Seminar in Sixteenth- and Seventeenth Century Old Master Works on Paper
Spring 2013 SEMINAR IN SIXTEENTH- AND SEVENTEENTH-CENTURY OLD MASTER WORKS ON PAPER
The acknowledgment of drawing as fundamental to the creative process, in addition to its as an independent aesthetic endeavor, has its origin in the Italian Renaissance. in an dote of 1568, artist and historian Giorgio Vasari described Cimabue’s discovery of the ung Giottodrawingon a rock by the side of the road, thereby establishingwithinthe Tuscan digion the primacy of draftsmanship or disegno in the making of art. By the 1600s, drawings faU typeshad come to be fully appreciated and collected by artists and connoisseurs alike.
Italiandrawings of the early modem period served a wide range of purposes for the artist. ior example,drawings were always ways for artists to “think out loud” on paper (studi, schizzi orpeirsieri), and as such they offer intimate views of working methods. In some cases, artists inscribetheir drawings to further instruct a client or an assistant about proper scale or materials. Sometimesan artist authenticated a drawing with a signature. Other drawings are fully realized compositionswhich may be intended to inform a patron about a proposed design - a kind of presentationdrawing. Still others, such as the portrait by Rosalba Carriera (cat. no. 15), are autonon1ou, finished works, unrelated to another project in a different medium.
The study of old master drawings and prints introduces the student to the world of special collections‘ahere particular care is given to the conservation of works on paper, and where instructionis given in the appropriate ways to study drawings. As students are asked to examine papersof different colors, to trace the origin and manufacture of paper by means of watermarks, andto recognize different types of inks and chalks, they come to appreciate the role which the physicalobject plays in understanding it as an historical and aesthetic work of art. Collectors’ stampson drawings or their mounts can also be informative about the history of previous ownership(provenance) and collections. Some drawings are inscribed with “incorrect” attributions. But these ascriptions reveal earlier views by connoisseurs about how an artist’s ‘aorkwas perceived. Drawings and prints can also inform the art historian about important social,political, or theological issues of the day by functioning as a form of religious or political propaganda
It is hoped that this small sampling of drawings and prints by important sixteenth and Seenteenth Italian artists and the accompanying catalogue will be as rewarding an experience br the visitor to tI’e exhibit as it has been for the students who participated in the exhibit.
Courtney
Kirsten
Rebecca
Evan Sara Contributors
Department Associate
Robert
to
Family
Cheryl
Programs catalogue,
the
M.
Graham
students.
Randolf
Milliard
Snay,
Of
Works
Bega
Ho(mberg
Smothennan
Professor,
for
the
special
of
participating Curator
(SMB)
(EG)
to
many
Art,
on
Coleman
(1CM)
Thanks
the
Paper
thanks
(RH)
Art
Art
individuals
Catalogue
of
(CS)
History
also
Gallery.
European
History
to
in
the
to
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the
and
staff
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seminar
Art;
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Design
of
participated
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in
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Curator
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the
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Ann
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in
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Associate
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no.
Bibliography:
Cook,
The
Provenance:
mv.
Banolomé.
in the
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Cosimo
monumental
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and He ‘1bid.. 107. Jbid.. 158. Bernard Berenson, Drawings of the Florentine Painters (Chicago: University of Chicago Press, 1970).30, no. 2736. David McTavish and Roberto Ferretti, Italian Drawings: From the Collection of Duke Roberto Ferretti(Toronto: Art Gallery of Ontario, 1985), 18. Fischer. 137, note 60. Chris Fischer, Fra Bartolommeo et Son Atelier: Dessins Et Peintures Des Collections Françaies (PariS Reunion des musées nationaux, 1994), 110, 145. 147. Fischer. Fra Bartoloinmeo: Master Draughtsnzan, 107.
designs
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to Giulio
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of drawings.
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Bibliography: The
ChiaroscurO
28.8
2
The
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Antonio
Ulysses’
François
hae
executed
da
early
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one
Snite
‘IartYrdorn
with
x
Parmigianino,
Romano
from
in
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is
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appear
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the
resided
of
the
da
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Saint
He
(1494—
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Men by
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a
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as
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(B.XVI.l95.6),
(B.X1I.79.28).
