An 18th-century French drawing in the Baillieu Library Marguerite Brown

Recently I had the opportunity to origins, possible function and, in my After exhausting the literature on conduct in-depth research on an view, true authorship. Bartolozzi in my unsuccessful search old master drawing in the Baillieu Drawn in red chalk on paper, for a work that may be related to the Library Print Collection at the Prometheus attacked by an eagle is Prometheus drawing, a visual analysis University of Melbourne, which was an unsigned and undated work that of style was needed to confirm the donated by Dr J. Orde Poynton in had previously been attributed to attribution to Bartolozzi, or find an 1959 (illustrated opposite). The focus the Italian-born engraver Francesco alternative theory.3 of that 12-week research project was Bartolozzi (1727–1815). This is This task was complicated by the a striking drawing of Prometheus, indicated by the ‘F. Bartolozzi’ fact that Bartolozzi was a prolific the Titan from Greek mythology inscribed in graphite by another and gifted copyist, and made his who acted against the will of the hand in the lower right-hand living imitating the styles of others gods and bestowed the gift of fire corner of the sheet, directly under through reproductive engravings and upon humankind. As punishment the image. Although the author of etchings. However, he was known to for this transgression, Zeus bound this inscription is unknown, it was have occasionally ‘indulged his fancy Prometheus to a rock, where every the initial clue upon which to start in original composition’ by making day an eagle would eat his liver. The investigating. drawings in black and red chalk.4 organ would regenerate at night, only The Baillieu Library Print The British Museum holds some to be eaten again the next day in a Collection contains a number of of his drawings, mainly academic gruesome pattern of eternal torture. sheets by Bartolozzi, the majority nude studies, and a search of major The violent subject of this and of which are reproductive prints museum collections that hold other prints and drawings, mostly after old master paintings and Bartolozzi’s original graphic works donated by Dr Poynton, is the basis drawings, along with those of his revealed an artist with a very different for the current exhibition Radicals, contemporaries such as painter and touch from that evident in the present slayers and villains: Prints from draughtsman Giovanni Battista drawing. Instead of the powerful the Baillieu Library, University of Cipriani (1727–1785). Included in definition of musculature, bold form Melbourne which, after finishing the collection is a print based on and overall baroque flavour found its season at the Baillieu Library in Michelangelo’s drawing of the same in the Baillieu Library’s drawing, August, will tour to the Art Gallery subject (albeit titled differently), Bartolozzi’s style is characterised of Ballarat, Hamilton Art Gallery Prometheus and the vulture, bound by a greater delicacy of line-work, and Latrobe Regional Gallery. Here in one of two volumes of 73 softer shading that describes form in the Baillieu’s drawing of Prometheus engravings by Bartolozzi.1 This print a less defined manner, and an overall is making its exhibition debut as part has been executed in stipple, an ‘feminine grace’5 starkly at odds with of the university’s collection. This intaglio printmaking technique that Prometheus attacked by an eagle. Two has prompted my current research, Bartolozzi was to drive to fashionable drawings by Bartolozzi in the British which brought forth some surprising heights during his most active period Museum exemplify these traits. One discoveries about the drawing’s in London in the late 18th century.2 is a genre scene of a shepherdess

46 University of Melbourne Collections, issue 14, June 2014 Attributed to René-Michel Slodtz, Prometheus attacked by an eagle (c. 1750), drawing, red chalk on paper, sheet: 31.9 × 53.3 cm. Reg. no. 1959.5621, gift of Dr J. Orde Poynton, 1959, Baillieu Library Print Collection, University of Melbourne.

shearing sheep,6 and the other a primarily on stylistic grounds, I which the rocky outcrop, folds of rather stiff academic study of a nude returned to explore an alternative drapery, figure of Prometheus and man seated,7 whose figure is quite at theory of authorship that would also the eagle that preys upon him appear odds with the exaggerated naturalism explain certain pronounced aesthetic physically integrated and emergent of our drawn figure of Prometheus. features of the Baillieu Library’s from a single solid mass, which is Having discounted Bartolozzi drawing. This includes the way in surrounded by empty negative space.

