JEAN-LUC BARONI Paintings Drawings Sculptures Rosalba Carriera, no. 7 (detail) JEAN-LUC BARONI Paintings Drawings Sculptures 2016 ACKNOWLEDGEMENTS I am very grateful to Alexandra Chaldecott and Joanna Watson for their dedication in researching and writing the catalogue, and Saverio Fontini of Viol’Art for his valuable assistance and his creatively designed catalogue. I would also like to thank the following people for their help and advice in the preparation of this catalogue: My brother Jean-Marc, my sons Matteo and Pietro, Fabio Benzi, Donatella Biagi Maino, Marco Simone Bolzoni, Maria Teresa Caracciolo, Bruno Chenique, Keith Christiansen, Jean-Pierre Cuzin, Pierre Etienne, Marco Fagioli, Catherine Monbeig Goguel, Philippe Grunchec, Bob Haboldt, Marta Innocenti, Holger Jacob-Friesen, Neil Jeffares, Fritz Koreny, Marina Korobko, Annick Lemoine, Francesco Leone, Emmanuel et Laurie Marty de Cambiaire, Isabelle Mayer-Michalon, Christof Metzger, Jane Munro, Anna Ottani Cavina, Gianni Papi, Francesco Petrucci, Jane Roberts, Bernardina Sani, Bert Schepers and the Centrum Rubenianum, Keith Sciberras, Francesco Solinas, Rick Scorza, Paul Taylor and the Warburg Institute, Edouard Vignot, Alexandra Zvereva. Last but not least, I am equally grateful to my wife Cristina for her unrelenting patience and for her continued help and support. Jean-Luc Baroni All enquiries should be addressed to Jean-Luc Baroni at Jean-Luc Baroni Ltd. 7-8 Mason’s Yard, Duke Street, St. James’s, London SW1Y 6BU Tel. [44] (20) 7930-5347 e-mail: [email protected] www.jlbaroni.com © Copyright Jean-Luc Baroni Ltd., 2016 Designed and printed by ViolArt - Florence e-mail: [email protected] Front cover: Théodore Géricault, Portrait of Eugène Delacroix, no.12 (detail). Back cover: Parmigianino, no. 22 (actual size). Paintings 5 OTTAVIO LEONI Rome 1578 - 1630 1 Portrait of a Young Nobleman: Pietro Paolo Melchiorri, son of Benedetto Melchiorri Oil on copper. Inscribed and dated top left: Romae/ 1607. 1 1 5 19.2 x 15.3 cm (7 /2 x 6 /4 in.); in frame: 29.6 x 25.3 cm (11 /8 x 10 in.) PROVENANCE: Private Collection, France. Popes and to Italian nobility. Ottavio had been trained by his father, Ludovico, goldsmith, sculptor in bronze LITERATURE: F. Solinas, Ottavio Leoni (1578-1630): and wax and also painter to the papal court. During les portraits de Berlin, Rome 2013. repeated sojourns at the Tuscan court, in 1597, 1598 F. Solinas, ‘Le maniere del Leoni. Un ‘Amore’ dipinto e and 1590, Ottavio had the opportunity to study the due ritratti di Don Taddeo Barberini ‘, Dal Razionalismo Medici portraits by Bronzino, Allori and Santi di Tito. al Rinascimento. Scritti in Onore di Slivia Danesi Thanks to Princess Christine of Lorraine, who married Squarzina, under the direction of M.G. Aurigemma, Grand Duke Ferdinand I in 1589, the young painter also p.287-296, Rome 2011. had the chance to study dozens of the small, portable F. Solinas, ‘La Signora degli Scorpioni: Un inedito portraits drawn or painted on panel by François Clouet di Ottavio Leoni (1578-1630) e qualche ritratto and his circle. Sole heir to her grandmother, Catherine romano del tempo di Caravaggio’, in Caravaggio nel de Medici, Christine of Lorraine was left a considerable IV centenario della Cappella Contarelli, p.243-265, treasure trove of jewels, precious tapestries and the Rome 2002. extraordinary collection of portraits of the last Valois, which had been commissioned by the queen and are now, for the most part, at Chantilly. The picture is presented in a period Roman frame, of ebonised pearwood inserted with semi precious In 1607, the year this portrait was painted, Ottavio stones including jasper, agate, alabaster, lapis lazuli Leoni had already fulfilled a number of prestigious and amethyst. portrait commissions for the nobility and for important prelates in the Eternal City. He had painted a life This rare and precious portrait was painted by Ottavio size portrait of Pope Paul V (reg. 1605-1621), today Leoni on a copper plate, and dated in fine gold: still in the Borghese collections, along with that of Romae 1607. The artist is one of the greatest European his nephew, Cardinal Scipio Borghese (1577-1633) interpreters of portraiture in his time. From his early which is now in the Musée Fesch, Ajaccio. Among his years, Leoni was supported by Cardinal Francesco sitters can be listed the Gonzagas and the Medicis, Maria Del Monte (1549-1627), patron of the arts the Colonna Princes, the Orsini Dukes and the in Rome and founder, alongside Cardinal Federico Ambassadors of France and of Spain. As well as being Borromeo, of the Academy of Saint Luke, created an associate of Caravaggio, Leoni studied those works to welcome artists coming to work in the Eternal of Rubens and of Frans Pourbus which could be seen City. Del Monte, known as Cardinale Fiorentino in Florence, Rome and Mantua. represented the Grand