Renaissance and Europe Author(s): Keith Christiansen, Nadine M. Orenstein, William M. Griswold, Suzanne Boorsch, Clare Vincent, Donald J. LaRocca, Helen B. Mules, Walter Liedrke, Alice Zrebiec, Stuart W. Phyrr and Olga Raggio Source: The Metropolitan Museum of Art Bulletin, New Series, Vol. 52, No. 2, Recent Acquisitions: A Selection 1993-1994 (Autumn, 1994), pp. 20-35 Published by: The Metropolitan Museum of Art Stable URL: http://www.jstor.org/stable/3258872 . Accessed: 02/06/2014 14:36

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This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions RENAISSANCE AND BAROQUE

Agostino Carracci Among the most innovativeworks of the late seem to support an attribution to his brother Italian (Bologna),1557-1602 sixteenth century are a small group of infor- Agostino, and, indeed, a composition of this or Annibale Carracci mal easel treatingeveryday themes subject attributed to Agostino is listed in a Italian (Bologna),I560o-609 produced in the academy of the Carracci I680 inventory of the Farnesecollections in Two Children Teasinga Cat family in Bologna. The authorshipof these is Parma.Whether by Annibale or Agostino, difficult to establish, since they were painted the picture may date to about I590, following Ca. 590o by relatedartists sometimes working from the one of Agostino'svisits to Venice. Oil on canvas same posed models. The theme of children teasing cats proba- 26 x 35 in. (66 x 88.9 cm) This captivatingpicture has traditionally bly carrieda moral lesson, but what gives the Purchase, Gwynne Andrews Fund, and been ascribedto the youngest of the Carracci, picture its enduring appeal is the way, by a Bequests of Collis P. Huntington and Annibale. However, the calligraphicbrush- fresh pictorial means, an apparentlycasual Ogden Mills, by exchange, 1994 work on the boy's collar and shirt-reminis- and insignificant action is made a fit subject 1994.142 cent of the work of Paolo Veronese-would for art. KC

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This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions The MetropolitanMuseum of Art Bulletin Fall I994

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This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions EUROPE

Albrecht Altdorfer ; _. I~~s German, ca. I480-538 with a Double ----Z Landscape Spruce r

Ca. I520-22 Etchingprintedin blackink on ivorylaid paper 438 x 638 in. (iI. x 6. cm) Purchase, Gift of Halston, by exchange, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, and Pfeiffer Fund, 1993 I993 I097

Inspiredby the dramaticscenery of the sur- rounding Danube Valley,characterized by high mountains, nestled villages, and ever- Although undoubtedly influenced by Pietro di Cristoforo Vannucci, called greensdraped with moss, Altdorferproduced Albrecht Diirer'scontemporary experiments Perugino in his hometown of Regensburgthe earliest in , a relativelynew medium at the Italian, ca. 1445-1523 examplesof pure landscapein and time, Altdorfer'slandscapes were etched with Landscape print. A prolific etcher and woodcutter, remarkablespontaneity and freedom of Altdorfercreated a mere nine landscape draftsmanship.They appearto have been Ca. 1489 prints during his career,all of which date to a originallyprinted in limited quantities and as Brushand brownink, heightenedwith white, relativelyshort span of time between about a result are now extremelyrare. The small on gray-brownpreparedpaper I518and I522. These nine , however, scale of Landscapewith a Double Spruce 8 x in. (20.4 x28 cm) are of great significancefor the history of art emphasizesthe impressionof vast space Purchase, Lila Acheso( Wallace Gift, 1993 as they were the first western Europeanprints Altdorfercreated within. It is one of only five 1993-327 to representlandscape as subject ratherthan landscapeetchings by the artist now in setting. American museums. NMO With the exception of Leonardoda Vinci's celebrated View of theArno River Valley (Gabinetto Disegni e Stampe degli Uffizi, Florence), scarcelyany pure landscapedraw- ings are datable before 15oo. The Museum's recentlyacquired Landscape by Perugino is thus of outstanding historicalas well as aes- thetic significance.The leading Umbrian artist of his generation, Perugino exercised considerableinfluence upon the development of central Italian painting through the work of his many pupils and followers, notably Raphael.The present sheet is the only known landscapedrawing by the artist, and it appearsto be preparatoryfor the background in his altarpiece The Visionof Saint Bernard (Alte Pinakothek, Munich), which he exe- cuted shortly after 1489 for the Florentine church of Santa Maria Maddalenadei Pazzi. The artist began by making a quick, compar- atively spontaneous pen-and-ink study of hills on the reverseof the sheet before turning it over to elaborateon the composition in the painterlysketch reproducedhere, which is drawn entirelywith the point of the brush. WMG

