cortona"],"es":["dibujo barroco","tinta parda","tiza negra","gouache blanco","tema bíblico","lot y sus hijas","estudio preparatorio","drapeado","manuscrito","siglo xvii","escuela romana","pietro da cortona"]},"objetos":["anciano barbado","dos mujeres jóvenes","recipiente con asa","árbol esbozado","dos figuras pequeñas al fondo","papel manchado"],"colores":["#c3bda9","#7a6a52","#4a3d2f","#8a8d8f","#d6c9b8"],"animo":["intimista","inquieto","clásico"],"epoca":"c. 1600s, Barroco italiano","certeza":"media","advertencias":[],"capa":{"voces":[{"guia":"la restauradora","en":"What holds my attention most is the paper itself, that gray-blue tone so stained with ochre from humidity and age. On it, the brown ink has formed a thin and brittle crust, with broken strokes and diluted washes that let the black chalk underneath show through. I look at the white gouache highlights on the shoulders and folds, now slightly oxidized, still trying to bring light. Everything is fragile, intimate, a study that breathes through its irregular edges.","es":"Lo que más me detiene es el papel mismo, ese tono gris azulado tan manchado de ocre por la humedad y los años. Sobre él, la tinta parda ha formado una costra fina y quebradiza, con trazos interrumpidos y aguadas diluidas que dejan ver la tiza negra debajo. Miro los realces de gouache blanco en los hombros y los pliegues, ya un poco oxidados, que aún intentan traer luz. Todo es frágil, íntimo, un estudio que respira por los bordes irregulares."},{"guia":"el astrónomo aficionado","en":"I imagine this sheet is like a sky at dusk, with its gray-blue paper background full of stains that look like nebulae. The three figures move like constellations in transit to the left, guided by a light coming from above left that leaves white sparkles on the cloaks. In the background, the sketched tree is like a lonely axis and those two tiny silhouettes are distant satellites following the same path.","es":"Me imagino que esta hoja es como un cielo al anochecer, con su fondo de papel gris azulado lleno de manchas que parecen nebulosas. Las tres figuras avanzan como constelaciones en tránsito hacia la izquierda, guiadas por una luz que viene de arriba a la izquierda y deja destellos blancos en los mantos. Al fondo, el árbol esbozado es como un eje solitario y esas dos siluetas diminutas son satélites lejanos que siguen la misma ruta."},{"guia":"la niña de ocho años","en":"They look like three people walking together and chatting. The man in the middle is old, he has no shoes and his mouth is open as if he were telling something important. The two girls with him also have no shoes and one carries a little jar with a handle in her hand. I like how their clothes were made with lots of little lines, they look wrinkly and as if they were moving with the wind while they walk.","es":"Parecen tres personas que van caminando juntas y platicando. El señor del medio es viejito, no trae zapatos y tiene la boca abierta como si estuviera contando algo importante. Las dos chicas que van con él tampoco traen zapatos y una lleva una jarrita con asa en la mano. Me gusta cómo les hicieron la ropa con muchas rayitas, se ve arrugadita y como si se moviera con el aire mientras caminan."}],"retos":[{"pregunta":{"en":"In the scene there are three large figures in the front and other smaller ones behind, near the tree, how many are those small background figures?","es":"En la escena hay tres figuras grandes al frente y otras más chiquitas atrás, cerca del árbol, ¿cuántas son esas figuras pequeñas del fondo?"},"pista":{"en":"Look behind the sketched tree, in the distance, you will see two tiny silhouettes walking.","es":"Mira detrás del árbol esbozado, a lo lejos, verás dos siluetas diminutas caminando."}},{"pregunta":{"en":"One of the young women carries something in her left hand while walking barefoot, what is the object?","es":"Una de las mujeres jóvenes lleva algo en la mano izquierda mientras camina descalza, ¿qué objeto es?"},"pista":{"en":"Look at the figure on the right, near her drapery, she holds a small container with a handle.","es":"Fíjate en la figura de la derecha, cerca de su drapeado, sostiene un pequeño contenedor con asa."}},{"pregunta":{"en":"The paper where the scene is drawn is not white, it has a particular tone stained by age, what color is its base?","es":"El papel donde está dibujada la escena no es blanco, tiene un tono particular manchado por la edad, ¿de qué color es su base?"},"pista":{"en":"Look at the background of the drawing, it is a cool and muted tone, between gray and blue.","es":"Observa el fondo del dibujo, es un tono frío y apagado, entre gris y azul."}}],"conexiones":["tinta parda y gouache blanco","estudio preparatorio barroco","tema bíblico del Génesis","drapeado y claroscuro","papel verjurado manchado","dibujo a pluma sobre tiza negra","figuras descalzas en marcha"]},"salas":[],"escrita_por":"muse-spark-open-1026"}