Duke of Tuscany in Rome and was one of the richest and most refined patrons of his This intimate portrait, recently rediscovered and till age who counted amongst his protégés, Caravaggio now unpublished, was executed with a particular (his favourite), Barocci, Ligozzi, Vouet and indeed mastery of technique, expressing the character and Leoni who was also a friend of Caravaggio’s. These spirit of this adolescent, perhaps only 13 or 15 years artists, along with a few others, all had the favour of old but dressed as a knight. The young noble shows all this art-loving prelate who advanced their careers with the characteristics of a future papal courtier: the gilded prestigious commissions, public and private, for the sword, the sapphire ring on his little finger, the golden Church and the establishment, both in Tuscany and chain on which there presumably hangs a cross, elsewhere. hidden by the doublet because the chivalric order has not yet been granted to him. Elegant, virtuous, Along with Caravaggio, who played an important role the young boy without doubt belongs to an old noble in his development, the young Leoni was influenced family from Rome or perhaps from one of the many by Scipione Pulzone (1550-1598) and Pietro Facchetti families who installed themselves in the Eternal City (1540-1619), successful portraitists and painters to the in order to improve their situation or to assume the 6 posts created by each new Pope. Bareheaded, the a drawing also now in Florence, in the Accademia young man is shown in an interior, an antechamber Colombaria. The present young Cavaliere painted on perhaps on the ground floor of a palace, the neutral copper is strikingly like the subject portrayed in two background is lit in the Caravaggesque manner with a drawings known from old photographs in the collection vibrant light coming from a source high up and to the of the Witt Library and that of the Documentation des left. As in other portraits painted by Leoni and, notably, Arts Graphiques of the Louvre. One is a portrait made in the important group portrait on copper now in the in black chalk dating from towards 1620 representing Metropolitan Museum which shows a Cardinal with Pietro Paolo Melchiorri in profile and identified by his cortège, the expressions of the sitters are described an inscription, now partially illegible. Related to the with precision, as are their clothes. In this portrait, the Marquis Benedetto Melchiorri, an art collector and cloak of black wool is lined with silk satin of the same patron of Caravaggio, it is Pietro Paolo’s likeness which colour, the doublet is of pleated brocade lined with seems to have been drawn again on a sheet from the light blue organza, the same, extremely rich material collection of the marquis de Lagoy, showing him a is used for the bodice and sleeves and the collar and few years older and in court dress. This latter drawing cuffs are elaborately made from fine linen decorated would have been made at least ten or twelve years after with precious Venetian lace. the present work. Further research in Roman archives could possibly clarify the clearly amicable relationship Thanks to his drawn portraits, which often bear the between the artist and the Melchiorri marchesi who are names or the titles of the sitters, it has been possible to most well known for being protectors and patrons to identify certain of the painted portraits: this is the case, for Caravaggio. example, with the magnificent Marcantonio Borghese, Principe di Sulmona in the collection of the Stibbert Museum in Florence which was identified thanks to Translated from a text by Professor Francesco Solinas 8 actual size BARTOLOMEO MANFREDI Ostiano 1582 - 1622 Rome 2 A Hunter with a Spear carrying the Head of a Fox, possibly a depiction of Adonis Oil on copper. 7 1 35.3 x 28.3 cm (13 /8 x 11 /8 in.) PROVENANCE: Private Collection, France. Manfredi’s reputation in the 17th century was as public commissions, either secular or religious, is a Caravaggio’s closest follower, his works were held possible explanation for why there is so little surviving in great esteem and he was extremely influential documentation of his work. The convention he to the circle of Italian, French and Northern artists established, however, of painting religious subjects working in Rome in the first decades of the 17th in the guise of genre scenes became another method century. The close links with Caravaggio, the paucity for artists such as Cecco del Caravaggio and Theodoor of documentation associated with his work and the Rombouts to follow, while Regnier and Tournier, and fact that Manfredi appears never to have signed or to a lesser extent, Valentin, are all considered to have inscribed his paintings meant that over the centuries absorbed his subjects and stylistic influence deeply in his works became absorbed into the confusion of their early work.