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XVI CENTURY ITALIAN DRAWINGS FROM THE ROBERT LEHMAN COLLECTION 1979 r ' cop ^ XVI CENTURY ITALIAN DRAWINGS FROM THE ROBERT LEHMAN COLLECTION CATALOGUE BY GEORGE SZABO THE METROPOLITAN MUSEUM OF ART NEW YORK 1979 Cover: Taddeo Zuccari, No.38 © 1979 by The Metropolitan Museum of Art >Ç ISBN 0-87099-196-5 > INTRODUGTION The sixty-four drawings in this exhibition represent the entire collection of sixteenth-century Italian draw­ ings in the Robert Lehman Collection of The Metropol­ itan Museum of Art, shown as a group as part of our continuing effort to make available all the drawings in the collection. Although almost every important artis­ tic center is represented here, the drawings by Lom­ bard, Venetian, Florentine, and Roman artists are especially noteworthy. Among the highlights of the exhibition are such well-known sheets as Romanino's Concert Champêtre (No. 7), Taddeo Zuccari's Martyrdom of St. Paul (No. 38), and Primaticcio's Two Nymphs Carrying a Third (No. 25). Several of the exhibited drawings are connected with firmly attributed or signed works: Bronzino's Seated Male Nude (No. 24), for example, is a study for a painting signed by the artist in the Museum of Fine Arts, Budapest; and Barocci's Dead Christ (No. 49) is a study for his famous Deposition in Perugia, painted 1567-69. However, many of the drawings still pose problems for scholars and connoisseurs, such as the poetic early Venetian landscape (No. 26), variously attributed to Giorgione, Piero di Cosimo, and Montagna. Also noteworthy are the drawings that served as designs or cartoons for frescoes and stuccoes, such as Giovanni da Udine's wall decorations with grotesques, and Polidoro da Caravaggio's several studies for gri­ saille frescoes in Rome. An interesting group of draw­ ings was done from life; Baccio Bandinelli's Seated Man Der /aimingfrom a Book (No. 18), Annibale Carracci's drawing of his nephew (No. 52), and the nude studies by Domenico Tintoretto are the best examples. This catalogue illustrates and briefly describes all sixty-four drawings. In addition, it includes the versos of nine of the drawings, many of which have never been reproduced before. The attributions are primar­ ily those traditionally assigned to the drawings while in Robert Lehman's possession; however, the results of recent scholarship are also taken into account. Essen­ tial scholarly information is supplied in the individual entries, and a list of abbreviations for a selected bibli­ ography appears at the end of the catalogue. Many of these drawings are exhibited in original sixteenth- or seventeenth-century Italian frames. These frames are works of art in their own right, many having been crafted in the same artistic centers as the drawings they protect. The various objects exhibited — including Italian majolica, furniture, and textiles—are 21 related to the drawings, their iconography, or their artists; all are from the Robert Lehman Collection. The exhibition was organized and the catalogue pre­ pared with the help of the staff of the Robert Lehman Collection. The design of the catalogue and posters is by Doris Halle, Graphic Designer, the Department of Design. Mountings of the drawings were prepared by the Department of Paper Conservation. George Szabo Curator The Robert Lehman Collection PIETRO DI CRISTOFORO VANNUCCI, PIETRO PERUGINO; Castel della Pieve, Rome, Perugia, Fontignano, ca. 1450-1523 1. Head of a Man Black chalk on paper; 22.5 x 15 cm. Parti) reinforced in ink In a later hand. Unpublished. Bernard Berenson has suggested that the (hawing might be a study for a figure in a Crucifixion scene (handwritten notes, Robert Lehman Collection Archives). RAFFAELLINO DEL GARBO; Florence, ca. 1466-1524 2. Head of a Girl Silverpoint, heightened with white, on pinkish prepared paper; diam. 14.8 cm. BIBLIOGRAPHY: Oppenheimer sale, no. 84; O. Kurz, "Giorgio Vasari's 'Libro de' Disegni,'" Old Master Drawings 12 (1937-38):34; Berenson, no. 767; L. Ragghiarti Collobi. Il Libro de'Disegni del Votati, Florence, 1974, p. 99, fig. 273. This once very delicate drawing has suffered extensively during the last four cen­ turies. Its inclusion in a long line of distinguished collections, starting with Giorgio Vasari's Libro in the sixteenth century, attests to its original beauty. t* \ Ù N» M UH .