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so
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1540).
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person
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oval
(7).
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[also
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the
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of
Nude from
Art,
was
not
about
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about
Madonna
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is
of
learned
employed
called
Edith
Fantuzzi
also
1962
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as
Paul
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Giorgio
one
some
heard
after
University
and
apparently
century, three
Man
Antonio
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the
woodcuts, Francesco
be
a
from
The
Parmigianino
(as
tone-block
and
they
who
with
Antonio
year,
of
The
designs
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Popham considers it doubtful that Parmigianino was the one who taught Antonio the woodcut1 technique, see ‘Observations on Parmigianino’s Designs for Chiaroscuro Woodcuts,” in Miscellanea: I.Q. Van Regteren Altena 16/v/1969, (Amsterdam: Scheltema & Holkema, 1969), 48. 2 Jan Johnson, “Antonio da Trento.” Grove Art Online. Oxford Art Online. Oxford University Press, accessed January 23. 2013. http: / www .oxfordartonline .com.proxy .library.nd.edu/subscriber/article/grove/art/T0033 1 3. A. F. Popham, catalogue of the Drawings of Parmigianino, (New Haven: Yale University Press, 1971), cat. nos. 73, 319, 74, and 411, respectively. Adam von Bartsch, Le Peintre Graveur. Vols. 12-17. Nieuwkoop: B. de Graaf, 1982, vol. 12.7. For the drawings, see Popharn, catalogue oft/ic Drawings, cat. nos. 190, 191 recto, 192. 379, 380,417, and plates 135-140. The Caraglio print is figure 19 in Popham’s introduction to the catalogue. The final drawing and the print are in the British Museum with the registration numbers 1904,1201.2 and W, 1.184. Popham, catalogue of the Drawings, p1s. 138-140. Ibid., cat. no. 407. Popham, “Observations.., ,“ 49. Zoltán Kárpáti, The Alchemy of Beauty: Parmigianino Drawings and Prints, (Budapest: Museum of Fine Arts, 2009), 102.
Jan.Johnson, “States and Versions of a Chiaroscuro Woodcut.” Print Quarterly 4, no. 1 (June 1987), 154. Popham does refer to the woodcut as the Martyrdom of St Peter and St Paul in catalogue oft/ic Drawings, 13. 3 FraneeSco Salviati (15 10—1563),active in Florence, Rome, Venice, and France. sganding Female Figure in Roman Costume (Muse?), ca.1535—38 Red chalk on antique laid paper with partial watermark. With the collector’s mark of E. Desperet (Lugt 721) in lower left corner, 15.9 x 10.5 cm The Snite Museum of Art, University of Notre Dame, on extended loan as promised gift of Mr. John D. Reilly, Class of 1963, i. L2011.023.001. provenance: E. Desperet (1804—65),Paris; Sotheby’s, Monaco. 2 December 1988, lot 312 [as Italian School]; Yvonn Tan Bunzl, London, 1990 [as Salviati]; Sotheby’s London, 7 July 201 1, lot 30.