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This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions Jan Cornelisz. Vermeyen scene.This print,probably one of Vermeyen's Netherlandish,100-I559 first,is his only ;his otherprints are An Oriental Banquet: Mulay Hasan and in the lesslaborious but alsoless certain His Retinue at a Repast mediumof etching.Some of Vermeyen's printsare known in uniqueimpressions; all Ca. I535 are rare. SB Engraving 13/8 x 2/8s in. (33.3x 53.8 cm) Purchase, The Elisha Whittelsey Collec- tion, The Elisha Whittelsey Fund, and Leonard Limosin Arthur Ross Foundation Gift, I994 French,active i532-ca. i576 1994. I2 Henry II, King of

A typical peripateticcourt artist of the French(Limoges), probably ca. i555-60 Northern Renaissance,Vermeyen was a painter Enamel,painted andpartlygilded, on copper and printmakerwho worked for Margaretof 3/2 X 258 in. (9 x 6.7 cm) Austria, governorof the , in Purchase, Ruth Blumka Gift, in honor of Malines, then for her nephew, the Holy Kimberly Nasatir, and Rogers Fund, 1994 Roman Emperor CharlesV, and finally for 1994.73 Mary of Hungary, the subsequent governor of the Netherlands. CharlesV, who like King Henry II (I519-I559), one of the great Vermeyenwas born with the century, inherit- royal patrons of Renaissanceart in France, anda fur-trimmedjacket for the royalrobes ed vast territoriesfrom each of his four commissioned two painted enamel altarpieces wornby the kingin the Sainte-Chapelle grandparents,and by mid-century he nomi- from Limosin in 1552 for the Sainte-Chapelle altarpiece. nally ruled most of western Europe except in Paris.Now in the Musee du , they A nativeof Limoges,Limosin held an France,parts of North Africa, and much of depict the Crucifixion and Resurrectionof appointment to FrancoisI as early as I545, the recently discoveredNew World. In I535 Christ, and they incorporateportraits of and a document of I559 refersto him as both Vermeyenaccompanied Charles on an expe- Henry II, his father, Francois I (1494-1547), enamelerand painter to the lateking, Henry dition to rescueTunis, capturedin I534by and their queens kneeling in prayer.The vig- II. WhileLimosin is knownas an etcheras the Ottoman Turks.This print recordsan orously delineated profile of Henry II in the well,his reputationrests upon his enamels, actual scene with the Moorish king of Tunis, Sainte-Chapellelikeness can be recognized as andsome of his enameledportraits rank with Mulay Hasan, whom Charles reinstatedas his the prototype for the Museum'sportrait, but thosepainted by Jean Clouet (1486-5I40) and vassal.The image has the added interest of the painter here has substituted a small Corneille de Lyon (before I500-1574) as the being an early example of a candlelit night plumed beret, a doublet embroideredin gold, bestof the FrenchRenaissance. cv

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Design for a Saddle Plate of Parmaand Piacenza.The complete armor designs for the various parts of the Farnese for man and horse is in the Hofjagd- und armor,of which this drawing is among the Italian (Milan), ca. 1575-80 Riistkammer(Court Hunting Cabinet and finest, are now dispersedamong public and Pen and coloredwashes on paper Armory) of the KunsthistorischesMuseum, privatecollections in the United States and I9/2X I53/ in. (49.5 x 39.2 cm) . It was made by the Milanese armorer Europe. Preparatorydrawings for armor are Purchase, Fletcher Fund and Gift of and goldsmith Lucio Piccinino about 1580. exceptionallyrare. The only examples compa- William H. Riggs, by exchange, 1993 The exuberantlydetailed Manneristorna- rable to the Farnesegroup in scope and quali- I993.234 ment representedin the drawingwas ren- ty are the sketches by Albrecht Diirer for a dered on the armorby low-reliefembossing, silveredarmor commissioned by Emperor This lifesize preparatorydrawing depicts the with the principal figuressilvered, the orna- Maximilian I and a seriesby -tienne Delaune front saddle steel of one of the most lavishly mental enframementsgilt, and the back- made for Henry II, king of France. DJL decoratedarmor garnitures of the sixteenth ground blued to createan overallspatial and century, made for AlessandroFarnese, duke coloristic effect of amazing richness. Other

