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EUROPEAN DRAWINGS.
2
CATALOGUE OF THE COLLECTIONS
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EUROPEAN DRAWINGS.2
CATALOGUE OF THE COLLECTIONS
George R. Goldner and Lee Hendrix

with the assistance of Kelly Pask
THE J. P A U L G E T T Y M U S E U M
M A L I B U - C A L I F O R N I A
1992
I992 The J. Paul Getty Museum
17985 Pacific Coast Highway
Malibu, California 90265-5799
Mailing address:
P.O. BOX2II2
Santa Monica, California 90407-2112
Christopher Hudson, Head of Publications
Andrea P. A. Belloli, Consulting Editor
Cynthia Newman Helms, Managing Editor
Karen Schmidt, Production Manager
Deenie Yudell, Design Manager
Project staff:
Andrea P. A. Belloli, Editor
Jeffrey Mueller, Designer
Charles V. Passela, Photographer
Amy Armstrong, Production Coordinator
Typography by Wilsted & Taylor, Oakland
Printed by L.E.G.O., SpA, Vicenza, Italy
LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA

(Revised for vol. 2)
J. Paul Getty Museum.
European drawings.
Volume 2 by George R. Goldner and Lee Hendrix
with the assistance of Kelly Pask.
Includes bibliographies and index.
i. Drawing, EuropeanCatalogs. 2. Drawing
CaliforniaMalibuCatalogs. 3. J. Paul Getty
MuseumCatalogs. I. Goldner, George R., 1943-
II. Hendrix, Lee. III. Williams, Gloria. IV. Title.
NC225.J25 1988 74i.94'o7479493 87-29346
ISBN 0-89236-092-5 (v. i)
ISBN 0-89236-219-7 (v. 2)
Cover: Pordenone, Martyrdom of Saint Peter Martyr (no. 36)

CONTENTS
FOREWORD John Walsh vii
PREFACE AND ACKNOWLEDGMENTS GeorgeR. GoIdner ix
PLATES i
ITALIAN SCHOOL (Nos. 1-51) 19
FRENCH SCHOOL (Nos. 52-80) 132
FLEMISH SCHOOL (Nos. 81-89) 192
DUTCH SCHOOL (Nos. 90-112) 214
CENTRAL EUROPEAN SCHOOL (Nos. 113-42) 262
BRITISH SCHOOL (Nos. 143-44) 318
ARTISTS' BIOGRAPHIES 325
ADDENDA TO European Drawings i (1988) 351
LIST OF ARTISTS 361

FOREWORD
Here, as promised, is the second catalogue in a series devoted to the Getty Museum's collection of
drawings. The first, covering acquisitions from 1981 through 1985, appeared in 1988. This one contains
the 144 drawings we purchased during our second four years of activity in this field, 1986-89. We hope
that readers will forgive the inconvenience of having to consult separate volumes and will feel compensated
by the relatively prompt publication of this material, much of which is unfamiliar and some of which is
entirely new to the literature.
Despite scarcity, competition, and inflation, we have been able to make the drawings collection far
stronger and more broadly based in the past four years. As a result, the four exhibitions we mount each
year have become more and more diverse in subject. The curator, George Goldner, has nevertheless con-
tinued to concentrate on Italian Renaissance drawings, believing them to be the foundation of any impor-
tant collection. The results are striking: a great double-sided sheet by Leonardo and fine examples by the
leading artists of successive generations in Florence, Rome, and VeniceCarpaccio, Pontormo, Sarto,
Titian, Parmigianino, and dozens of others. We have sometimes been able to buy drawings in groups, add-
ing sudden strength to whole areas of our holdings, as with the half-dozen new Poussin sheets and the eigh-
teen German and Swiss Renaissance examples that now make our collection in this field one of the strongest
in America. Major draughtsmen are still the curator's main target, but he has found dozens of very fine
drawings by lesser-known figures as well. The objective is to have perhaps five or six hundred drawings
by the time the Museum moves to new quarters in 1996enough for a lively, varied program of exhibi-
tions that will be somewhat bigger than those we hold at present.
Since volume i appeared in 1988, Lee Hendrix, whose work on both catalogues was invaluable,
has become associate curator, Nancy E. Yocco has become assistant conservator, and Kelly Pask has
become curatorial assistant. George Goldner has been put in charge of the Museum's paintings as well as
drawings, a further tribute to the versatility and discernment of this remarkable curator.
John Walsh
Director
Vll
PREFACE AND ACKNOWLEDGMENTS
This volume represents the work of a number of individuals. Foremost among them is my co-
author Lee Hendrix, who wrote all of the entries on the drawings of the Northern and British schools. It
should be added that she has been a valuable collaborator in the development of the collection. Kelly Pask,
Curatorial Assistant, has made a major contribution in a variety of ways. She has served as general coor-
dinator of this project and has also worked on many of the artists' biographies with Lee Hendrix. Lastly,
she has made many useful art historical observations that are noted in individual entries. Nancy E. Yocco,
Assistant Conservator, has again checked the condition of all drawings and noted inscriptions and other
marks on them. Kathy Kibler, Senior Secretary, took on the onerous task of preparing the manuscript and
did so with admirable competence. Once again we have had the good fortune to have Andrea P. A. Belloli
as editor; she has improved the manuscript in many respects and given it greater clarity and consistency.
Finally, our two outside readers, Ann-Marie S. Logan and Graham Smith, reviewed the text and made a
number of helpful criticisms and suggestions. I am grateful to all of the above, without whom this volume
would not have appeared. As with the first volume, all judgments concerning attribution and other issues
are those of the compilers, notwithstanding their respect for the opinions of the many scholars from whose
expertise they have greatly benefited.
This is also a suitable occasion to thank those many individuals at the Getty Museum and elsewhere
for their support in the development of the drawings collection. It has prospered with the encouragement
of the Museum's director, John Walsh, and chief curator, Deborah Gribbon, as well as that of Harold Wil-
liams and other members of the Board of Trustees. All have shared our belief in the importance of the col-
lection and its active development. We are also grateful to the many scholars, dealers, and auctioneers who
have been helpful to the department in innumerable ways.
The publication of this volume encourages a review of the last four years of collecting. We have
been pleased by the many fine opportunities that have come our way, ranging from a new Altdorfer to three
Watteaus of real quality. There has been a continuing emphasis on old master over nineteenth-century
material, in large part due to the relative scarcity of the former. In time we expect to achieve a more bal-
anced representation as we gradually move from being a new collection to becoming one of greater depth
and variety.
George R. Goldner
Curator, Department of Drawings
IX
PLATE i. VITTORE CARPACCIO, Study of the Virgin (recto) (no. n).
PLATE 2. LEONARDO DA VINCI, Three Sketches of a Child with a Lamb (recto) (no. 22).
PLATE 3. PAOLO VERONESE, Martyrdom of Saint Justina (no. 49).
PLATE 4. GIOVANNI BATTISTA PiRANESi, Study for the Parte di ampio magnifico Porto (no. 34).
PLATE 5. GIOVANNI BATTISTA PIAZZETTA, A Boy Holding a Pear (Giacomo Piazzetta?) (no. 33).
PLATE 6. ANTOINE COYPEL, The Crucifixion (no. 54).
ATE 7. ANTOINE WATTEAU, Two Studies ofa Flutist and One of the Head of a Boy (no. 79).
PLATE 8. EUGENE DELACROIX, The Education of Achilles (no. 56).
PLATE 9. THEODORE GERICAULT, The GiaOUY (no. 60).
PLATE 10. HONORE DAUMiER, A Criminal Case (Une cause criminelle) (no. 55).
PLATE ii. PETER PAUL RUBENS, The Adoration of the Shepherds (no. 86).
PLATE 12. REMBRANDT VAN RIJN, An Artist in a Studio (no. 103).
PLATE 13. PIETER JANSZ. SAENREDAM, The Choir and North Ambulatory of the Church of Saint Bavo, Haarlem (no. 105).
PLATE 14. ALBRECHT ALTDORFER, Christ Carrying the Cross (no. 113).
PLATE 15. SEBALD BEHAM, The Circumcision (no. 116).
PLATE 16. JOSEPH MALLORD WILLIAM TURNER, Long Ship's Lighthouse, Land's End (no. 144).
A N D R E A DEL SARTO
1486-1530
i Drapery Studyr THE RECTO AND VERSO OF THIS SHEET WERE IDENTI-
fied in 1988 by G. Goldner and N. Turner (Hazlitt,
v Gooden and Fox, Ltd., no. 5), respectively, as studies for
Study of a Nude Man the figure of Moses in the Transfiguration embroidered on
Red chalk; H: 28 cm (11 in.); W: 15.2 cm (6 in.) the hood of a cape, part of the vestments given by
89.GB.53 Margherita Passerini to the cathedral of Cortona in I526.1
These vestments were probably commissioned by her
MARKS AND INSCRIPTIONS: (Verso) unidentified col- son, Cardinal Silvio Passerini. The parts based on Sarto's
lection mark; inscribed ij in brown ink. designs are usually dated on stylistic grounds to between
PROVENANCE: Art market, Basel; art market, London. 1522 and 1525.
The drapery study on the recto illustrates Sarto's so-
EXHIBITIONS: European Drawings, Hazlitt, Gooden and phisticated command of red chalk with varied textural
Fox, Ltd., London, November-December 1988, no. 5. and tonal results. The nude study for Moses on the verso
BIBLIOGRAPHY: D. Bull, "London Old Master Draw- is much more summary and was made solely to develop
ings," Burlington Magazine 131, no. 1030 (January 1989), the overall pose of the figure.
P-49-
i. C. Caneva, in Andrea del Sarto 1486-1530: Dipinti e disegni a