ÍSV CclQLétt RAFFAELLINO DEL GARBO 3. The Virgin and St. foli n Pen and ink with wash on paper; 17.7 x 14 cm. Inscribed at lower center: And. del Castagni/. Vertical dividing line in center; pricked for transfer. BIBLIOGRAPHY: Grassi sale, no. 77. The finish and size of this drawing and the fine pricking suggest that it might have been a design for embroidery. Despite the inscribed name of Castagno and the former attribution to a follower of Filippino Lippi, it might be the work of Raffael- lino del Garbo, who is reported by Vasari as making such designs. GIULIANO DI PIERO DI SIMONE, CALLED GIULIANO BUGIARDINI; Florence, Bologna, 1475-1554 4. St. fohn the Baptist Black chalk, heightened with white paint, on paper; 42 x 11.8 cm. Handwritten notation on verso: ¡ingiardini li.B. Unpublished. Berenson attributed this drawing to Bugiardini on its verso, as well as in his hand­ written remarks (Robert Lehman Collection Archives). GIOVANNI ANTONIO BAZZI, CALLED SODOMA; Vercelli, Siena, 1477-1549 5A. .SV. Sebastian Pen and ink with wash on paper; 2(>.."> x 18.5 cm. On the verso: No. 5B. Unpublished. The drawing is attributed to Sodoma on the strength of certain affinities it has with his painting of St. Sebastian (Uffizi, Florence). This celebrated picture was commissioned as a processional banner by the Confraternity of St. Sebastian in Siena, 1525. - SODOMA 5B. Three Studies Pen and ink on paper; 26.5 x 18.5 cm. Verso of No. 5A. Unpublished. These studies, a standing Figure with a lance, a grimacing head, and ornamental detail, could be by a different hand than the St. Sebastian on the recto. GIOVANNI FRANCESCO CAROTO; Verona, 1480-1555 6. Man and Woman in Adoration Point of brush, heightened with white paint, on blue paper; 20 x 27.4 cm. Inscribed at lower right in a sixteenth-centurv hand: Francesco Caroto; on verso: Fra" Caroto. Pricked for transfer. BIBLIOGRAPHY: Grassi saie. no. 60. The right side of the drawing is cut off, indicating that it was once part of a larger composition. Steps of a dais or throne and parts of drapery are visible, suggesting the whole might have represented an Adoration scene, such as the artist's drawing in the Rasini Collection, Milan (M. T Franco Fiorio, dovari Francesco Caroto, Verona, 1971, fig. 50). GIROLAMO ROMANI, CALLED IL ROMANINO; Brescia, ca. 1485-1559/61 7. Concert Champêtre Penane! brown ink with wash, over black chalk, with traces of red chalk, on paper; 29.3 x 11 cm. Inscribed at lower right: Gitrrgione. BIBLIOGRAPHY: Grassi sale. no. 107: Pans. no. 124; Bean and Stampile, no. 54. This elaborate and poetic drawing is the largest of Romanino's three drawings of musical groups with a faun. These drawings are usually associated with Romanino's frescoes that decorate the loggia of the Castello di Buon Consiglio al lient (1531/32). Although there is no direct connection between them, the same approximate date may be assigned to the drawing. K, -; : 1 \,.• .