According to his close friend and biographer Giorgio Vasari, Francesco de Rossi, called Salviati, was born in Florence in 1510 to a velvet weaver. Francesco’s father, noting his son’s affinity to art, apprenticed the young man to his uncle, the goldsmith Dionigi da Diacceto. The young artist’s interests, however, were primarily in painting, and so he was at various points in the 1520s, to be found in the studios of Giuliano Bugiardini (1475—1554),where he met Vasari, Raffaello da Brescia (1479—1538), Andrea del Sarto (1488—1531), and the sculptor Baccio Bandinelli (1493—1560). Around 1531, Francesco left Florence for Rome and entered the service of Cardinal Giovanni Salviati, nephew of Pope Leo X. It was from his eight-year service to this cardinal that Salviati acquired the name by which he is primarily known today. Among Salviati’s works from this first Roman period is the Visitation (1538) in the Orator of San Giovanni Decollato, the Annunciation (1534) in San Francesco a Ripa, and the decoration of Cardinal Salviati’schapel in Palazzo Salviati with scenes from the life of Saint John the Baptist (now lost). These works show the influence of Michelangelo and Bandinelli, but also a refined ornamentation that may have been inspired by study of Raphael’s Roman 1works. Salviati seems to have had a difficult and unsettled personality that made it hard for him to permanently settle down in one place. He left Rome in 1539, returning briefly to Florence before continuing on to Venice, where he decorated several rooms in the Palazzo Grimaldi (1539—41)and produced woodcut illustrations for an edition of Pietro Aretinos Life of the Virgin Mary (1539). From Venice, Salviati returned to Rome in 1541and entered the service of Pier Luigi Farnese, son of Pope Paul III, where he would remain for the next two years before a major disagreement sent Salviati once more back to Florence in 1543. That same year, Cosimo I de’Medici commissioned Salviati to decorate the Sala dell’Udienza (audience hall) of the Palazzo Vecchio with scenes from the life of the kotnan hero Marcus Furius Camillus (1543—45).Salviati also produced tapestry designs for the Medici family and a Deposition from the Cross (1547) in the Basilica of Santa Croce. B 1548, Salviati was once more in Rome where he worked with Vasari on the decorations for the Cappella del Paflio in the Palazzo della Cancelleria. Reconciliation ‘ith the Farnese must have followed as well, for in 1552. Salviati was commissioned to decorate one of the rooms now known as the Sala dei Fasti Farnesiani in the Palazzo Farnese, an enterprise that lasted four years. In 1556 or 1557, Salviati was invited to France by Cardinal Charles de Lorraine. While in France, he worked for the cardinal and other patrons, decorating rooms in Charles palace outside Paris, but also producing a Deposition for the Church of the
Célestins (destroyed in 1798) and the Incredulity of Saint Thomas now in the Louvre. Salviati’s personality, however, interfered once more with his professional ambitions, and he spent only twenty months in France before returning to Rome. The last years of Salviati’s life were largely spent in Rome where he received, in 1562, the long- hoped-for commission to fresco the Sala Regia in the Vatican Palace, Unfortunately, Salviati would be unable to complete this final work before he died, at the age of fifty- three, on 11 November 1563. Today, Salviati is considered by all scholars as one of the premier artists of the stylish Central Italian High Maniera. Like most Renaissance artists, one of Salviati’s enduring passions was the reinterpretation of the art of classical antiquity into a more modem idiom, as can be seen in many of his works of classical themes, notably in the Palazzo Vecchio’s Sala dell’Udienza. Although almost certainly exposed to classical sculpture in Florence, Salviati’sfirst Roman sojourn (1531—39)would have provided him with a much larger selection of classical art from which to draw inspiration. One such work is the so-called •tluse Sarcophagus (figs. 3a), a late first-century Roman sculpture, now in the Kunsthistorisches Museum, Vienna. which was in the 1530s found in Santa Maria Maggiore, the most venerable Marian basilica in Rome. This sarcophagus depicts the nine muses with Apollo, Minerva, and a philosopher. The sculpted figures on the -arcophagus seem to have inspired at least two drawings by Salviati, one of which is the Snite Museum drawing (fig. 3). Catherine Monbeig Goguel has identified another of Salviati’s red chalk drawings, the Female Figure in Roman Garb with a Lyre (fig. 3c), Louvre, mv. 2207, as inspired by