Firenze, exh. cat. (Palazzo Pitti, Florence, 1986), pp. 118-21,
no. 14.
ANDREA DEL SARTO ITALIAN SCHOOL 19

recto
verso
2 Study of a Young Manr dello Scalzo, Florence. The pose and drapery of the fig-
ure are almost fully evolved in the drawing, with only a
few minor adjustments and further detailing added in the
Study of a Standing Man with a fresco. There are visible pentimenti along the right arm,
Beard (accidental offset) v in the fingers, and in the positioning of the left shoulder.
By contrast the head is summarily drawn and corre-
Black chalk; H: 14.3 cm (55/8in.); W: 9.7 cm (3I3/i6 in.) sponds only generally to the fresco. Absent in the draw-
Sy.GB.io ing are the hat and open mouth that appear in the final
version. The head underwent further study in a quick
MARKS AND INSCRIPTIONS: (Recto) at bottom right, il-
sketch on a sheet in the Kupferstichkabinett, Berlin (inv.
legible inscription in brown ink, collection mark of N.
xdz 12924 verso), though the figure is still shown there
Dhikeos; on mount, inscribed S. F. n. 245 in brown ink;
with his mouth closed. The Museum's drawing is similar
(verso) inscribed Bronzino(?) in brown ink.
in purpose to the studies of Saint Michael in the Pierpont
PROVENANCE: Sagredo collection(?), Venice; de Bois- Morgan Library, New York (inv. 1,31), and the Capitani
sieu collection, Lyons; N. Dhikeos, Lyons; art market, at Chats worth (inv. 710), in which the poses and drapery
New York. are elaborately developed, while the heads are only
broadly indicated. In these and other similar instances,
EXHIBITIONS: None.
Sarto would no doubt have employed separate and more
BIBLIOGRAPHY: None. detailed head studies before turning to the fresco itself.
The Feast of Herod was completed by May 30, 1523,
THIS RECENTLY DISCOVERED DRAWING WAS MADE AS which provides a terminus ante quern for the Getty draw-
a preparatory study for the young male servant standing ing. The faint offset on the verso of the sheet cannot be
at the center of the Feast of Herod, a fresco in the Chiostro connected to a known work.
verso ANDREA DEL SARTO (Italian, 1486-1530). The Feast of Herod

(detail). Fresco. Florence, Chiostro dello Scalzo. Photo cour-
tesy Gabinetto Fotografico Soprintendenza Beni Artistici e
Storici (SBAS) di Firenze.
22 ITALIAN SCHOOL ANDREA DEL SARTO

recto
B A G 1C CIO (Giovanni Battista Gaulli)
1639-1709
3 Adoration of the Shepherds THIS DRAWING WAS MADE BY BACICCIO AS A PREPA-

ratory study for his painting of the Adoration of the
Pen and brown ink, brown wash, white gouache height- Shepherds in Santa Maria del Carmine, Fermo, executed
ening, and black chalk; H: 27.1 cm (lo11/^ in.); W: 21.3 circa 1672. There is another drawing that may be related
cm(8 3 /8in.) to the same altarpiece (Diisseldorf, Kunstmuseum inv.
87.00.19 FP 1877). The latter shows the Virgin slightly to the left
of the center of the composition, with Joseph at the left
MARKS AND INSCRIPTIONS: None. side. In the Getty drawing she has been moved farther to
PROVENANCE: Sale, Christie's, London, July 2, 1985, lot the left, and Joseph has been placed at the right. In addi-
68; art market, London. tion the angels above them hold a censer that is absent in
the earlier study. Finally, in the painting the Virgin is at
EXHIBITIONS: None. the right with Joseph at the center, and the bold figure of
BIBLIOGRAPHY: None. a shepherd kneeling at the center with his back to the
viewer is situated at the left. Throughout the evolution
of the composition, Baciccio was primarily interested in
powerful effects of light, indicating in this respect as in
others his careful study of Correggio's Nativity (Dres-
den, Gemaldegalerie). The draughtsmanship in the
Getty drawing is characteristic of this period of his ca-
reer, exhibiting an exuberant, free line and broad effects
of wash creating bold shadows.
24 ITALIAN SCHOOL BACICCIO

J A C O P O B A S S A N O (JacopodaPonte)
CIRCA I5IO-I592
4 Christ Driving the Money THIS IS ONE OF ONLY SIX KNOWN LARGE COMPOSI-
tional studies by Bassano drawn with remarkable free-
Changersfrom the Temple dom and spontaneity in colored chalk. The others are in
the Musee du Louvre, Paris (inv. RF 38.815; dated 1568);
Black and colored chalk on blue paper; H: 43.3 cm (17 Vi6 National Gallery of Art, Washington, D.C. (inv.
in.); W: 54.3 cm (2i3/sin.) 1980.30. i; dated 1568); National Gallery of Canada, Ot-
89.06.63 tawa (inv. 4431; dated 1569); Kupferstichkabinett, Berlin
(inv. Kdz 2463 o;1 dated 1569); and Museum Narodowe,
MARKS AND INSCRIPTIONS: (Verso) on mount, in-
Warsaw (inv. RYS.OB.D.III; undated). Within this
scribed Jacopo Bassano fee Sammlung durazzo Genoa in
group, those in Berlin, Ottawa, and Malibu are looser in
graphite.
handling. Given the date of 1569 found on the other two,
PROVENANCE: Marchese Jacopo Durazzo, Genoa; pri- it seems very likely that the Getty drawing was made on
vate collection, Switzerland (sale, Sotheby's, London, or very close to that date. It is also probable that it was
July 4, 1988, lot 62); art market, New York. made as a preparatory study for one of the many versions
of the subject painted by Jacopo Bassano or other mem-
EXHIBITIONS: None.
bers of the Bassano workshop. In general its composi-
BIBLIOGRAPHY: None. tional character and architectural setting are closest to the
version of the theme in a private collection, Bassano del
Grappa, which has been attributed alternately to Jacopo
or his son Leandro.2 The fact that there are many differ-
ences between drawing and painting suggests that the
former cannot have served as more than a general model
for the latter. It is possible that the drawing was made for
a different, now lost, painting and reused for later vari-
ations on the theme.
1. The Berlin drawing was once in the Durazzo collection,

Genoa, as was the study in the Getty.
2. R. Pallucchini, Bassano (Bologna, 1982), no. 30.
26 ITALIAN SCHOOL BASSANO

GIAN LORENZO B E R N I N I
1598-1680
5 A Marine God with a Dolphin IN 1652-53 BERNINI SENT DRAWINGS TO DUKE FRAN-
cesco I d'Este to be made into fountains for his palace at
Black chalk; H: 34.9 cm (13"/i6 in.); W: 23.8(93/8 in.) Sassuolo. The Museum's drawing was developed into a
87.06.142 terra-cotta modello (Modena, Galleria Estense) and then
into the stucco fountain in the central niche of the palace.
MARKS AND INSCRIPTIONS: (Recto) at bottom right The modello was achieved by Ercole Antonio Raggi after
corner, collection mark of A. G. B. Russell (L. 27yoa); designs by Bernini, while the fountain itself seems to
(verso) inscribed Bernini in brown ink. have been made by local, less accomplished craftsmen.
PROVENANCE: A. G. B. Russell, London (sale, Sothe- The drawing is filled with vibrant movementespe-
by's, London, May 22, 1928, lot 39); marquis de Talley- cially in the rendering of the dolphinthat is entirely
rand, Rome and Paris; sale, Christie's, Monaco, June 15, lacking in the final project. A further drawing, in pen and
1986, lot 73; art market, Boston. ink and wash (London, Victoria and Albert Museum
inv. CAi.4i6), is more precise and finished. It is unclear
EXHIBITIONS: Fourth Loan Exhibition, Magnasco Soci- whether the latter is by Bernini himself or a workshop
ety, Spink and Son, Ltd., London, 1927, no. 24. modello based on the Getty chalk study.
BIBLIOGRAPHY: S. Fraschetti, // Bernini: La sua vita, la
sua opera, ilsuo tempo (Milan, 1900), p. 229; G. Canevazzi,
La scuola militare di Modena (1756-1914) (Modena, 1914),
vol. i, p. 17; H. Brauer andR. Wittkower, Die Zeichnun-
gen des Gianlorenzo Bernini (Berlin, 1931), vols. i, p. 53;
2, pi. 34; U. Donati, "Tre fontane berniniane," Lurbe 6,
no. 2 (February 1941), p. 12; idem, Artisti ticinesia Roma
(Bellinzona, 1942), pp. 443; 447, n. loa; A. Ghidiglia
Quintavalle, Artisti alia corte di Francesco Id'Este, exh. cat.
(Galleria Estense, Modena, 1963), p. 47, under no. 43; M.
and M. Fagiolo delTArco, Bernini: Una introduzione al
gran teatro del barocco (Rome, 1967), no. 140; E. Ricco-
mini, Ordine e Vaghezza: Scultura in Emilia nelVeta barocca
(Bologna, 1972), p. 56, under no. 18; A. S. Harris, Se-
lected Drawings of Gian Lorenzo Bernini (New York,
1977), no. 51; under no. 54; F. Borsi, Bernini (New York,
1980), p. 317, under no. 38;?. Ward-Jackson, Victoria and
Albert Museum Catalogues: Italian Drawings, Volume Two,
ijth-i8th Century (London, 1980), pp. 20-22, under no.
628; I. Lavin, Drawings by Gianlorenzo Bernini from the
Museum der Bildenen Kunste Leipzig, German Democratic
Republic, exh. cat. (Art Museum, Princeton, and other
institutions, 1981), p. 123, n. 7; R. Wittkower, Gian Lo-
renzo Bernini: The Sculptor of the Roman Baroque, 3rd ed.
(Ithaca, N.Y., 1981), p. 267, under no. 80(5); J. Roberts,
Master Drawings in the Royal Collection from Leonardo da
Vinci to the Present Day, exh. cat. (Queen's Gallery, Lon-
don, 1986), p. 116, under no. 86.
28 ITALIAN SCHOOL BERNINI

BARTOLOMEO BISCAINO
1632-1657
6 Mystic Marriage of Saint THIS IS A CHARACTERISTIC EXAMPLE OF THE ANIMATED

draughtsmanship of Biscaino, achieved with elaborate,
Catherine flowing outlines, broad patches of light and shade, and
expressive gestures, especially in the hands. The drawing
Red chalk and white gouache heightening on tan paper; shares these qualities and certain specific details, such as
H: 28.9 cm (nVsin.); W: 39.9 cm (i5 II /i6in.) the cropping of the figures, with his study (Berlin, Kup-
86.GB.6 ferstichkabinett inv. KDZ 18309) for a print, the Holy Fam-
ily. The more finished character of the Getty drawing
MARKS AND INSCRIPTIONS: (Recto) at bottom right,
may be compared with a sheet showing the vision of
inscribed Biscaino di Geneva in brown ink; (verso) on
Saint Augustine in the Louvre (inv. 9191). Although the
mount, inscribed E, S. L. n0:6$ in brown ink.
former shares many qualities with preparatory studies
PROVENANCE: Sagredo collection(?), Venice; de Bois- for prints by Biscaino, no resulting print is known. It
sieu collection, Lyons; private collection, New York; art may have been made as an independent work, compa-
market, New York. rable in this respect to the colored drawings of his Gen-
EXHIBITIONS: None. oese contemporary Giovanni Benedetto Castiglione.
BIBLIOGRAPHY: None.
3O ITALIAN SCHOOL BISCAINO