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This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions Bernardo Strozzi Italian (Genoa),15 82- 644 Saint Peter

~: ~"~'~i ~ ~ ~~~~~~~~~~~Black chalk,heightened with white, on beigepaper (35 13 '4x 918 in. x 23.2 cm) - X~~~~"'~~~ Purchase, Lila Acheson Wallace Gift, 1993 19973.241r

Along with Giovanni Benedetto Castiglione and Giovanni Battista !.:' ?~!aIs~~~~ Gaulli, Strozziwas one of the most talented and influential Genoese artistsof the seventeenth century.This drawing of Saint Peter holding a large pair of keys in his left hand is an exceptionallyvigorous and animated example of Strozzi'sdistinctly idiosyncraticwork as a drafts- man. Although the rustic featuresand vivid characterizationof the saint are typical of the artist'sstyle, the image does not correspond preciselyto a known painting. Nevertheless, the drawing has many featuresin common with a painting of the same subject that was recently on the art market in New York,and it may be a study for one of a series of octagonal half-length representationsof the apostles. Like the majority of known studies by Strozzi, the sheet comes from one of ? ~~working7 ? ~'~?~~~~~~ a number of albums of drawingsthat are thought to have been as- sembled during the seventeenth century by the Venetian collector ZaccariaSagredo. WMG

Hendrick GoltziusGoltzius' Xi ' ' Dutch, y58-16r7 The Sense of Hearing

Ca. 595 -i6oo white chalk . Black chalk,stumped, heightened with . -': _ 2r8 x 8 in. (31.4x 20.3 cm) Purchase, Lila Acheson Wallace and Harvey Salzman Gifts, 1994 1994.87

TheSense ofHearing belongs to a series of five drawingsrepresenting the senses that Goltzius executed shortly before i6oo. Images of music making and stags are traditionalin allegoricalrepresentations of hear- , ing. The stag in this drawing may also suggest that the loosely draped / :5Wi5!, female is Diana, although she bears none of the usual attributesiden- tifying her as a huntressor moon goddess. !:: By the time this drawingwas produced, Goltzius was no longer working in the High Manneriststyle that had brought him interna- tional fame as a graphic artist. The figure'sproportions are exaggerat- ' . ed, yet she is renderedwith a classicalrestraint that is due, in part, to a took to in the which he trip Goltzius took to Italy in the early I59os,I5905, during which~ he diligent-ydiligent- "R X ; 3,;''i' ly studied the great artisticmonuments of antiquity and the Renais- sance. The loose applicationof chalk and subtle modeling in this 7 elegant drawing reflecta major change about to take place in the . - artist'scareer: from i6oo until his death, Goltzius turned to painting. i/ ' Two other drawingsin the group are preservedin New York: ^ .*- Lucretiaas the Senseof Touchat the Pierpont Morgan Libraryand The SenseofSmell in the collection of Mr. and Mrs. Eugene Victor Thaw. HBM

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This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions Adriaen van de Venne Van de Venne, a native of Middelburg and nous figure of Death from behind the curtain Dutch, i589-r662 subsequentlya resident of The Hague, was a in the center of the composition. A sense of To Each His Own Pastime (Elck Sijn Tijt- painter,poet, and book illustratorbest foreboding is also provided by the two paint- Verdrijff) rememberedfor his depictions of Dutch life ings flanking the skeleton, symbolizing the and manners. In this large and highly fin- misfortunes of life and the unpredictabilityof Probablyca. 1625-35 ished drawing an elegant couple is engaged in love. The use of an admonitory inscription in Red chalk a game of shuttlecock, attended by two ser- a banderole to underscorethe moralistic mes- 13 s x I75/8 in. (35.2 x 44.9 cm) vants. Variousaccessories, from the lute on sage in this scene is a common feature in van Purchase, David T. Schiff Gift, 1994 the table to playing cards and wineglasses de Venne'swork, especiallyin his allegorical 1994.52 strewn upon the floor, complete the picture genre paintings, which often, as here, incor- of a life of self-indulgence. Only the observer porate the vanitastheme. HBM notices the unexpected entranceof the omi-