one of these muses on the Viennese sarcophagus. This figure is probably Erato (the muse of love poetry whose emblem is a lyre), the third figure from the 2right. Although the Snite drawing lacks an explicit emblem with which to identify the figure, the position that the woman takes, partly turned away from the viewer with her hand held up as if supporting some unseen object, is analogous to the muse beside Erato, on the left of the sarcophagus identifiable as Melpomene (fig. 3b), the muse of tragic drama, Based on similarities 3 in style, technique, and media, it seems likely that the Louvre and the Snite drawings were Salviati’s effort to update the muses of the sarcophagus to a more contemporary style. Monbeig Goguel dates the Louvre drawing to the mid- to late-l530s, during Salviati’s first Roman visit. Her assessment is based on what she perceives as the figure’s fragility and its distinctness from the style of Salviati’s full High Maniera. Salviati did not fully arrive at this new mode until his Florentine period of the4mid-i 540s. The manner of this earlier Roman period is evidenced by his Visitation in the Oratory of San Giovanni Decollato, which tends to be more classicizing and refined recalling the High Renaissance art of Raphael as opposed to his later works which have a greater affinity with the High Maniera of Vasari. The young woman in the Snite drawing has the dignity and a solemn grace, a gentle sense of movement of his earlier classicizing works. and lacks the affective gestures typical of Salviati’sHigh Maniera works, Monbeig Goguel’s 3 comments regarding the Louvre drawing are applicable to the Snite work in which the delicate strokes of red chalk to reveal the womans body beneath floating, classically jnspired drapery. [he innovations that Salviati makes in his drawing serve to update the static, solid ijeure of the marble muse into this near-mannerist woman. There is little attention paid to the details of the classical dress or hairstyle as on the sarcophagus. The draperies of Sal\ iati’sMuse are nearly incomprehensible as actual clothing, and her hair loosening into soft curls form a bun that adds to the figure’s sense of movement. These changes may he read as indicative of Salviatis desire to create a new series of Muses that more accurately represent the artistic trends of the l530s. Cs
“I organizzazione e 1attenzione formale di stampo raffaellesco Si UflISCOflO ad un’eleganza ornamentale parmigi nesca ed alle stilizzazioni argute e taglienti di Rosso o di Bandinelli” Iris Cheney, “Dc Rossi, EranccsLo,detto ii Salviati,” Dizionario Biograjico degli Italiani Treccani.
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i, L1988.010.002 5 Jusepe de Ribera, called lo Spagnoletto (1591—1652). Born in Játiva, Valencia. Active in Rome and Naples.
Drunken Silenus. Dated 1628. Signed and dated in the plate, “Joseph a Ribera Hisp Valenti/Setabenf Fartenope/ ]62l’ With the dedication, “Almolto Ilire Sr Don Gioseppe Balsamo Barone de Cattasi, Giorato del Illmo / Senato della mobile citta di Messma / Giovanni Orlandi Romano. D. D Etching with drypoint, engraving, and burnishing on laid paper, second state of three, Bariseh XX.84.13: Brown 14, 26.7 x 34.6cm. The Snite Museum of Art, University of Notre Dame, mv. 2012.020. Acquired with funds from the Estate of Edith and Dr. Paul 3. Vignos Jr. ‘41.
Prove,iance: Thomas Jefferson Coolidge Family Collection, Boston; P. and D. Colnaghi, Co., Ltd., London; R.E. Lewis and Daughter, San Rafael, CA, 1968.
Jusepe de Ribera, a Spanish born painter who lived in Italy during most of his life, made major contributions to printmaking and painting, works which continue to stand out as exemplars of their medium. Ribera’s national identity as an artist has been a source of tension for the artist and scholars, since he neither completely belongs to the Italian or Spanish schools. Elizabeth Du Gué Trapier describes his style as “Italian baroque with a strong Spanish accent.” He is, so it seems, a hybrid of both traditions. The competing national influences1 have cost Ribera some fame, because he is often left out of the art history narrative of each nation. Ribera was born in Játiva, Spain, in 1591, and he is first recorded in Rome by 1611. There is very little information regarding the artist’s days as a student, and it is not known where or with whom he trained. Caravaggio’s art influenced his early paintings, although Ribera would not have met Caravaggio, who left Rome permanently in 1606. Rather, it was Caravaggio’s Roman paintings and those of his followers that had an impact on him, Around 1616, Ribera moved to