The Robert Lehman Collection V
ITALIAN DRAWINGS NOTES: more widely accepted. The prudence that kept the draw 1. One print of the photograph in the Harvard Center for Re ing among the anonymous works in the sale was justified, naissance Studies at Villa I Tatti, Florence, is filed urrder for very few drawings with credible attributions can be Bramantino; another is marked "Mantegna follower." 2. Art Museum, Princeton University, 63.31, Studies of Christ related to this one, and no comparison stands up to care Flagellated, Christ Crucified, the Good Thief, Christ of the ful scrutiny. Lamentation and Heads of Christ and Saint John the Evan The same prudence is found in Beguin's excellent entry gelist; Gibbons 1966, no. 699, ill. for the catalogue of the Paris exhibition of 1957, where the drawing was ascribed to a Venetian master of about PROVENANCE: E. Calando, Paris (Lugt 837); Calando sale 1899, 1500. Beguin argued that the free line, the picturesque lot 124; John Postle Heseltine, London (Lugt 1507); Henry Oppenheimer, London; Oppenheimer sale 1936, lot n9. Ac liveliness of the shading, and a strong Flemish influence quired by Robert Lehman in 1936. all bring to mind an artist of Giorgione's generation who was close to Giovanni Bellini and using motifs recalling EXHIBITED: Northampton (Mass.) 1942-44; New York 1979, Marco Basaiti. She also brought up the question of the nos. 2 7 A, B, ill. identity of the figure sitting writing at the left, whom she thought was probably Saint Jerome but could also be Saint John on Patmos. Although at first glance the figure The Veneto does appear to be Saint Jerome, his usual attributes, the lion and the cardinal's hat, are missing, as Beguin noted.
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