Marguerite Brown, ‘An 18th-century French drawing in the Baillieu Library’ 47 René-Michel Slodtz, Étude pour une statue de Persée, drawing, red chalk on paper, 49.6 × 36.2 cm. Inv. 32855 recto, Musée du Louvre, ancienne collection Saint-Morys. Reproduced courtesy of the Musée du Louvre.

The pronounced musculature and a work by Francesco Bartolozzi as hatching, and overall wedge-like folds of drapery are all emphatically had been previously thought.8 shape. Like the Prometheus work, a modelled through light and shade, Of the drawings by Soldtz held minor suggestion of foliage, which as if the artist were mentally in the Louvre, a number portray amounts to some loose squiggles, is travelling around each undulation mythological figures posed on included in the drawing of Perseus, in form. These factors contribute roughly hewn rocky outcrops. Three here in the vicinity of his knees. This to a strong sculptural quality in works in particular are notably similar betrays the same focused attention to the work, prompting the notion to the Prometheus drawing, with evoking the monumental weight of that the drawing may be depicting their dynamic sense of movement flesh, rock and heavy drapery, rather an existing sculpture, or possibly a and the dramatic tension expressed than vegetation. design for a proposed sculpture. through the body. These works Both the Baillieu Library’s After detecting a resonance also convey violent mythological Prometheus and the drawings in with French sculptures of the narratives including Apollo flaying the Louvre appear to be studies for 18th century, I undertook further Marsyas, Perseus bearing a sword, sculptural works that were either research, which revealed Edmé and Andromeda in chains. Each never executed, or were executed and Bouchardon (1698–1762) and his is executed in red chalk and is of are now lost. The former scenario lesser-known contemporary René- a comparable size to the Baillieu is regarded as the most likely.10 The Michel Slodtz (1705–1764) as Library’s drawing. major catalogue by Francois Souchal, sculptors of interest. Both executed The Louvre’s drawing of Perseus, Les Slodtz, which chronicles the life drawings in red chalk with the Étude pour une statue de Persée (see and works of René-Michel and his prevalent use of single-line parallel above) is worthy of particular focus. artistic family, makes no reference to hatching, along with a sculptural In this and the Baillieu’s drawing, the any statuary works relating to these evocation of form similar to that of figure has an outstretched arm that drawings.11 While Guilhem Scherf the Prometheus drawing. bends at the wrist, allowing the hand in his essay attributes the drawing of The key revelation in this to grip a rock face. In both drawings Apollo flaying Marsyas (opposite) to research project was the discovery the figure’s head turns to face his René-Michel, Scherf notes a telling of a group of drawings by René- opponent over the opposite shoulder, observation made by a contemporary Michel Slodtz held in the bearing a grim expression and direct of Slodtz, art critic and artist Department of Prints and Drawings gaze. This pose creates an effective Charles-Nicolas Cochin (1715– in the Musée du Louvre. These are torsion in the body, which is also seen 1790). Cochin referred to a certain remarkably similar to the present in the artist’s drawing of Andromeda, ‘indeterminacy’ or ‘uncertainty’ in work in both style and concept, and Andromède enchaînée.9 Even the rock René-Michel’s nature, a character provide convincing evidence that the to which the figure in each drawing trait that may explain the existence Prometheus drawing is of French clings with an outstretched arm of these highly finished drawings origin and also executed by the hand is almost identical, with the same that appear to have no associated of René-Michel Slodtz, rather than angle and density of the parallel-line sculpture or clear purpose, other

48 University of Melbourne Collections, issue 14, June 2014 Attributed to René-Michel Slodtz, Apollon écorchant Marsyas, drawing, red chalk on paper, 38.5 × 46.3 cm. Inv. 32857 recto, Musée du Louvre, ancienne collection Saint-Morys. Reproduced courtesy of the Musée du Louvre.