-. - -. DOMENICO BECCAFUMI; Siena, Pisa, Rome, 1486-1551 8A. TWO Episodes from the Life of Esther? Pen and ink over black chalk, on paper; 22 x 14.7 cm. The lower half numbered 2. On the verso: No. 8B. BIBLIOGRAPHY: R. de Lipharl Rathshoff, "Un libro di Schizzi di Domenico Beccatami," Rivista d'Arte l7(1935):58-70. This sheet was part of a sketchbook that the artist used before his return from Rome to Siena m 1512. "This group of drawings is the only extant work by the master before that date" (I). Sanminiatelli, "The Beginnings of Domenico Becca- fumi," Burlington Magazine 94 [1957]:405). -P DOMENICO BECCAFUMI 8B. Three Studies Pen and ink over black chalk, on paper; 22 x 14.7 cm. Verso of No. 8A. I 'npublished. The three unidentified scenes are arranged in strips, the upper numbered 6, the middle 5, and the lower 9. w • ÄF 9 -ÏT*V>*E; \ Sr GIOVANNI NANNI, CALLED GIOVANNI DA UDINE; Udine, Venice, Rome, 1487-1564 9. Design fin- a Wall Decoration Pen and brown ink on paper; 27.3 x 22.6 cm. Inscribed in Italian with names of various colors, probabl) In the artist. BIBLIOGRAPHY: Szabo, no. 10. Judging from its style and the colors indicated on it, this drawing is a preliminary design for a wall (letoration either in fresco or stucco. Between 1520 and 1526, da Udine collaborated with Giulio Romano on stuccoes and frescoes representing grotesque and mvthological scenes in various parts of the Villa Madama, Rome. rX-vX,SNÈs. • -y S,-. -á%£ TIZIANO VECELLIO, CALLED TITIAN; Venice, 1487-1576 IO. Landscape with Seated Ligure Pen and ink on paper; IS. r> • 23.8cm. BIBLIOGRAPHY: D.von Hadeln. "Two Drawings b> ridan," Art in America I5(l927):l27-I3l' Cincinnati, no. 214; Szabo, no. 8. Detlev von Hadeln described this drawing as a "quick and temperamental study from nature In I iti.m. Bui even he emphasized thai there are a great number ol similar landscape compositions In such pupils and imitators ofthe artist as Domenico Campagnola. Reteñí scholarship favors the attribution to a follower of I itian. BONIFAZIO DI PELATI, CALLED BONIFAZIO VERONESE; Verona, Venice, 1487-1553 11. Christ and His Disciples at Linmaus Pen and ink, point of brush, with yellowish white wash, on bini- paper; 25.7 x 29.8 cm. Inscribed at lower center: Bonifacio. BIBLIOGRAPHY: Oppenheimer sale, no.
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  • Classical Tradition and the Painting of Giovanni Da Udine

    Classical Tradition and the Painting of Giovanni Da Udine

    Classical Tradition and the Painting of Giovanni da Udine Jorge Tomás García* RES Antiquitatis 1 (2019): 14-28 Abstract The aim of this paper is to present new literary evidence to understand the relationship between ancient Greek painting and some of the most important pictorial advances performed in the Roman Renaissance. In particular, I will focus on the classical tradition in the painting of Giovanni da Udine (1487-1564). For this purpose, I have used the testimony of George Turnbull (1698-1748). In one of his treatises, A Treatise on Ancient Painting (1740), he compares the painting of Pausias of Sicyon (IV century BC) and the Italian painter Giovanni da Udine. The observation and study of the Nero's Domus Aurea was a clear inspiration for Giovanni da Udine in his desire to create a painting all´antico. In addition, we discuss specifically the Loggia of Cardinal Bibbiena to see how the classically inspired Giovanni da Udine. Keywords: Greek painting, Turnbull, Giovanni de Udine, Renaissance, Pausias. Date of submission: 3/1/2018 Date of approval: 8/3/2018 * Instituto de História da Arte (FCSH/NOVA Lisboa). E-mail: [email protected]. Classical Tradition and the Painting of Giovanni da Udine Jorge Tomás García1 Introduction Recovery of classical painting as a part of the Renaissance painting is a subject already well known. One of the painters who interpreted the classical tradition to create his painting was Giovanni da Udine (on I will refer to him as G. Udine). He and Rafael Sanzio were in charge of decorating some of the Vatican rooms from the discovery of the Nero's Domus Aurea.