Naples, where he remained mostly until his death in 1652. Ribera is best most known for his paintings, although he is regarded as a skilled (although short-lived) printmaker. Ribera painted religious themes, mythological subjects, and portraits in a naturalist manner. Before Ribera executed the print of the Drunken Silenus (fig. 5), he made a painting of the same subject (fig. 5a) in 1626, Museo di Capodimonti, Naples. The painting is Ribera’s first major mythological work, and xhi!e the 1628 print is not a copy of the painting, it is a variation of it. All of Ribera’s fev prints were executed between 1620 and 1630, and these reveal him to be an Innovative printmaker with dramatic shifts in skill and style. Jonathan Brown identifies three general stages of Ribera’s printmaking, and he places the Drunken Silenus among prints of the artist’s maturity. The delicacy with which Ribera handles darks, lights, and the range of tones between is characteristic of all his later prints. Brown argues that Ribera viewed prints as valuable works of art in their own right, and they offered him opportunities to explore and create different compositions. It
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the as Regardless of the explicit theme, the overall tone of the Silenus is intended to be humorous. Chenault Porter observes that Ribera “seems to have been more concerned with what was to him the novelty of a classical 7fable,” and, in a similar vein, Trapier iiotes that “Ribera did not borrow extensively from the antique as did Domenichino and others, but absorbed classical elements which he used for his own ends, never indulging in interpretations that were too literal and uninspired. As Spear notes, “few pictures possibly could surpass Ribera’s Drunken Silenus8 for its ability to shock and amuse the observer.” This sense amusement, ” to of according Chenault Porter, is part of a Spanish tradition9 in which both Ribera and his frequent patron, the Flemish merchant Gaspar Roomer indulged. “The humorous attitude toward the earthly mythological subject is.. .the result of a Spaniard’s typically satirical attitude toward the mythological tradition.”° From this perspective, the print is more successful in presenting a satirical scene than the painting. The print allows thr compositional clarity that is lacking in the painted version, where the secondary characters are lost in darkness. In the print, the addition of the two infants rolling on the ground, the clear articulation of the body of Pan and the head of the horse, and the background landscape with flying birds contribute to a scene of humorous chaos. As noted by Jonathan Brown “[the print] is in fact a notably superior rendition of the subject... it describes a more thoroughly Bacchic world.” RH ’1
1 Elizabeth Du Gué Trapier, Ribera in the Collection (New York: The Hispanic Society of America, 1952), 1. ibid., 54. For the Tazza Farnese, see Diane DeGrazia Bohlin, Prints and Related Drawings by the Carracci Family: A C’atalogue Raisonné (Washington: National Gallery of Art, 1979), 456-465, cat. no, 19. 3jean Chenault Porter; “Ribera’s Assimilation of a Silenus,” Paragone 30.355 (September 1979), 45. lbid,, 46. 43 Andrea Bayer, Jusepe de Ribera 1591—1652:(New York: Metropolitan Museum of Art, 1992), 77. RmchardE. Spear, From Caravaggio to Artemisia: Essays on Painting in Seventeenth 6Century Italy (London: and France Pindar Press, 2002), 340. (henault Porter, 42. Trapier, 54. 4Spear, 340. Chenault Porter, 42. Jonathan Brown, Jusepe de Ribera: Prints and Drawings (Princeton: Princeton l niversit Press, 1972), 19.
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he
painter
San
Museum
Giovanni
drawing
Snite
right,
Lante,
but
corner.
the
Pompeo
in continued
Bernini’s
Two
the
Reilly,
of
began
George
and
he
and
her
Lorenzo.
As
is
he
Roman
however,
commissions. 9
the
iron
paper
moving
Calandrucci
for
1680
first
Calandrucci
Primarily
the
highly in
Diana
Patti,
their
“preliminary
Muti
in
half—reclining,
the
left
left Palazzo
graphite.
style Ca/and.
of
to
granted
Class
was
the
Rome
Grimaldi
gall
Muti
cartoon
Usslaub
studied
huntress
(1646
and
pupil
experiment the
Ar,
on hand
union
the
subsequently
Academy
1680—85.
ceiling
acidic it/i/i
to
first and
ink
He
recommended
Diana’s
of
large
Grimaldi’s Papazzuri
1685,
at
Strozzi-l3esso.
a
University
the
.A
Hiaci,itIi
Calandrucci Mattia
died —
over
landscape
with
and
taste
Two
1963.
the
was
sketched
under
On
adopted
(1845—
(1606—80)
1707).
and
and
studio
sketches
of
At
putto
quaa t ri
Roman
the
time,
looking fresco. 3
there
of
black
born
Patti an
the
face
with
of
this
olten
goddess de’Rossi mv.