than being accomplished artworks he was to live and work for 20 years. by the Cabinet du Roi were often in themselves and conveying his fine During this period he won several the only surviving records of such skills as a draughtsman.12 Scherf important commissions, including elaborate artistic displays.18 dates the Apollo drawing to about his marble sculpture of Saint Bruno 1750; considering the similarities to in the Basilica of St Peter in the Evidence in the paper the Prometheus drawing that this Vatican.15 René-Michel’s long period All of the mythologically inspired and others from this group contain, spent in Rome is responsible for drawings by Slodtz that are held Prometheus attacked by an eagle may the influence of the Italian baroque in the Louvre share a common have been created around the same evident in his larger statuary works, characteristic in the pedestal time. whereas his smaller decorative pieces supporting the rocky outcrop upon Because there is a dearth of reveal the French rococo leanings which the figures are posed. A literature in English on René-Michel that were prevalent during the pedestal is notably absent from Slodtz, I will outline some of the period.16 A great admirer of Bernini the Baillieu Library’s drawing of key moments in his life that help us and Michelangelo, René-Michel Prometheus, but examination of the understand his work and the context in had an affinity with Italian art that paper might explain why this feature which it was created. led to the nickname ‘Michel-Ange’ does not exist. On the bottom edge being bestowed upon him, which he of the sheet is some darkening of the Life of René-Michel Slodtz adopted and used as his signature. paper, a greater number of small black René-Michel Slodtz was born in Upon returning to France, Slodtz spots and accretions than elsewhere France and was highly regarded in his had difficulty re-establishing himself, on the sheet, and the drawn marks lifetime, ranking amongst other better- and although he won independent appear slightly smudged and have known sculptors such as Bouchardon commissions for royal sculptures, no deepened in colour. These changes and Jean-Baptiste Pigalle (1714– product is known to have survived. are consistent with water damage of 1785).13 His father, Sébastien Slodtz However, a small number of other some kind. It is possible that the sheet (1655–1726), was born in Antwerp major sculptural works are extant, was trimmed to remove damaged and emigrated to France to become such as the funeral monument to areas that may have included some of a sculptor, a career also followed Languet de Gergy in the Church the image, and potentially a pedestal. by René-Michel’s older brothers of Saint-Sulpice in Paris.17 Slodtz Indeed, from examining the drawn Sébastien-Antoine (1695–1754) and joined his brothers in the service of marks that flow to the bottom edge Paul Ambroise (1702–1758). Yet the king, designing and executing it appears that the image has been René-Michel was considered the most ephemeral decorations and artworks truncated and the drawing would prominent of the brothers.14 He was for the Menus-Plaisirs du Roi (the have originally continued beyond the awarded the first prize for sculpture department of the royal household existing edge of the sheet. by the French Academy in 1726 and responsible for organising ceremonies, Studying the drawing through subsequently studied at the French funerals and fetes of all kinds). The transmitted light reveals the telltale Academy in Rome, a city in which commemorative engravings produced lines of chain-laid paper. This is