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This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions The acquisition of Wtewael'sexquisite paint- realisticlight and shade, soft modeling and Dutch, 1566-1638 ing on copper, The GoldenAge, adds to our many textures,and in its Jan Brueghel-like The Golden Age collection of Dutch paintings one of the landscapefilled with fruits, exotic shells, and finest known examples of the Manneriststyle. a peaceablekingdom of contented animals. 160o The Museum'searlier and very different The subject (Ovid, Metamorphoses,I, 89ff.) Oil on copper Dutch Mannerist picture, Bloemaert's and execution were intended for a connois- 83a x 12 in. (21.2 x o.5 cm) MosesStriking Waterfiom the Rock(1596; seur'sprivate pleasure.That the composition Signedand dated (bottomcenter, on rock): acc. no. I972.I7I), is ideally complemented by holds its own in a gallery of largerpaintings JOACHIM Wl'E / WAr FEClT / AN I605 Wtewael'ssmall cabinet picture, which rep- may reflectWtewael's experience in produc- Purchase, The EdwardJoseph Gallagher III resentsa mythological subject and illus- ing altarpieces. WL Memorial Collection, Edward J. Gallagher tratesa distinctly later phase of Mannerism. Jr. Bequest; Lila Acheson Wallace Gift; Bloemaert'scomposition is a highly stylized special funds; and Gift of George design in which sinuous contours and unex- Blumenthal, Bequest of Lillian S. Timken, pected colors predominate, and the key figure The Collection of Giovanni P. Morosini, of Moses is lost in a crowd of posturing presented by his daughter Giulia, Gift of nudes. Wtewael'spainting is an even more Mr. and Mrs. Nathaniel Spear Jr., Gift of sophisticatedessay in the fashionablemanner Mrs. William M. Haupt, from the collec- but it belongs to the new century;one would tion of Mrs. James B. Haggin, special be tempted to compare Annibale Carracci's funds, gifts, and bequests, by exchange, frescoeson the ceiling of the FarnesePalace 1993 in Rome (ca. 1597-i600) were Wtewael's I993.333 painting not so distinctly Netherlandish in its

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This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions Philippe de Champaigne Champaigne succeeded Duchesne as painter French, 1602-1674 to the Queen Mother, and in I628 he married Portrait ofMadame de Champaigne Duchesne's daughter Charlotte. She is ren- dered in this drawing in preparationfor a Ca. I628 painted portrait, now in the Bowes Museum, Black chalk,heightened with white, with BarnardCastle, county of Durham, England. touchesof red chalk The study is arguablythe finest of a very few 834 x 734 in. (22.2 x 19.7 cm) portraitdrawings to survive from the artist's Purchase, Lila Acheson Wallace Gift; Gifts hand. Preservedin an album since the seven- in memory of Jacob Bean, Lawrence teenth century, it is remarkablyfresh and Turcic, and Howard J. Barnet; and The immediate in conveying the quiet intensity of Schiff Foundation, David L. Klein Jr. the sitter as she posed for her husband. Memorial Foundation Inc. and Harry Although trained in Brusselsas a land- Liebovitz Gifts, 1994 scape artist, de Champaigne rose to promi- I994.7 nence in Parisas a painter of religious subjects and portraits,counting Louis XIII Not long after his arrivalin Parisin 1621 the and CardinalRichelieu among his most young Flemish-bornartist de Champaigne influential patrons. The sober naturalismhe collaboratedwith Nicolas Poussin on decora- brought to French portraitureis rooted in his tions for Marie de' Medici at the Luxem- Flemish origins but also reflectsthe spirit of bourg Palace,under the direction of the rationalismin mid-seventeenth-century painter Nicolas Duchesne. Eventuallyde France. HBM

Length of Furnishing Fabric (detail)

Italian (possiblyFlorence), beginning of the r7th century Brocatelle,woven of silk and bast L. (overall) 144 2 in. (370 cm); w. (selvage to selvage) 22 8 in. (56.2 cm) Purchase, Gift of Irwin Untermyer, by exchange, 1994 1994.3

