Vier Studien nach einer Totenmaske 

Francesco Vanni made these studies after a death mask with red chalk in Italy, likely in the late 16th or early 17th century. These studies offer a glimpse into the Renaissance fascination with both the classical tradition and the stark reality of mortality. Death masks, casts taken from the faces of the deceased, were used both as mementos and as models for portraits. For Renaissance artists, they served as direct links to the individual, capturing a sense of realism. Here, we see Vanni exploring the nuances of the human face through the lens of death. Consider the role of institutions like the art academy. These studies would have been part of an artist's training, practicing the accurate depiction of anatomy. In Renaissance Italy, the church and wealthy patrons shaped artistic production. An artist like Vanni had to navigate a complex web of social and economic forces. By examining archival records, letters, and contemporary accounts, we can gain a deeper understanding of Vanni's world and the social function of his art.