Pietro
St.
verso.
and
turned
the allegorical
(a/andrucc
looks
of
gallery
allegorical
Active
of
his
1929),
maintaining
and time,
in
shortly
riportati
painter,
in
numerous
(fig.
Luke, L1991.031.004,
chalk
with
Calandrucci
Carlo
patrician
period:
corrodes
the
Notre
Maria
was
black
do
Palermo
master’s
In
aiid
del
in
left
upward
to
of
8)is
commission,
Calandrucci (1637—95),
the
1
pen
of
Marseille
in
the
n on
he
705, Pô
the
Maratti. 8
the after
Maratti
putto
Dame,
chalk,
Grimaldi
to
Isabella
Palermo
theme
his
for lower
late
program
maintained laid
(1610—92),
one first
outlines
compositional
Villa Monsignor
paper
her
moon,
in
technique
Calandrucci
a
at
another
Palazzo
in
Baroque
is
for
large
paper.
1646.
such
right, artist
her lefl.
and
on
(1625—17
1
“based
an
(Ll221);
707.
Falconieri,
Massimo.
over
and
the
and
painted
she
was
extended
bow.
and
alone,
of
the
indication then
studio
compositional
in
artist
job.
while
At
Muti
1
built
a
Diana,
of
time.
ears
Rome.
80
stamp
Muti
Classicism:
working
requested
charge a
on
wide
strengthened
an
returned
painter
drawing
Two
x
13).
without
drawings.
probably
W.
much
to the of
Papazzuri. 4
(1660-79)
holding
unknown
249
The
and approached
loan
of
a
influence
fill
aspiring
Endymion,
M.
of
Triumph
crescent
Maratti
of
George
mm
on
Monsignor
of
the
and
decorations
with
Brady
organizing
from
his
to
various
any
drawing.
frescoes
the
because
her
application
Palermo
While
engraver
ideas.’° Inscribed
date,
to
frescoes. 7
in
painters.’
shading
was Usslaub
dogs
decorations
the
of
The
diadem,
right
of
and
honor
brown
Maratti
Venus,
not
compositions
Love
collection
he
the
studying
palazzo
in
are
Maratti
Muti,
Co.,
the
arm
Diana
in
to
only
moved
also
the (I
Rome
or most
iii
the
ink,
at
paint
and
of
and
gallery’s
to
22
and
As
Grirnaldi
mc,
around
washes,”
the
the
trusting
iron
from
1)
and gallery
is
was
was
she
The in
of
in
to
and
New
the
far
of a More of Calandrucci’s studies for the fresco of Diana Seated on Clouds (fig. 8a) are conserved in the Kunstmuseum, Dtisseldorf, the Louvre, and the Gabinetto delle Stampe in Rome.” They offer a significant view into the artist’s design process for the fresco. A comparison of the Snite Diana with the other drawings suggests that it is among the more advanced, final studies. Earlier studies place Diana to the right of the frame, resting on her left thigh (fig. 8b). Later studies shift her gaze and redistribute the putti. until a final ink and wash drawing bears a very close resemblance to the painted composition (8c and 8d). Calandrucci’s confident use of pen in the Snite drawing demonstrates his assuredness not only in technique, but also the way forms take shape upon the paper. The Snite drawing does not focus on expressing olumes and shading, rather it explores the relationships between Diana and the putti, rounding out the forms as they seem to float in the clouds. The composition is well-resolved, yet differences do remain between the drawing and the fresco (figs. 8 and 8a). The Snite drawing shows Diana gazing and cradling the putto to her right, while the fresco separates Diana and the putto. Her arm is outstretched, to her right, perhaps to reach for the putto or to pluck an arrow from her quiver. She does this as she gazes out of the frame, to the right. The fresco also ubstitutes the dogs at Diana’s left (in the Snite drawing) for another putto, who carries a quiver with5 arrows, on the goddess’ right, thus placing Diana in the center of the frame. From the placement of the four frescoed quadri riportati in the gallery, it appears that Calandrucci was interested with the interaction of the scenes’ protagonists. Since Diana in the Clouds (fig. 8a) and Diana and End’mion (fig. 8b) face each other from opposite ends of the gallery ceiling, Diana’s outward gaze toward Diana and Endymion, past Venus and Flora, suggests a premonition of her own discovery of love for the beautiful shepherd.