The complicated figuralcomposition and the color combination of red and yellow, as well as the choice of materialsand technique, relatethis fabric to earliertraditions in Florentineweaving. In this example, dis- paratedecorative motifs, arrangedin a fluid, nearlynarrative manner, have a convincing coexistencedespite their symmetricalarrange- ment: dolphins' tails merge into a cartouche that in turn forms the support for an elabo- rate vase, which is simultaneouslya container for a varietyof flowers, in whose leaves nest two birds, and a ledge for two winged figures that confront the amorini,bows and arrows at their feet, below. That this particularcom- position, with motif variations,is also known in differentcolor schemes and fabric types attests to its popularityas a design for a number of furnishing uses. AZ

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This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions a Jacob van Ruisdael Hunting Sword Dutch, 1628-I682

Dredging a Canal Swiss,ca. 600o 9 :PL Steel, iron, wood, andfish skin

I66o-65 L. (overall) 321/4 in. (82 cm) ;?I :'B Pen and blackink, gray wash, overblack chalk Purchase, Jerome Zwanger, Ronald S. 358 x 6 in. (9. x 15.1 cm) Lauder, Mr. and Mrs. Russell B. Aitken, Purchase, Mrs. Carl L. Selden Gift, in George A. Douglass, John K. Lattimer, memory of Carl L. Selden, and Werner H. John K. Watson Jr., and R. L. Wilson .i:? Kramarsky and Mr. and Mrs. Howard G. Gifts, 1994 Q Lepow Gifts, I994 I994.206 1994.88 For almost two centuries a large armoryoccu- On the basis of style and subject, we can sur- pied a suite of gallerieson the upper floor of mise that this fascinatinglittle drawingwas the Uffizi, where the dynasticcollections of the probablymade in the early I66os when Medici rulersof Florencewere displayed.The S Ruisdaelwas living in Amsterdam,having armorywas seen by a steady stream of local i.I moved there from his native about and foreign visitors, who marveledat har- I656-57. The carefulattention to detail, nesses worn by famous men, curious weapons while not typical of the artist'sdraftsmanship, of earliertimes, and richly jeweled arms from is comparableto his views of Amsterdam, the Orient. Our newly acquiredhunting renderedin the vicinity of the Amstel River sword was formerlypart of this princely col- about I663 in preparationfor a series of six lection and is describedin detail in invento- etchings executed by AbrahamBlooteling. ries from 1631until the dispersalof the Medici These topographicalviews, as well as armory in 1775. The sword reappeared in Ruisdael'spainted panoramasand scenes, by 1785, at Erbach Castle near recordthe appearanceof the city when it was Darmstadt, where it formed part of one of nearing the end of its expansion. Similarly, the earliestGothic Revivalarmories. our drawing of a wooden dredging apparatus The distinctive lion's-headpommel distin- documents the technology used in the guishes the sword as Swiss. The deeply chis- Lowlandsto accomplish the Herculean task eled iron guard, with its typically Renaissance of wresting large tractsof land from the sea. foliage and grotesques,is unusually elaborate Togetherthese works show a little-known for a Swiss weapon and indicates that the side of Ruisdael,whose reputationlies mainly sword was destined for someone of high rank. in his heroic landscapepaintings, which The heavy saw-backblade, on the other became a powerful influence upon the artistic hand, suggests that it was intended for practi- development of the nineteenth century. cal use in the forest. The sword'sunusual, almost exotic, appearancemay explain why the seventeenth-centuryFlorentine cataloguer describedit as a "scimitar." swP

29

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This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions Giovanni Battista Foggini Italian (Florence), 1652-1725 Bust of Grand Duke Cosimo III de'Medici (1642-I723)

Ca. I683-85 Marble H. (includingbase) 39 in. (99 cm) Purchase, The Annenberg Foundation Gift, I993 I993.332.1

Overleaf Bust of Grand Prince Ferdinando de'Medici (1663-1713)

Ca. I683-85 Marble H. (includingbase) 39 in. (99 cm) Purchase, The Annenberg Foundation Gift, I993