AGNOLO BRONZING
1503-1572
7 Study of Jealousy THIS IS A STUDY FOR THE FIGURE USUALLY CONSIDERED

to represent Jealousy in Bronzino's Allegory of Venus and
3 II
Black chalk; H: 16.2 cm (6 /8in.); W: 12 cm (4 /i6 in.) Cupid (London, National Gallery), as was first pointed
88.GG.io8 out by M. di Giampaolo (Sotheby's 1987). For the draw-
ing, Bronzino used a studio model to develop the posi-
MARKS AND INSCRIPTIONS: (Recto) at bottom right tion of the hands and right arm while presumably leaving
corner, collection marks of Jonathan Richardson, Sr. the face and hair for another study now in the Victoria
(L. 2183), Sir Joshua Reynolds (L. 2364); (verso) on and Albert Museum (inv. CAi.4i6). He expended consid-
mount, inscribed Lfc(?) .57.64^. in brown ink. erable effort on the areas of particular interest, analyzing
PROVENANCE: Jonathan Richardson, Sr., London; Sir the details of the arm and hands with great care and ar-
Joshua Reynolds, London; Michel Gaud, Saint-Tropez riving at solutions close to those employed in the paint-
(sale, Sotheby's, Monaco, June 20, 1987, lot 33); art mar- ing. Since an X ray of the painting shows that Bronzino
ket, London. initially painted the hands higher and more horizontally
across the head,1 the drawing appears to have been made
EXHIBITIONS: None. relatively late in the picture's execution. Despite his pre-
BIBLIOGRAPHY: K. Bellinger and C. McCorquodale, cise draughtsmanship on the Museum's sheet, the study
Drawing in Florence 1500-1650, exh. cat. (Harari and contains clear pentimenti along the elbow and inner side
Johns, London, 1991), under no. 5. of the right arm. The face, obviously of no importance
here, is only suggested by a few lines. The draughtsman-
ship is closest to the portrait study at Chatsworth (inv.
714) and the drawing of the Christ child in the Galleria
degli Uffizi, Florence (inv. 6639 F).
i. The X ray was kindly brought to our attention by G. Smith

in 1990.
32 ITALIAN SCHOOL BRONZINO

DOMENICO CAMPAGNOLA
1500-1564
8 Saint Christopher ALTHOUGH PUBLISHED SEVERAL TIMES AS BY TITIAN

(Tietze 1949; Pallucchini 1969), this drawing seems
Pen and brown ink; H: 33.3 cm (13 Vs in.); W: 23 cm (9Vi6 clearly to belong to a group now generally and correctly
in.) given to Campagnola, as was first recognized by Sac-
86.GA.69i comani (1978). Saint Christopher's pose reflects a knowl-
edge of the figures of the same saint in a woodcut, the
MARKS AND INSCRIPTIONS: At top right corner, in- Triumph of Christ, and of Moses in another woodcut, the
scribed / in brown ink. Crossing of the Red Sea, both designed by Titian, and
PROVENANCE: Gosta Stenman, Stockholm (sale, Chris- perhaps more indirectlyof his fresco of the saint in the
tie's, London, December 12, 1985, lot 295); art market, Palazzo Ducale, Venice, executed in 1523. Notwith-
London. standing these relationships to Titian's work, the pen
strokes here are less subtly differentiated and the spatial
EXHIBITIONS: KonstensVenedig^ztionzlmuseum,Stock- organization less atmospheric than one would expect
holm, October 1962-February 1963, no. 217 (catalogue from a drawing by Titian himself. Based on connections
by P. Bjurstrom). with Titian and with other drawings by Campagnola in
BIBLIOGRAPHY: H. Tietze, "Unknown Venetian Re- a similar style, a date of circa 1520-25 would appear most
naissance Drawings in Swedish Collections," Gazette des probable.
Beaux-Arts, ser. 6, 35 (March 1949), pp. 178-82; idem,
Titian: The Paintings and Drawings (London, 1950), p.
405; A. Morassi, "Esordi di Tiziano," Arte veneta 8
(1954), p. 189; R. Pallucchini, Tiziano (Florence, 1969),
p. 330, no. 555; T. Pignatti, // "Passaggio del Mar Rosso" di
Tiziano Vecellio (Vicenza, 1973), fig. 3; E. Saccomani,
" Alcune proposte per il catalogo dei disegni di Domenico
Campagnola," Arte veneta 32 (1978), pp. 109; in, n. 24;
H. E. Wethey, Titian and His Drawings with Reference to
Giorgione and Some Close Contemporaries (Princeton,
1987), pp. 187-88, no. A-i8; M. A. Chiari Moretto
Wiel, Per un catalogo ragionato dei disegni di Tiziano (Flor-
ence, 1988), p. 86, no. x-i5o; E. Merkel, in S. Biadene,
ed., Titian: Prince of Painters, exh. cat. (Palazzo Ducale,
Venice, and National Gallery, Washington, D.C., 1990),
p. 184, under no. 15.
34 ITALIAN SCHOOL CAMPAGNOLA

C A N A L E T T O (Giovanni Antonio Canal)
1697-1768
p Warwick Castle: The East Front A. Bettagno, Canaletto: Disegnidipintiincisioni, exh.

cat. (Fondazione Giorgio Cini, Venice, 1982), p. 76, un-
from the Courtyard der no. 105; D. Buttery, "Canaletto at Warwick," Bur-
lington Magazine 129, no. 1012 (July 1987), p. 444.
Pen and brown ink, gray wash, and black chalk; H: 31.7
THE VIEW SHOWN HERE is OF THE EAST FRONT OF
cm (i2l/2 in.); W: 57 cm (227/i6 in.)
Warwick Castle from the inner court, with Guy's Tower
86.00.727
at the left, the Clock Tower at the center, and Caesar's
MARKS AND INSCRIPTIONS: (Recto) at bottom right Tower at the right. Another drawing by Canaletto of an
corner, collection mark of Paul Sandby (L. 2112); (verso) alternate view of the east front from the outer court, with
on mount, inscribed Warwick Castle Canalletti in brown virtually the same dimensions and similar in every re-
ink. spect, is in the Robert Lehman Collection, Metropolitan
Museum of Art (inv. 1975.1.297). The Getty drawing
PROVENANCE: Francis Greville, first earl of Brooke and
may well have served as a preparatory study for the paint-
Warwick; George Greville, second earl of Warwick, or
ing in the Birmingham Museums and Art Gallery
his brother, the Hon. Charles Greville(P); Paul Sandby,
(Baetjer and Links 1989-90, no. 69). Although there
London (sale, Christie's, London, March 17, 1812, part
are more figures in the painting, it is so close in every
of lot 91); art market, London; Lady Eva Dugdale, Royal
other respect as to suggest that the drawing either antic-
Lodge, Windsor Great Park (sale, Sotheby's, London,
ipated or records it. The relatively free character of the
November 18, 1920, part of lot 42); art market, London;
draughtsmanship would argue strongly in favor of the
Adrien Fauchier-Magnan, Neuilly-sur-Seine (sale,
former.
Sotheby's, London, December 4, 1935, lot 5); A. Tooth,
London; Sir George Leon, Bt., London; art market,
New York; John R. Gaines, Lexington, Kentucky (sale,
Sotheby's, New York, November 17, 1986, lot 25).
EXHIBITIONS: Canaletto, Metropolitan Museum of Art,

New York, October 1989-January 1990, no. 113 (cata-
logue by K. Baetjer andj. G. Links).
BIBLIOGRAPHY: H. F. Finberg, "Canaletto in England,"
Walpole Society 9 (1920-21), p. 68; D. von Hadeln, The
Drawings of Antonio Canal Called Canaletto (London,
1929), p. 15; O. Benesch, Venetian Drawings of the Eigh-
teenth Century in America (New York, 1947), p. 37, under
no. 53; C. Sterling, Exposition de la collection Lehman de
New York, exh. cat. (Musee de 1'Orangerie, Paris, 1957),
p. 64, under no. 89; W. G. Constable, Canaletto (Oxford,
1962), vols. i, p. 142; 2, p. 536, no. 760; J. Bean and F.
Stampfle, Drawings from New York Collections III: The
Eighteenth Century in Italy, exh. cat. (Metropolitan Mu-
seum of Art, New York, 1971), p. 68, under no. 157; T.
Pignatti, Venetian Drawings from American Collections,
exh. cat. (National Gallery of Art, Washington, D.C.,
1974), p. 50, under no. 103; W. G. Constable, Canaletto,
2nd ed., rev. J. G. Links (Oxford, 1976), vols. i, p. 142;
2, p. 584, no. 760; J. G. Links, "Canaletto in England,"
Journal of the Royal Society of Arts 129 (1980-81), p. 304;
36 ITALIAN SCHOOL CANALETTO

VITTORE CARPACCIO
CIRCA 1460/65-1525/26
10 Bishop Holding a Candler THE RECTO OF THIS SHEET WAS MADE AS A PREPARA-
tory study for the bishop holding a candle and ascending
Draped Legsv the stairs in Carpaccio's painting of the martyrdom of

Saint Ursula, executed in 1493 for the Scuola di
Sant'Orsola, Venice (Venice, Accademia). The principal
Brush and brown wash, white gouache heightening, and
changes from drawing to painting are that in the former
black chalk on faded blue paper; H: 20.2 cm (yI5/i6 in.);
the bishop looks outward, whereas in the painting he
W: 11.1 cm (43/sin.)
faces forward. The powerful rendering of drapery folds
88.GG.89
reflects the precedent of Giovanni Bellini.
MARKS AND INSCRIPTIONS: (Recto) on former mount, By contrast the verso is a fragmentary study related
inscribed S. V. N:2() in brown ink; (verso) on mount, to a much later picture. It is preparatory to the drapery
inscribed S. V. N:ij, Di mano di Gio. Bellino in brown of the angel seated at the lower right in the Presentation in
ink. the Temple, dated 1510 (Venice, Accademia), and may
PROVENANCE: Sagredo collection(?), Venice; de Bois- have been drawn in relation to another lost or unexecuted
sieu collection, Lyons; sale, Hotel Drouot, Paris, May 23, painting by Carpaccio, thereby accounting for the dis-
1986, lot 189; art market, Boston. crepancy in date between the sheet's two sides. We know
from other instances that Carpaccio reused drawings,
EXHIBITIONS: None. sometimes at much later moments. An example is the
BIBLIOGRAPHY: None. double-sided sheet in the Ashmolean Museum, Oxford
(formerly Gathorne-Hardy collection), with studies of
female heads used for figures in the Glory of Saint Ursula
of 1491 (Accademia) and then in the abovementioned
Presentation in the Temple.
38 ITALIAN SCHOOL - CARPACCIO