5MB
Jean K. Westin and Robert H. Westin, Carlo Maratti and His Contemporaries: Figurative Drawings from the
Roman Baroque, (University Park : Penn. State, 1975), 4. 2 Westin, 5. 3Francis Dowley, “A Few Drawings by Carlo Maratti,” Master Drawings 4, no. 4(1966), 426. Sources mistakenly locate Calandrucci’s frescoes in Palazzo Balestra. The Muti family had a number of palazzi in Rome The Palazzo Muti Papazzuri, and the palazzo now known as Palazzo Balestra are easily confused, because they are near one another. Danuta Batorska provides confimation of the fresco’s placement in Palazzo Muti Papazzuri in “Grimaldi and the Galleria Muti Papazzuri.” Antologia di Belle Arti 2, no. 7/8 (1978), 204-215. (jiulia Fusconi and Simonetta Prosperi Valenti Rodinô, “Note in margine ad una schedatura: i disegni del Fondo Corsini nd GabinettoNazionale delle Stampe.” Bollettino d’arte 67, no. 16 (October-December, 1982). 105. Danuta Batorska, 204. Ibid. Prosperi Valenti Rodinó, 107. Dieter Graf, Die Handzeichnungen Von Giacinto Calandrucci:2 vols, (Düsseldorf Das Museum, 1986). 204, and Prosperi Valenti Rodinà cites a compositional drawing by Maratti of Flora in the Resta Codex, Biblioteca \rnbrosiana, Milan (F 261 inf, n, 247. p. 233)that is a compositional design for Calandrucci’s fresco on the Lallerv’s ceiling. The presence of this drawing suggests that Maratti began to work on the commission, and then turned the project over to Calandrucci. Graf. 204. Sec also Graf cat. nos. 68-76. (Louvre. in 15282 and Gabinetto delle Stampe F,C. 127385) for additional dra ings. 9 Lazzaro Baldi (1622-1703). Active in Rome.
/1 Saint Preaching in Prison, Ca. 1658 (?) Brush and gray wash with touches of gray gouache over black chalk on laid paper, 43.2 x 23.5 cm. On extended loan as a promised gift fiorn Mr. John D. Reilly, Class of 1963, mv,L2012.008.002.
Bibliography: Sotheby’s, New York, January 25, 2012, lot 56. ______
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Centuries incisore, University Books, from dissertation. Bilivert Century of Essays London: edited the the prima 1979. of Roman Circles by Women Pennsylvania. and on School Methuen Bull, The Painting metâ their Baroqua of Artists. University of George. XVI Raphael Iconography.” Fontainebleau. & in sec. Co., Carlo Seventeenth New University London: and Preface of 1907. Yorlc Maratti North Parmigianino: Master Folio by Vol. Paddington Park: Century Carolina and Rodolfo 33. Society, Penn. His flab The A at Figure la Figure 1 V Figure t lb L F H Figure 2b 44 • __44 ‘44-. HI. ___ W44I Figure 2a Figure 2e Figure 3 Figure 3a Figure Figure 3c 3b 7 I / K I> ,j I I v Figure 4 Figure 5 Figure 5a Figure 5b I ‘it I Ii Figure 6 Figure 6b I Figure 7 Figure 7a Figure 7b ‘V 13g aJfl!d I[EI /UL}h!I[I\}/ - - LI — ,‘-—— - S Figure Figure Figure Figure 8b 8c 8d e CTQ C 1 CD sO