Marguerite Brown, ‘An 18th-century French drawing in the Baillieu Library’ 49 consistent with the hypothesis that to Australia after World War II, is 8 With sincere thanks to Dr Edouard Kopp the date of creation is c. 1750, just currently a mystery, yet the drawing’s ( J. Paul Getty Museum) and Dr Malcolm Baker (University of California Riverside) before the advent of wove papers presence in Melbourne reflects the for sharing their valuable expertise and for (which were first printed upon in exciting scope for further research assisting with this research. 1757 in England).19 Transmitted light into other unattributed drawings in 9 Attributed to René-Michel Slodtz, Andromède enchaînée, drawing, red chalk also reveals a prominent fleur-de-lys the collection, and the surprises such on paper, 49.5 × 36.1 cm. Inv. 32858 recto, watermark in the paper. This popular research may yield. Musée du Louvre, ancienne collection Saint- emblem was used as a watermark by Morys. numerous papermakers in France, Marguerite Brown recently graduated from the 10 Guilhem Scherf, ‘Un sculpteur qui dessine: University of Melbourne with a Master of Art Michel-Ange Slodtz’, in Nicolas de Sainte Holland and Italy. While consultation Curatorship. She is working as a print curator Fare Garnot (ed.), Dessins français aux XVIIe with key texts on watermarks and freelance arts writer, and has been awarded et XVIIIe siècles. Actes du colloque, École du revealed no direct matches, further the Harold Wright Scholarship to study in the Louvre, 24 et 25 juin 1999, Paris: Louvre, Prints and Drawings Department at the British 2003, pp. 351–66. investigation into the watermark Museum in 2014. 11 François Souchal, Les Slodtz, sculpteurs could prove valuable in confirming et décorateurs du Roi (1685–1764), Paris: the date of the drawing.20 Editions E. De Boccard, 1966. There are many remaining 1 Francesco Bartolozzi (after Michelangelo), 12 Scherf, ‘Un sculpteur qui dessine’. Prometheus and the vulture, stipple, published in 13 Terrence Hodgkinson, Review of Les Slodtz, questions on the drawing’s Seventy-three prints, engraved by F. Bartolozzi sculpteurs et décorateurs du Roi (1685–1764) provenance and the earlier attribution from original pictures and drawings in the by François Souchal, The Burlington to Francesco Bartolozzi. It is difficult collection of His Majesty, London: John and Magazine, vol. 111, no. 972, March 1969, Josiah Boydell, n.d., vol. 2, plate 21. Special pp. 159–60. to be sure of what prompted this Collections, Baillieu Library, University of 14 Hodgkinson, Review of Les Slodtz, p. 159. and at what stage in the history Melbourne. 15 René-Michel Slodtz, Saint Bruno, marble, of the object it occurred. Closer 2 Arthur M. Hind (ed.), Bartolozzi and other height: 450 cm. Vatican, Basilica of St Peter. inspection of the inscription reveals stipple engravers working in England at the 16 Walter Heil, ‘Two pieces of French sculpture end of the eighteenth century, London: William of the eighteenth century’, Bulletin of the the remnants of erased letters, also in Heineman, 1912, p. 5. Detroit Institute of Arts of the City of Detroit, graphite, just beneath ‘F. Bartolozzi’. 3 For a catalogue of 2,202 Bartolozzi prints, vol. 10, no. 2, November 1928, p. 22. This may suggest that whoever wrote see Alexandre de Vesme and Augusto Calabi, 17 Scherf, ‘Un sculpteur qui dessine’, p. 363. Francesco Bartolozzi: Catalogue des estampes et 18 For extensive catalogue listings and examples it was unsure of the attribution. notice biographique, Milan: Guido Modiano, 1928. of such commemorative engravings, refer to The Louvre’s group of drawings 4 J.T. Herbert Baily, Francesco Bartolozzi, Souchal, Les Slodtz. by René-Michel Slodtz, discussed R.A., London: Otto, 1907, p. ix. 19 Dard Hunter, Papermaking: The history earlier, originates from the aristocratic 5 Baily, Francesco Bartolozzi, p. x. and technique of an ancient craft, New York: 6 Francesco Bartolozzi, Sheep shearing, Alfred A. Knopf, 1967, p. 345. Saint-Morys collection, which c. 1727–1815, drawing, black and red chalk on 20 Edward Heawood, Watermarks: Mainly of was confiscated during the French paper, 30.4 × 24.7 cm. Reg. no. 1885.0509.1623, the 17th and 18th centuries, Amsterdam: Revolution. How Prometheus attacked British Museum. The Paper Publications Society, 1950; 7 Francesco Bartolozzi, Study for a picture, W.A. Churchill, Watermarks in paper in by an eagle ended up in the collection c. 1727–1815, drawing, red and black chalk on Holland, England, France etc., in the XVII of Dr J. Orde Poynton, an English paper, 22.9 × 24.7 cm. Reg. no. 1886.0410.19, and XVIII centuries and their interconnection, medical practitioner who emigrated British Museum. Connecticut: Martino Publishing, 2006.

50 University of Melbourne Collections, issue 14, June 2014