recto
verso (no. 10)
ii Study of the Virgin* THE STUDY OF THE KNEELING VIRGIN ON THE RECTO
was made as a preparatory study for a painting, the Ad-
Studies of the Virgin and of oration of the Christ Child, dated 1505 (Lisbon, Fundagao
Calouste Gulbenkian). Although she is shown in the
Hands" drawing with a veil on her head that becomes an en-
twined scarf in the painting, the two figures are so similar
Brush and brown wash, white gouache heightening, and as to make the relationship quite certain. A full compo-
black chalk on faded blue-gray paper; H: 25 cm (9% in.); sitional study for the painting in the Uffizi (inv. 1692 F)
W: i8.7cm(7 3 /8in.) shows the Virgin in the same pose but with yet another
Sy.GG.S (SEE PLATE i) headdress.
The various forms on the verso are more difficult to
MARKS AND INSCRIPTIONS: (Recto) at bottom left cor-
connect precisely with a single painting. The represen-
ner, collection mark of N. Dhikeos; at bottom right cor-
tation of the Virgin and the hands directly below her may
ner, inscribed Scuolo Fiorentina Antica in brown ink;
be related to the Virgin and Child with Two Saints in the
(verso) collection mark of N. Dhikeos; inscribed S. F.
Samuel H. Kress Collection, University of Arizona,
n:22 in brown ink.
Tucson, but are almost equally close to the correspond-
PROVENANCE: Sagredo collection(P), Venice; de Bois- ing figure in the altarpiece in the Chiesa Parrochiale, Poz-
sieu collection, Lyons; N. Dhikeos, Lyons; art market, zale di Cadore. The former painting is undated but gen-
New York. erally put circa 1515, whereas the latter is datable to 1519.
It is possible that Carpaccio once again used a drawing on
EXHIBITIONS: None.
at least two occasions.
BIBLIOGRAPHY: None. The study of a hand at the bottom left of the verso
fits within this chronology, since it is most similar to the
hand of Saint Peter Martyr on a panel depicting him in
the Samuel H. Kress Collection, Philbrook Art Center,
Tulsa, painted circa 1510-15.
Stylistically, this sheet demonstrates Carpaccio's
fully developed brush technique with a rich, painterly
approach to form and brilliant effects of light.
CARPACCIO ITALIAN SCHOOL 4!

recto
verso
AGOSTINO CARRACCI
1557-1602
12 Sheet of Studies no. 108; H. Brigstocke, Italian and Spanish Paintings in the
National Gallery of Scotland (Glasgow, 1978), pp. 40; 42,
Pen and brown ink; H: 40.5 cm (i5 I5 /i6 in.); W: 30.8 cm n. 13, under no. 2313; D. DeGrazia Bohlin, Prints and Re-
(iiVsin.) lated Drawings by the Carracci Family, exh. cat. (National
86.GA.y26 Gallery of Art, Washington, D.C., 1979), pp. 470-72,
under no. 22; 474, n. 7; Ansichten menschlicher Kopfen,
MARKS AND INSCRIPTIONS: At bottom left, collection exh. cat. (Thomas Le Claire Kunsthandel, Hamburg,
mark of Sir Thomas Lawrence (L. 2445); inscribed 1989), p. 6, under no. i.
An.C. in graphite; at bottom center and right, collection
mark of marquis de Lagoy (L. 1710); at bottom right, THIS COMPLEX SHEET WAS FIRST ATTRIBUTED TO
collection mark of Lord Francis Egerton, first earl of Agostino by Bodmer (1934). The principal motif was re-
Ellesmere (L. 27iob). lated by Wittkower (1952) to a lost painting, the Adoration
of the Shepherds, by Annibale Carracci, known through a
PROVENANCE: Marquis de Lagoy, Aix-en-Provence; copy by Domenichino in the National Gallery of Scot-
Thomas Dimsdale, London; Sir Thomas Lawrence, land, Edinburgh. It was assumed by Wittkower and oth-
London; Lord Francis Egerton, first earl of Ellesmere, ers that the drawing followed the painting, but DeGrazia
London; by descent to the sixth duke of Sutherland, Lon- (Bohlin 1979) demonstrated conclusively that in this case
don (sale, Sotheby's, London, July n, 1972, lot 32);John (as in several others) Annibale based his design on Agos-
R. Gaines, Lexington, Kentucky (sale, Sotheby's, New tino ancl was using a drawing of circa 1598 -1600 (Mahon
York, November 17, 1986, lot 12). 1956) as the inspiration for his painting.
EXHIBITIONS: The Lawrence Gallery, Sixth Exhibition, The remaining details have been less carefully stud-
Woodburn's Gallery, London, 1836, no. 87; Drawings by ied. The three heads shown in profile at the top right are
Old Masters, Royal Academy of Arts, London, 1953, no. seemingly specific individuals rather than types, though
159; The Ellesmere Collection of Old Master Draw ings, Mu- their identity is elusive. The nearest one reappears in car-
seum and Art Gallery, Leicester, 1954, no. 35 (catalogue icatured form along the right margin, where he takes on
by P. A. Tomory); Drawings by the Carracci and Other Mas- a "foxy" appearance (Posner 1971, p. 66), suitably fol-
ters, P. and D. Colnaghi, London, January-February lowed by the representation of a starkly expressive fox at
1955, no. 36; Mostra dei Carracci: Disegni, Palazzo the bottom right corner. Several other drawings with
dellArchiginnasio, Bologna, September-October 1956, representations of the same man are listed by Wittkower
no. 71 (catalogue by D. Mahon); The Carracci: Drawings (1952, under no. 157) and Cazort and Johnston (1982).
and Paintings, Hatton Gallery, Newcastle upon Tyne, The other animal studies on this sheet lack exaggerated
November-December 1961, no. 30 (catalogue by R. expressions.
Holland); Bolognese Drawings in North American Collec-
tions 1500-1800, National Gallery of Canada, Ottawa,
1982, no. 22 (catalogue by M. Cazort and C.Johnston).
BIBLIOGRAPHY: H. Bodmer, "Drawings by the Car-
racci: An Aesthetic Analysis," Old Master Drawings 8
(March 1934), pp. 65-66; R. Wittkower, The Drawings
of the Carracci in the Collection of Her Majesty the Queen at
Windsor Castle (London, 1952), pp. no, under no. 89;
121, under no. 157; A. Blunt, Supplements to the Catalogues
of Italian and French Drawings with a History of the Royal
Collection of Drawings (London, 1971), p. 60; D. Posner,
Annibale Carracci: A Study in the Reform of Italian Painting
around 1590 (London, 1971), vols. i, p. 66; 2, p. 47, under
44 ITALIAN SCHOOL CARRACCI

GIOVANNI BENEDETTO CASTIGLIONE
CIRCA 1610-1663/65
13 Pastoral Journey THIS IS ONE OF SEVERAL JOURNEY SCENES BY CASTIG-

lione dating from circa 1650, including the painting in the
Brush and brown oil paint and touches of white, blue, Barber Institute of Fine Arts, Birmingham (Percy 1971,
and rose gouache; H: 28.1 cm (iiVie in.); W: 41.3 cm under no. 59). The Museum's drawing reappeared in
Paris in 1986 after having been untraced since the early
86.GG.573 nineteenth century, when it was in the collection of
Baron Dominique Vivant-Denon. At that time it was
MARKS AND INSCRIPTIONS: (Recto) at bottom right, published in a lithographic reproduction in his Monu-
inscribed Benedetto in black chalk; at bottom right corner, ments des arts du dessin. . . . l Earlier it had been copied in
collection mark of Baron Dominique Vivant-Denon prints by Charles Mace and Guillaume Chasteau.2 The
(L. 779); (verso) inscribed Collection Denon in blue pencil. print by Mace bears the inscription Abraham in Aegyptum
PROVENANCE: Baron Dominique Vivant-Denon, Paris; cum uxore sua ob famen peregrinatur, suggesting that the
private collection, Paris; art market, Paris. subject of the drawing is Abraham and Sarah journeying
to Egypt to avoid the famine. The identification of the
EXHIBITIONS: None. subject on the print has considerable evidential value,
BIBLIOGRAPHY: A. Percy, Giovanni Benedetto Castig- since Mace was a contemporary of Castiglione. His print
lione: Master Draughtsman of the Baroque, exh. cat. (Phil- also indicates that the drawing was somewhat cropped
adelphia Museum of Art, 1971), p. 94, under no. 59; E. on all sides before Vivant-Denon owned it; it has been
Schleier, in M. Kahn-Rossi et al., Pier Francesco Mola, reduced further by a small amount since then. The style
exh. cat. (Museo Cantonale dArte, Lugano, 1989), p. and technique are characteristic of Castiglione's method
313, under no. IV.8. of making brush drawings.
1. (Paris, 1829), vol. 3, pi. 232.

2. Lettere e altri documenti intorno alia storia della pittura (Mon-
zambano, 1975), no. 49; Percy 1971.
46 ITALIAN SCHOOL CASTIGLIONE

C E S A R E DA SESTO
1477-1523
14 The Swooning Virgin THIS SHEET IS IN MANY RESPECTS TIED TO THE ARTIST'S
now dismembered sketchbook in the Pierpont Morgan
Supported by Three Holy Library, New York. It is the same size, is drawn with the
same sensitivity of line and refinement of shading, and
Women and Three Studies shows figures and groups inspired by Leonardo and Ra-
ofMenr phael, as do many of the sketchbook's pages. It is possible

that the Museum's sheet once formed part of either the
Saint George and the Dragonv Morgan sketchbook or another related one.
The recto shows a principal group strongly influ-
enced by Raphael in his late Florentine years, while the
Pen and brown ink and red chalk; H: 13.6 cm (53/s in.);
male figuresespecially the one at the rightreflect the
W: 19 cm (7'Am.)
impact of Leonardo in their lively gestures and poses.
86.GA.I
The verso also depends on the work of these two artists.
MARKS AND INSCRIPTIONS: (Recto) at left edge, near Raphael's painting Saint George and the Dragon (National
center, inscribed Spasimo in brown ink by the artist; Gallery of Art) is very similar in composition and is also
(verso) inscribed 23 in brown ink. reflected in studies of the same subject in the Morgan
sketchbook. Finally, a sheet by Leonardo (Windsor,
PROVENANCE: Sale, Christie's, London, December 13,
Royal Library inv. 12.331) suggests a possible further
1984, lot 27; art market, Boston.
source, especially in the rendering of the horse.
EXHIBITIONS: None. The Morgan sketchbook is datable to circa 1510-
BIBLIOGRAPHY: None. 14. Given the references to Raphael's Florentine period,
a date of circa 1510 would seem appropriate for the Mu-
seum's drawing.
48 I T A L I A N S C H O O L C E S A R E DA S E S T O
recto
verso
C O R R E G G I O (AntonioAllegri)
1489/94-1534
15 Christ in Glory Parmigianino," L'abbazia benedettina di San Giovanni