I993.332.2

Foggini'sreputation as the foremost Floren- tine Baroquesculptor rests mainly on his small bronze groups and on the key role he played between 1694 and I725 as director of the FlorentineMedici workshops.The luxury objects in semipreciousstones (pietredure) produced there, createdafter his drawings and models, spreadthe fame of Florentine taste and craftsmanshipto all European courts. Less generallyknown is his excellence as a portraitistand marble carver,talents he was able to practice only early in his career, immediatelyfollowing his return to Florence in I676 after three yearsof training at the FlorentineAcademy in Rome. These busts are compelling dynastic images, the embodiment of the dramaticand vigorous late-Baroquestyle that Foggini developed during his Roman years under the influence of the works of Gian Lorenzo Bernini as well as those of Bernini'sfollowers Ercole Ferrataand Domenico Guidi. The strongly contrastedforms, which take I993.332. advantageof the effects of light and shadow, and decorativedetails, such as the cravats trait conveys an impression of dignity and of cascadingcurls that merges with the folds with deeply undercut bordersof lace, convey authority in his resolute expressionand the of his generous mantle. an ideal of majesty and magnificencethat was vigorous movement of his cloak, which is tied Masterfullyconceived and executed with especiallyimportant to Cosimo III. Still, acrosshis shoulder and over his armor in the strength and originality,these famous busts Foggini has differentiatedbetween father and mannerof a classicalcommander. Ferdinando's have rightly been considered among the son with a measureof intimacy and direct- dreamyand sensitive nature radiatesfrom his highest expressionsof Florentine Baroque ness that is uniquely his own. Cosimo's por- handsome, regularfeatures, framed by a mass sculpture. OR

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This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions Giuseppe Chiari Italian (Rome),I654-1727 Bathsheba at Her Bath

Ca. 1700 Oil on canvas 5312 X3812 in. (35.9 x 97.8 cm) Gift of Mario Modestini, 1993 1993.4 I

At the end of the seventeenth century the most celebratedpainter in Rome was Carlo Maratta;Sir Joshua Reynolds consideredhim the last in the line of great Roman artiststhat tracedits origin to Raphael.Maratta's most gifted pupil was Chiari, who, Reynolds noted, closely imitated his master.The pre- sent picture-among Chiari'sfinest-is based upon a composition painted by Marattafor his principalpatron, the marcheseNiccolb MariaPallavicini. Illustrating the biblical story narrated in 2 Samuel 11:2-21, it shows Bathshebaat her bath, spied upon from the balcony of a palace by King David, who later sent her husband, Uriah, to his death at the head of a military campaign. David then marriedBathsheba. Farfrom being a slavish copy of Maratta's picture,which is an oval, Chiari'spainting is a more intimate interpretation,with softer modeling. Chiari has introduced a note of delicacyin the gesture by which Bathsheba arrangesher hair, studied in a preparatory drawingin the National Gallery of Scotland, Edinburgh.These changes transform Maratta'slate-Baroque brand of classicism The designs for this etching, and three others into a gentle rococo. French,active i195-died I6i6 of female gardenersin obviously unrealistic Eighteenth-centuryRoman painting is Hortulana peasant dresswith which it forms a series, curiouslyunderrepresented in the Metropoli- may have been createdfor some courtly bal- tan Museum, and this beautiful picture is a Ca. 1612 let, although they cannot be linked with a welcome addition. KC Etching,second of threestates particularproduction. Only a few paintings 2 14 x 634 in. (3i x I7 cm) and about one hundred drawingsby Bellange Inscribed(in theplate): (to left offigure) have been identified today, but through his Hortulana;(lower right) Bellange forty-sevenetchings his idiosyncraticstyle- Purchase, Bequest of Helen Hay Whitney, which epitomizes the exaggerationand high by exchange, 1994 artificeof Mannerism-is widely known. The 1994. 177 gardenersare probablyamong Bellange'searly etchings. Many of the other prints, though From 602o until his death in I6I6 Bellange portrayingconventional religious subjects, worked for the dukes of Lorraine,then an have a distinctly more bizarreflavor than independent duchy with its capital at Nancy, these, but the antique sandals on the feet of in what is now the northeasternpart of the figures and the ornately decorated metal France.In addition to painting religious and vases that three of them carryon their heads mythological subjectsand portraits,as a court are typical of the incongruity that marksall artistBellange would also have devised ephem- of Bellange'swork. SB era, such as costumes for ducal festivities.

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