Evangelista a Parma (Parma, 1979), p. 129; D. DeGrazia,
Red chalk, brown and gray wash, and white gouache Correggio and His Legacy: Sixteenth-Century Emilian
heightening on pink ground, circle inscribed in brown Drawings, exh. cat. (National Gallery of Art, Washing-
ink, squared in red chalk; H: 14.5 cm (53/4in.); W: 14.6 ton, D.C., and Palazzo della Pilotta, Parma, 1984), pp.
cm (53/4in.) 94-96, under no. 17; M. di Giampaolo and A. Muzzi,
87.66.90 Correggio: Idisegni (Torino, 1989), no. 51; P. Paolo Men-
dogni, // Correggio a Parma (Parma, 1989), p. 82.
MARKS AND INSCRIPTIONS: None.
THIS IS ONE OF THREE SURVIVING DRAWINGS BY COR-
PROVENANCE: William, second duke of Devonshire, reggio for the underside of the entrance arch leading into
Chatsworth; by descent to the current duke (sale, Chris- the Cappella del Bono in San Giovanni Evangelista,
tie's, London, July 6, 1987, lot 5). Parma. The frescoes, executed by assistants and based on
EXHIBITIONS: Old Master Drawings from Chatsworth, these andpresumablyother designs by Correggio,
City Art Gallery, Manchester, July-September 1961, no. show Christ in Glory with The Conversion of Saul to the
25; Old Master Drawings from Chatsworth, National Gal- east and Saints Peter and John Healing the Cripple to the
lery of Art, Washington, D.C., and other institutions, west. The Museum's drawing is a preparatory study for
1962-63, no. 21 (catalogue by A. E. Popham); Old Mas- the illusionistic oculus with Christ in Glory. It anticipates
ter Drawings from Chatsworth: A Loan Exhibition from the all of the principal details of the fresco but is much more
Devonshire Collection, Royal Academy of Arts, London, suggestive atmospherically, thereby enhancing the spa-
July-August 1969, no. 21 (catalogue by A. E. Popham); tial illusion of the scene. The other two surviving draw-
Old Master Drawings: A Loan from the Collection of the ings, still at Chatsworth (inv. 762, 763), consist of studies
Duke of Devonshire, Israel Museum, Jerusalem, April- for the two putti to the right of Christ, supporting a still
July 1977, no. 21. empty medallion, and of the other pair of putti holding
the medallion, with a quick sketch of Christ, the latter
BIBLIOGRAPHY: The Vasari Society for the Reproduction of fully elaborated in the Getty drawing. The frescoes are
Drawings by Old Masters (Oxford, 1908-09), ist ser., 4, generally dated to 1524, which provides a terminus ante
no. 16; A. Venturi, Correggio (Rome, 1926), pp. 435, n. quern for all related drawings.
2; 591; idem, Storia delVarte italiana. Vol. IX: Lapittura del
cinquecento (Milan, 1926), pt. 2, p. 603, n. i; C. Ricci,
Correggio (London and New York, 1930), p. 165; A. E.
Popham, Correggio's Drawings (London, 1957), pp. 58;
158, no. 44; A. Ghidiglia Quintavalle, "L'Oratoria della
Concezione a Parma," Paragone 9, no. 103 (July 1958), p.
29; S. Zamboni, "Recensioni: Correggio's Drawings,"
Arte antica e moderna 2 (April-June 1958), pp. 194-95;
A. Ghidiglia Quintavalle, Michelangelo Anselmi (Parma,
1960), p. 106; idem, in Arte in Emilia Seconda (Parma,
1962), p. 75, under no. 44; idem, Gli affreschi del Correggio
in San Giovanni Evangelista a Parma (Milan, 1962), p. 32;
English ed. (New York, 1962), p. 41; A. Bevilacqua and
A. C. Quintavalle, Lopera completa del Correggio (Milan,
1970), pp. 112-13, under no. in; C. Gould, The Paint-
ings of Correggio (Ithaca, 1976), pp. 80, 257-58; A. C.
Quintavalle, Tout I'oeuvre peint de Correge (Paris, 1977),
pp. 112-13, under no. in; E. Battisti, "II Correggio e il
50 ITALIAN SCHOOL CORREGGIO

L O R E N Z O COSTA
CIRCA 1459/60-1535
16 A Thebaid: Monks and THIS DRAWING MADE ITS INITIAL APPEARANCE IN THE
literature in a sale at Sotheby's in 1986 as "attributed to
Hermits in a Landscape Piero di Cosimo." Although it bears some general re-
semblance to Piero's work, especially in terms of its com-
Pen and brown ink; H: 20.4 cm (8 in.); W: 20.6 cm (8Vs position, the drawing is Bolognese in origin. The latter
in.) observation is due to P. Pouncey, who tentatively sug-
8y.GA.ii gested an attribution to Amico Aspertini on the basis of
the similarity between this drawing and one in the UfFizi
MARKS AND INSCRIPTIONS: At bottom right, inscribed
(inv. 166 E), Saint Cecilia before the Proconsul.1 The latter
69 in black ink; at bottom right corner, collection marks
and the resulting fresco in the Oratorio di Santa Cecilia,
of Countess Rosa Piatti-Lochis (L. 2O26c), Ferruccio
Bologna, have been the subject of considerable dispute;
Asta (L. n6a).
recent opinion concerning the drawing appears to favor
PROVENANCE: Countess Rosa Piatti-Lochis, Venice; the authorship of Lorenzo Costa.2 The most convincing
Ferruccio Asta, Venice; sale, Sotheby's, New York, Jan- basis for this attribution is the relationship between the
uary 16, 1986, lot 9; art market, London. sheet and another one in the UfFizi (inv. 178 E), the
Coronation of the Virgin, made in preparation for Costa's
EXHIBITIONS: None.
painting in San Giovanni in Monte, Bologna.3 The two
BIBLIOGRAPHY: None. UfFizi drawings provide a strong case in favor of ascrib-
ing the Museum's study of the Thebaid to Costa, since its
style and handling fall directly between them. Further-
more it has close affinities with other drawings by
him, such as Calvary: The Raising of the Cross (Oxford,
Christ Church inv. 0281). A date of circa 1505 for the
Museum's drawing would seem to emerge from these
comparisons.
1. M. Faietti et al., Bologna e Vumanesimo 1490-1510, exh. cat.

(Pinacoteca Nazionale, Bologna, 1988), no. 71.
2. Ibid., under no. 71 (entry by M. Faietti).
3. Ibid., no. 70.
52 ITALIAN SCHOOL COSTA

DESIDERIO DA SETTIGNANO
CIRCA 1430-1464
17 Studies of the Virgin and Childr tomb in Santa Croce, Florence. In addition the caryatid
figure on the throne is analogous to one found on a
Virgin and Child Enthroned" candlestick borne by an angel on the tabernacle in San
Lorenzo, Florence. As this ornamental repertoire was
Pen and brown ink, incised for transfer (recto); pen and unique to Desiderio, it strongly supports the attribution
brown ink and black chalk (verso); H: 19.3 cm (yVsin.); of the Museum's sheet to him.
W:27.8cm(io I5 /i6in.) This and the Rossellino sheet in the Uffizi are im-
88.GG.ioy portant illustrations of the use of drawings by sculptors
in mid-fifteenth-century Florence. Such drawings pro-
vided both the means for developing images and designs
PROVENANCE: Private collection, Geneva; art market, to be used by workshop assistants to produce the nu-
London. merous terra-cotta and stucco reliefs of the period. They
EXHIBITIONS: None. may also have been employed to allow patrons to choose
designs to their liking.
BIBLIOGRAPHY: G. Goldner, "A Drawing by Desiderio
da Settignano," Burlington Magazine 131, no. 1036 (July
1989), pp. 469-73-
THIS SHEET APPEARED IN 1989, WHEN IT WAS PUB-

lished as the only known example of the draughtsman-
ship of Desiderio da Settignano (Goldner 1989). The
recto consists of seven studies of the Virgin and Child,
drawn in pen and ink over elaborate stylus underdraw-
ings that differ in many details from the pen drawings
over them. The style of the recto, with its somewhat no-
tational description of detail and minimum of internal
modeling, relates it to a sheet by Antonio Rossellino in
the Uffizi (inv. 38 F). The touch in the Getty drawing is
lighter and more delicate, however, with flatter forms
and more intimate emotions, and is closer in spirit to the
sculpture of Desiderio. The sketch at the bottom right is
very similar in composition and significant details to De-
siderio 's Panciatichi Madonna (Florence, Bargello) and
may well have been made as a study for it. More gener-
ally, the third sketch from the left in the top row recalls
his Foulc Madonna (Philadelphia Museum of Art).
Given the freely drawn character of the stylus indenta-
tions, these studies can hardly be copies after Desiderio's
sculptures.
The verso is more broadly drawn and has consid-
erable black chalk underdrawing. Given the profile for-
mat, it was probably intended as a study for a relief, per-
haps in terra-cotta. The ornamental motifsthe sphinx
and specific floral designsclosely relate the verso to
Desiderio's vocabulary as it appears on the Marsuppini
verso
54 ITALIAN SCHOOL DESIDERIO DA SETTIGNANO

recto
G I U L I O R O M A N O (GiulioPippi)
CIRCA 1499-1546
18 Hercules Resting after Killing THE PURPOSE FOR WHICH THIS DRAWING WAS MADE
remains elusive. It was related by Hartt (1958, p. 301) to
the Hydra a study, Apollo and Marsyas (Windsor Castle, Royal Li-
brary inv. 0495), that is similar in style and scale. He sug-
Pen and brown ink (recto); black chalk, incised for trans- gested that they may both have been used as preparatory
fer (verso); H: 25.4 cm (10 in.); W: 20.4 cm (8 in.) studies for stucco reliefs in the garden of the Apparta-
88.GA.I28 mento di Troia, Palazzo Ducale, Mantua. Although they
do have a relieflike quality, there is no evidence to sustain
MARKS AND INSCRIPTIONS: At bottom left corner, col-
the connection with this project. Alternatively, it is pro-
lection mark of Sir Thomas Lawrence (L. 2445); at bot-
posed in the Sotheby's sale catalogue (1972) thatgiven
tom right corner and right margin, collection mark of
the stylus marks and black chalk on the versothe Mu-
Lord Francis Egerton, first earl of Ellesmere (L. 2yiob).
seum's drawing may have been intended as a study for a
PROVENANCE: Sir Thomas Lawrence, London; Lord print. There are engravings based on Giulio's designs of
Francis Egerton, first earl of Ellesmere, London; by de- Hercules and Antaeus and Hercules and the Nemean
scent to the sixth duke of Sutherland (sale, Sotheby's, Lion,1 but there is nothing to indicate a more extensive
London, December 5, 1972, lot 52); art market, New print series on his labors. Lastly, K. Forster postulated
York; private collection, New York; art market, New that this drawing may have been done for a project com-
York. missioned by Ercole d'Este, for whom Hercules would
have been a most appropriate subject (Giulio visited Fer-
EXHIBITIONS: None.
rara in the mid-i53os on several occasions).2 For stylistic
BIBLIOGRAPHY: F. Hartt, Giulio Romano (New Haven, reasons, the drawing is datable to circa 1535.
1958), vol. i, pp. 165, 186; 301, no. 238.
1. S. Massari, Indsorimantovanidel '500 (Rome, 1980), nos. 50-

5i.
2. In conversation with G. Goldner, 1988.
56 ITALIAN SCHOOL GIULIO ROMANO

FRANCESCO GUARDI
1712-1793
19 A Theatrical Performance THIS DRAWING FIRST APPEARED IN 1988 IN AN EXHI-

bition in London (no. 39), where it was correctly linked
Pen and brown ink, brown wash, and black chalk; H: to another of similar subject and setting in the collection
27.4 cm (io I3 /i6in.); H: 38.5 cm (15 Vain.) of Mrs. H. Anda-Buhrle, Zurich. The latter was con-
89.00.51 nected in turn byj. By am Shaw to a drawing of a banquet
scene by Guardi in the Hermitage, Saint Petersburg (inv.
MARKS AND INSCRIPTIONS! None. 11840), that commemorates an event that occurred dur-
PROVENANCE: Private collection, New York; art mar- ing the visit of Grand Duke Paul Petrovitch of Russia and
ket, London. his wife, Maria Fedorovna, to Venice between January 18
and 25, I782.1 Several paintings and drawings resulted
EXHIBITIONS: European Drawings, Hazlitt, Gooden and from this visit, and it may well be, as has been suggested
Fox, Ltd., London, November-December 1988, no. 39. by K. Pask, that the Getty sheet depicts the noble couple's
BIBLIOGRAPHY: K. Pask, "Francesco Guardi and the attendance at a commedia dell'arte performance on Jan-
Conti del Nord: A New Drawing, "J. Paul Getty Museum uary 21. Byam Shaw dated the Biihrle drawing to "after
Journal 20 (1992) (forthcoming). 1780" on grounds of style and costume. This dating con-
forms to the proposal that it and the Museum's drawing
are tied to the week spent in Venice by the "Conti del
Nord," as the grand duke and duchess were called.
i. J. Byam Shaw, The Drawings of Francesco Guardi (London,

1949), p. 69.
58 ITALIAN SCHOOL GUARDI

G U E R C I N O (GiovanniFrancescoBarbieri)
1591-1666
20 Study of a Seated Young Man THIS DRAWING WAS ASSOCIATED BY D. MAHON

(Christie's 1986) with a group of seven male nude studies
Oiled black chalk and white chalk heightening; H: 52.2 of similar technique that are firmly dated by him in all
cm (229/i6 in.); W: 42.7 cm (i63/4in.) but one case to I6I9-2O.1 He also pointed out that the
89.03.52 model for the Getty drawing is the same as that used for
another sheet in this group (Genoa, Palazzo Rosso inv.
MARKS AND INSCRIPTIONS: None. 1702). The broad chiaroscuro and monumental form
PROVENANCE: Hugh Blaker, London; Sir Colin Ander- make the earlier erroneous attribution to Piazzetta
son, London; Lady Anderson, London (sale, Christie's, (Leicester Galleries 1948) understandable and lend fur-
London, December 9, 1986, lot 48); art market, London. ther support to Mahon's suggestion that Piazzetta may
have drawn inspiration from drawings of this kind.2
EXHIBITIONS: Catalogue of an Exhibition of Selected Paint-
ings, Drawings and Sculpture from the Collection of the Late
Hugh Blaker, Leicester Galleries, London, March 1948,
no. 46; European Drawings, Hazlitt, Gooden and Fox, 1. D. Mahon, // Guercino: Disegni, exh. cat. (Palazzo
Ltd., London, November-December 1988, no. 26; dellArchiginnasio, Bologna, 1968), nos. 247-53.
2. Ibid., p. 220.
Guercino, Master Draftsman: Works from North American
Collections, Harvard University Art Museums, Cam-
bridge, Mass., February-March 1991, no. 63 (catalogue
by D. M. Stone); Giovanni Francesco Barbieri, II Guercino,
1591-1666: Dipinti e disegni, Museo Civico Archeolo-
gico, Bologna, September-November 1991, no. 207
(catalogue by D. Mahon).
BIBLIOGRAPHY: None.
60 ITALIAN SCHOOL GUERCINO

FILIPPO JUVARRA
1678-1736
21 The Courtyard of a Palace: THIS IS ONE OF THE SERIES OF EIGHT DRAWINGS BY Ju-
varra that were identified by Ferrero (1968) as studies for
Project for a Stage stage sets for the opera Tito and Berenice (score by An-
tonio Caldara; libretto by Carlo Sigismondo Capece),
Pen and brown ink, gray and brown wash, and black which was first performed at the Teatro Capranica,
chalk; H: 20.2 cm (8 in.); W: 19. i cm (y'Ain.) Rome, in 1714. Though not employed in that produc-
88.GA.I tion, this courtyard scene may have been transformed
into another one during the development of the project
MARKS AND INSCRIPTIONS: At bottom edge, at center,
(ibid., p. 18), perhaps for scene 9, entitled Appartamenti
inscribed Cortile in brown ink by the artist.
terreni (Ferrero 1970, p. 373). The style of this and related
PROVENANCE: Count A. Cibrario, Turin; by descent to drawings illustrates the imaginative and free character of
Count L. Cibrario, Turin; sale, Christie's, London, De- Juvarra's draughtsmanship as it evolved during the sec-
cember 13, 1984, lot 204; art market, Boston. ond decade of the eighteenth century.
EXHIBITIONS: None.
BIBLIOGRAPHY: L. Rovere, V. Viale, and A. E. Brinck-
mann, Filippo Juvarm (Turin, 1937), p. 159; V. Viale,
Mostra di Filippo Juvarra, architetto e scenografo (Messina,
1966), p. in; M. Viale Ferrero, "Disegni di Filippo Ju-
varra per il Teatro Capranica a Roma," Antichita viva 7
(1968), pp. 17-18; idem, Filippo Juv arra, scenografo e ar-
chitetto teatrale (Turin, 1970), pp. 58-60; 61, n. 27; 373,
no. 7.
62 ITALIAN SCHOOL JUVARRA

LEONARDO DA VINCI
1452-1519
22 Three Sketches of a Child with (1920), p. 284; A. Venturi, "Per Leonardo da Vinci," Arte
25 (1922), pp. 3-6; E. Moller, "Die Madonna mit den
aLambr spielenden Kindern aus der Werkstatt Leonardos," Zeit-
schriftjur Bildende Kunst 62 (1928-29), pp. 221, 226; T.
A Child with a Lamb, Head of Borenius, "Leonardo's Madonna with Children at Play,"
Burlington Magazine 56, no. 324 (March 1930), p. 142; E.
an Old Man, and Studies of Verga, Bibliografia vindana, 1493-1930 (Bologna, 1931),
Machineryv vol. i, p. 172, no. 475; W. von Seidlitz, Leonardo da Vinci,

der Wendepunkt der Renaissance (Vienna, 1935), p. 66; A. E.
Popham, The Drawings of Leonardo da Vinci (London,
Black chalk and pen and brown ink; H: 21 cm (SViin.);
1946), p. 123; reprint ed. (London, 1964), pp. 51-52; A.
W: I4.2cm(5 9 /i6in.)
Venturi, I manoscritti e i disegni di Leonardo da Vinci (Rome,
86.00.725 (SEE PLATE 2)
1949), fascs. 6, no. 243.2, p. 38; 7, no. 243.2; C. Pedretti,
MARKS AND INSCRIPTIONS: (Recto) at bottom left cor- Studi vindani (Geneva, 1957), pp. 225-29; K. T. Steinitz,
ner, collection mark of Sir Thomas Lawrence (L. 2445); "Drawings by Leonardo, Formerly in the Possession of
inscribed jicipit liber.endaborum.assauasorda.judeo inebrai- the Grand Duke of Weimar," Raccolta vindana 20 (1961-
cho coposit[us] et a platone I tiburtinj Matin sermone trans- 63), pp. 343-44; K. Clark and C. Pedretti, The Drawings
lat[us] anno, arabu.dx. mse sap h ar / capi tulu pimu ingeo- of Leonardo da Vinci in the Collection of Her Majesty the
metrice arihmetice (p) vnyversalia proposita:, franco.o dif. in Queen at Windsor Castle (London, 1968), pp. 98-99, un-
brown ink by the artist; (verso) inscribed vedj la testa der no. 12540; J. Wasserman, "A Re-discovered Cartoon
de[llo] alto vitj sella tenvto ilfermo I essapi dal caiano I il zen- by Leonardo da Vinci, Burlington Magazine 112, no. 805
dato invernjca[to e] stacdatovi.suso la cimatura conuarj colori I (April 1970), pp. 201, 203; A. Vezzosi et al., Leonardo dopo
a vso dj gianbellotto.e altre opere.regie allacqa.essimilmente. Milano: La Madonna deifusi (1501) (Florence, 1982), pp.
sidebbe,f[a] I re.da potere.rimecter[e] I il polo.quando.fussi. 30, n. 22; 82-85, 87-89; idem, Leonardo e il leonardismo a
ch[o] I summato I [Figura] po/o. (s) rimessibile in brown ink Napoli e a Roma (Florence, 1983), pp. 72-73; P. C. Ma-
by the artist. rani, Leonardo e i leonardeschi a Brera (Florence, 1987), pp.
PROVENANCE: Abbot Luigi Cellotti, Venice(?); Sir 120-21; C. Pedretti, "Leonardo: Era giusto tentare," Art
Thomas Lawrence, London; King William II of Holland e dossier 10 (February 1987), pp. 4-5; idem, in P. Gal-
(sale, Het Paleis, The Hague, August 12-20, 1850, part luzzi, ed., Leonardo da Vinci: Engineer and Architect, exh.
of lot 136); Grand Duke Charles Alexander of Saxe- cat. (Montreal Museum of Fine Arts, 1987), pp. 16-21.
Weimar-Eisenbach, Thuringia; Schlossmuseum, Wei- THE RECTO OF THIS COMPLEX SHEET CONTAINS THREE
mar; S. Schwartz, New York; John R. Gaines, Lexing- pen-and-ink studies of a child with a lamb as well as three
ton, Kentucky (sale, Sotheby's, New York, November barely legible chalk sketches of the same theme. All are
17, 1986, lots). related to the chalk sketch on the verso and to another in
EXHIBITIONS: The Lawrence Gallery, Fifth Exhibition, black chalk in the Royal Library, Windsor Castle (inv.
Woodburn's Gallery, London, 1836, no. 70; Italy in the 12540). Throughout the considerable literature on this
Time of Raphael, Fogg Art Museum, Harvard Univer- drawing, there has been disagreement as to whether the
sity, Cambridge, Mass., February-April 1983. child represented is Christ or Saint John and whether
these studies were made in preparation for a version of
BIBLIOGRAPHY: E. Solmi, "Le fonti dei manoscritti di the Virgin and Child with Saint Anne or a lost composition
Leonardo da Vinci," Giornale storico della letteratura ital- showing the Virgin kneeling with Christ and Saint John.
iana (Turin, 1908), pp. 263-64; W. vonSeidlitz, Leonardo The latter is known through several copies and derivative
da Vinci der Wendepunkt der Renaissance (Berlin, 1909), pictures (Uffizi; Ashmolean Museum; Milan, private
vol. i, pp. 76, 80; E. Suida, "Leonardo da Vinci und seine collection).
Schule in Mailand," Monatshefte for Kunstwissenschaft 2
64 ITALIAN SCHOOL LEONARDO DA VINCI

The balance of visual evidence strongly favors the
hypothesis connecting these drawings to the lost Virgin
Kneeling with Christ and Saint John, since the collective
poses of the child in them are far more similar to that of
the Christ child there than to any painted or drawn image
of the Virgin and Saint Anne. Based on two factorsthe
appearance of a sketch on the Windsor sheet that refers
to a gem of Diomedes which had belonged to Lorenzo
de' Medici, and the comment on the "head of Altoviti"
on the verso of the Getty sheetit is very likely that the
drawings of the child date from Leonardo's years in Flor-
ence just after 1500. Similarly, the note at the top of the
recto referring to the title of a geometry book by Abra-
ham bar Hiyya Savasorda indicates that Leonardo was
back in Florence, where a copy of the book was in the
library of San Marco. By contrast the laminating ma-
chine on the verso and the attendent explanatory notes
date from 1497-1500, as has been explained by Pedretti
(1957).
The verso also contains a stark physiognomic study
in black chalk at the left margin, directly above a finely
drawn leaf in pen and ink. The former seems to have been
executed at the same time as the study of the child in chalk
on the verso.
Leonardo's studies of Christ on this sheet appear to
have evolved beginning with the freely drawn chalk
study on the verso and proceeding to the pen sketch at
the top right on the recto, in which the basic pose was
established. This was followed by the larger pen drawing
at the bottom right, showing the first effort to set the po-
sition of the legs. Lastly, the artist drew the most elabo-
rate study at the bottom left, in which the legs are posed
with greater complexity and the child leans back on the
lamb. The latter may have been preceded by the sketch
at Windsor, showing similar details in much rougher
form. The faint chalk sketches on the recto of the Getty
sheet are difficult to read, but the one at the top center
may have been done before the first two pen drawings on
the recto. The figure drawn at the bottom center is the
only one facing to the left and may be Saint John rather
than the Christ child.
LEONARDO DA VINCI ITALIAN SCHOOL 65

recto
verso
M O R A Z Z O N E (PierFrancescoMazzuchelli)
1573-1626
23 Angel Musicians THE ATTRIBUTION OF THIS DRAWING TO MORAZZONE

is due to Turner (1984), who connected it with the ceiling
Black chalk, brown wash, and white gouache height- frescoes of 1599 showing music-making angels in the
ening on blue paper (recto); black chalk (verso); H: 39.5 vault of the Cappella del Rosario, San Vittore, Varese.1
cm (i59/i6 in.); W: 24.7 cm (93/4in.) Turner noted that although the figures are set in a vertical
86.GG.i6 rather than a horizontal scheme in the fresco, the basic
architectural frame is similar in drawing and fresco. In
MARKS AND INSCRIPTIONS: (Verso) inscribed 164 in addition the representations of the cello players in both
brown ink, N 8 in red chalk. are alike in facial type. It may well be that Morazzone
PROVENANCE: Sale, Christie's, London, April 3, 1984, used the cello player in the drawing as the basis for the
lot 10; art market, London. two figures at the center of the relevant compartment.
Furthermore the lute player at the right of the drawing
EXHIBITIONS: None. reappears with modifications in another section of the
BIBLIOGRAPHY: N. Turner, "Some Unpublished Draw- ceiling.2 There are faint indications of black chalk on the
ings by Morazzone," Master Drawings 22, no. 4 (Winter verso of this sheet.
1984), pp. 426-27.
1. M. Gregori, // Morazzone, exh. cat. (Villa Comunale del

Mirabello, Varese, 1962), pi. 4.
2. Ibid., pi. 5.
68 ITALIAN SCHOOL MORAZZONE

G I O V A N N I BATTISTA N A L D I N I
CIRCA 1537-1591
24 Raising of the Son of the The black chalk sketch of the Nativity on the verso
is more easily understood. It was made as a preparatory
Widow of Naimr study for the Nativity painted by Naldini for the Cappella
Mazzinghi, Santa Maria Novella, Florence, and dated
Madonna and Child with 1573. A further compositional study for the altarpiece
(Uffizi inv. 705F) is drawn in pen and ink and follows the
Saintsv Getty sketch in most essentials, but it is more precisely
drawn and closer to the painting, especially in the treat-
Pen and brown ink, brown wash, white heightening, and ment of the top portion of the scene. Naldini presumably
black chalk on blue paper (recto); black chalk (verso); H: made the verso in 1573 and then reused the sheet two
22.3 cm (83/4in.); W: 32.5 cm (i2 I3 /i6in.) years later to make the drawing on the recto in prepara-
88.GA.53 tion for the Santa Maria del Carmine picture.
MARKS AND INSCRIPTIONS: (Recto) at bottom center,
collection mark of A. P. F. Robert-Dumesnil (L. 2200);
(verso) inscribed dijacopo Palma in brown ink.
PROVENANCE: A. P. F. Robert-Dumesnil, Paris (sale,
Phillips, London, May 18, 1838, lot 754); private collec-
tion, Paris; sale, Hotel Drouot, Paris, April 29, 1986, lot
77; art market, London.
EXHIBITIONS: None.
BIBLIOGRAPHY: G. Gruitrooy, "A New Drawing by
Giovanni Battista Naldini," J. Paul Getty Museum Journal
17(1989), pp. 15-20.
THE IDENTIFICATION OF THE SUBJECT OF THIS DRAW-

ing is due to Gruitrooy (1989), who noted that Naldini
made a painting of the same themedestroyed in a fire
in 1771for Santa Maria del Carmine, Florence. The
painting was executed between circa 1575, when the altar
into which it was placed was completed, and 1584, when
it was first mentioned in RafFaello Borghini's // riposo.
The painting is known through a contemporaneous de-
scription by Francesco Bocchi and a chalk drawing in the
Uffizi by Naldini (inv. 7475). The picture was very dif-
ferent from the recto of the Museum's drawing, having
as its main emphasis the widow kneeling before Christ
and asking for his intervention. By contrast the Getty
drawing shows Christ in the act of raising her son. To
account for the change in conception reflected in the two verso
drawings and the painting, Gruitrooy argued persua-
sively that Naldini made the Getty drawing at an early
stagecirca 1575-77and came back to the project in
1580, when he returned to Florence.
7O ITALIAN SCHOOL NALDINI

recto
NICOLO DELL'ABATE
I509/i2(?)-i57i
25 Marriage of a Patrician Couple THIS IS ONE OF FOUR KNOWN STUDIES BY NiCOLO

dell'Abate of chivalric subjects which are related in size,
Oil on paper, some foreground figures pricked for trans- shape, and style (the others are UfFizi inv. 593 E; Louvre
fer; H: 40.6 cm (16 in.); W: 47.8 cm (i8I3/i6 in.) inv. 20.746; and Windsor Castle, Royal Library inv.
87.00.41 6317). A lost drawing by him, known through a copy in
Munich (Staatliche Graphische Sammlung inv. 14209),
MARKS AND INSCRIPTIONS: None. must also have been associated with them. With the ex-
PROVENANCE: Sale, Christie's, London, April 8, 1986, ception of the Museum's study, which was only discov-
lot 28; art market, London. ered recently, the others were grouped by S. Beguin.1 She
suggested that they were made for a cycle depicting
EXHIBITIONS: None. scenes from the romantic epics Orlando furioso and Or-
BIBLIOGRAPHY: None. lando innamorato, perhaps for Giulio Boiardo's palazzo at
Scandiano or for the Palazzo Ducale, Sassuolo, where a
series of five scenes from the life of Orlando by Nicolo
are known to have existed until well into the eighteenth
century. The Getty drawing, which first appeared at auc-
tion in 1986 at Christie's, was related by Beguin to the
Uffizi study,2 with which it shares a similar technique,
having been made in oil on paper (the Windsor and
Louvre sheets are drawn in pen and ink). The disparity
in technique within the group might indicate that there
were two stages in the later evolution of the project, the
latter of which is represented by the highly finished oil
sketches. The style of this series, informed by the work
of Giulio Romano and Dosso Dossi, places it early in Ni-
colo's career, circa 1535-40.
1. S. Beguin, Mostra di Nicolo dell'Abate, exh. cat. (Palazzo

dell'Archiginnasio, Bologna, 1969), pp. 88-91.
72 ITALIAN SCHOOL NICOLO DELL'ABATE

FRA P A O L I N O (PaolodelSignoraccio)
CIRCA 1490-1547
26 Saint Lucy IT WAS FIRST ESTABLISHED BY C. FlSCHER (HAZLITT,

Gooden and Fox, Ltd. 1988, no. 6) that this drawing was
Black and white chalk; H: 46 cm (iSVs in.); W: 27.1 cm made as a preparatory study for the figure of Saint Lucy
(10 11/16 in.) in an altarpiece, the Virgin and Child with Saints, painted
89.06.34 by Fra Paolino for the church of San Domenico, Pistoia.
There are minor modifications in the painted figure, who
MARKS AND INSCRIPTIONS: (Verso) inscribed 45 in stands at the left margin. The technique and style of the
brown ink. drawing owe a great deal to the work of Fra Bartolom-
PROVENANCE: Private collection, Tuscany; private col- meo in the deep shadows, handling of the chalk medium,
lection, Belgium; sale, Christie's, London, July i, 1986, and calm classicism of the pose. Within the small surviv-
lot 54; art market, London. ing drawn oeuvre of Fra Paolino, this study is closest to
a drawing of Saint Agnes in the Uffizi (inv. 231 s).
EXHIBITIONS: European Drawings, Hazlitt, Gooden and
Fox, Ltd., London, November-December 1988, no. 6.
BIBLIOGRAPHY: D. Bull, "London Old Master Draw-
ings," Burlington Magazine 131, no. 1030 (January 1989),
P- 49-
74 I T A L I A N S C H O O L FRA PAOLINO
B E R N A R D O P A R E N T I N G (attributedto)
1437-1531
27 Bacchus Playing Pipes THIS DRAWING IS RELATED ON THE BASIS OF BOTH

style and classical subject to a study of Venus and Cupid
I5
Pen and brown ink; H: 20. i cm (7 /i6 in.); W: 10.4 cm trampling a serpent in the Victoria and Albert Museum
(4:/i6 in.) (inv. Dyce 149; Christie's 1986). The latter is one of a se-
88.GA.9i ries of Paduan drawings grouped together more than
fifty years ago by J. Byam Shaw that are broadly man-
MARKS AND INSCRIPTIONS: (Recto) at bottom right, tegnesque and show certain distinctive details of han-
inscribed .53 in brown ink by Lord John Somers; on dling such as close parallel hatching, attenuated propor-
mount, inscribed Mantegna in brown ink by Jonathan tions, and awkwardness in the rendering of limbs.2
Richardson, Sr.; (verso) on mount, inscribed JJ-53 in Furthermore they reflect a strong classicizing bias in both
brown ink by Jonathan Richardson, Sr.; C.i N-W5. An- choice of subject and frequent use of archaeological de-
drea Mantegna 1431-1505. A Bacchante; pen + bistre. Fine. tail. Byam Shaw identified the author of these drawings
From Sir Anthony Westcombe's Collection. W. Bateman type- as Bernardo Parentino, who remains the most likely can-
written on a label by William Bateman. didate. The majority of the drawings can reasonably be
PROVENANCE: Padre Sebastiano Resta, Milan; Giovanni seen as representing various stages in his long career as
Matteo Marchetti, bishop of Arezzo; by descent to his well as illustrating the normal variety found in the oeuvre
nephew, the cavalier (Orazio?) Marchetti of Pistoia; Lord of any artist. Some reserve should be maintained, how-
John Somers, Worcester; Jonathan Richardson, Sr., Lon- ever, owing both to the absence of much specific evi-
don; Sir Anthony Westcombe, London (sale, Puttick and dence to concretely link these drawings to Parentino's
Simpson, London, December 22, 1857, part of lot 48); work in other media and to a fairly considerable disparity
William Bateman, Youlgrave, Derbyshire (sale, Sothe- in handling among them.
by's, London, June 3, 1893, part of lot 79, 80, or 81); sale,
Christie's, London, December 9, 1986, lot 3; art market,
Boston.1 1. The provenance of the drawing was ascertained by K. Pask.
EXHIBITIONS: None. 2. "A Lost Portrait of Mantegna and a Group of Paduan Draw-
ings," Old Master Drawings 9 (June 1934), pp. 1-7.
BIBLIOGRAPHY: None.
76 ITALIAN SCHOOL PARENTINO (ATTRIB.)

P A R M I G I A N I N O (FrancescoMazzola)
1503-1540
28 Studies of SaintsJohn the THIS RECENTLY REDISCOVERED SHEET WAS ONCE IN

the collection of drawings by Parmigianino belonging to
Baptist and Jerome, a Crucifix, Thomas Lawrence, of which a significant group passed
to Nils Barck. It was made as a study for an altarpiece,
and Various Headsr the Madonna and Child with Saints John the Baptist and Je-
rome (National Gallery), on which Parmigianino was
Studies of the Christ Child, a working when he fled Rome in 1527. The recto shows
Crucifix, and a Dogv the two saints parallel to one another in the foreground,
as in the important study for the whole composition in
the British Museum, London (inv. 1882-8-12-488),
Red chalk; H: 15.1 cm'(5^/16 in.); W: 22.1 cm (8"/i6 in.)
while the specific poses are very close to those in a study
87.06.9
of the two saints in the Stadelsches Kunstinstitut, Frank-
MARKS AND INSCRIPTIONS: (Recto) at bottom left cor- furt (inv. 13772). These and the Getty drawing must have
ner, collection marks of Sir Thomas Lawrence (L. 2445), been done relatively early in the evolution of the com-
Count Nils Barck (L. 1959), N. Dhikeos. position, since the figure of Saint Jerome is shown sleep-
PROVENANCE: Sir Thomas Lawrence, London; Count ing in the right middle ground and the Baptist kneels at
Nils Barck, Paris and Madrid; N. Dhikeos, Lyons; art the center in the painting. In the Frankfurt drawing the
market, New York. Baptist is clearly standing, whereas on the recto of the
Museum's sheet his pose is somewhat ambiguous. The
EXHIBITIONS: None. style of the recto is highly correggesque; the head of Saint
BIBLIOGRAPHY: None. Jerome is reminiscent of Saint Peter in the cupola fresco
by Correggio in San Giovanni Evangelista, Parma.
The verso contains a study of the Christ child sim-
ilarly for the altarpiece now in London, rendered in
strong contrapposto; there is also a sketch of the crucifix
held by Saint Jerome. Lastly and unexpectedly, the most
prominent feature is the dog standing at the right, who
is lightly sketched in a different pose below. A dog of this
type appears in the frescoes at the Rocca of Fontanellato
and also in a drawing of the 15305 (Melbourne, National
Gallery of Victoria inv. 358/4). It should be noted, how-
ever, that the dog on the Getty verso is closely similar in
pose and in the rendering of the chain around his neck to
the one at Fontanellato, and thatabsent other details on
the sheetone would be tempted to consider it a study
for the latter. Given the chronological problems this
would engender in terms of the dating of the Fontanel-
lato frescoes and the London altarpiece, it should be con-
cluded that either the similarity between the dogs is ac-
cidental or that Parmigianino had the image from the
fresco in mind when he made this sheet in Rome two or
three years later.
78 ITALIAN SCHOOL PARMIGIANINO

recto
verso (no. 28)
BARTOLOMEO PASSAROTTI
1529-1592
29 Nude Studies THIS SHEET IS A CHARACTERISTIC EXAMPLE OF

sarotti's studies of the male nude, shown here from all
PAS-
Pen and brown ink; H: 29.5 cm (n 5 /8in.); W: 23.4 cm four sides. The poses are slightly adjusted from one to the
(9 1/4in.) other, with the result that the right forearm never ap-
88.GG.i09 pears. The technique is typical for the artist in its use of
sharply defined cross-hatching, clear and undulating
MARKS AND INSCRIPTIONS: At bottom left, inscribed outlining, and a selective use of thicker lines for emphasis
Salamanca in brown ink; at bottom right corner, uniden- at certain points along the outlines and in a few interior
tified collection mark. passages. As is often true of his drawings, Passarotti
PROVENANCE: Private collection, Geneva; art market, sketched in some of the feet without much detail and
London. only gave the most summary treatment to the heads. The
overall pose of the figure is also characteristic and may be
EXHIBITIONS: None. compared, for example, with the sheet at Christ Church,
BIBLIOGRAPHY: None. Oxford (inv. 1393), that shows a partial rendering of a
torso in a similar position. In addition the twisting of the
body to emphasize torsion is common in his work.
This drawing may well have been made simply for
study purposes, but it is worth noting that Raffaello
Borghini mentioned a book of anatomical studies by
Passarotti in which one would expect to have found stud-
ies such as this.1
i. Ilriposo (Florence, 1584), bk. 4, p. 135. The inscription Sala-

manca may refer to the print publisher Antonio Salamanca,
who worked in Rome and died there in 1562, or to the nine-
teenth-century collector Jose, marquis de Salamanca (as has
been suggested by K. Pask).
PASSAROTTI ITALIAN SCHOOL 8l

(no. 29)
P E R I N O DEL V A G A (PieroBuonaccorsi)
CIRCA I5OO-I547
30 Studies of Figures and chitectural details. Unfortunately, none of them are di-
rectly relatable to any of Perino's projects, even though
Architecture* they are completely characteristic of his figure types. It
is possible that they were made in relation to the wall or
Figure Studiesv window designs for the Sala Regia, but there is no evi-
dence to support such a hypothesis at this point.
Pen and brown ink, brown wash, and black chalk, in- The four somewhat larger figures at the top of the
cised for transfer (recto); pen and brown ink and brown recto and the one at the top center of the verso were all
wash (verso); H: 32.7 cm (12%in.); W: 22.5 cm (83/4in.) drawn after the other sketches on their respective sides of
88.GG.I32 the sheet and differ from them in several ways. They are
all shown with elaborate, fanciful hats or headdresses and
exaggerated expressions approaching caricature. In turn
ner, inscribed D, Tiepolo in black ink, C in black chalk;
there are three drawings by Perino in the Louvre (inv.
(verso) inscribed 12, P/SS in brown ink, HI/ô6 in
623, 624, 10.711) that are similar in technique, though
black chalk, Beato [cancelled: alfin] ha quello che torna al
they show full-length images of warriors. It has been
fin senza faticha I che in memoria eppeso non llagrava I chi
suggested by R. Bacou that those images were intended
troppo penssa el pensar la terra I chi Valtri impaci piglia e sua
for a ballet or theatrical display.2 It is possible that the
cr . . . / chi Valtrui tribola se stesso atterra I chi inpacida la suo
sketches on the Museum's sheet were intended for similar
morte seque I chi biasima altri se stesso I tal dice d'altrui che di
purposes.
se ste[sso] I Voro da valsente I sot'ombra s'orofacile. . .et volon
Lastly, there are five other figures on the verso, two
. . . / la nesicita non v'a legge I e sse legge ha el paziente I
of which are in apparent discourse at the bottom left. In
megli'e patir honestamente I he perdesi un onesto sp . . . in
proportion, drapery, and handling they are closest to two
brown ink by the artist.1
drawings of standing figures in the collection of John
PROVENANCE: Private collection, United States; sale, Gere, London,3 and in the Metropolitan Museum of Art
Sotheby's, New York, January 13, 1988, lot 84; art mar- (inv. 61.180). The purpose of the figures on the Getty
ket, London. verso and of the latter two drawings remains elusive.
The Getty drawing may be dated to the early to
EXHIBITIONS: None.
mid-15405 due to its connection with the documented
BIBLIOGRAPHY: None. work on the vault of the Sala Regia and by association
with the Louvre and Gere drawings, which also date
PERINO BEGAN DRAWING ON THE RECTO WITH A from this part of Perino's career.
study for the vault of the Sala Regia in the Vatican (Sothe-
by's 1988), which was executed between 1542 and 1545.
The architectural planning was due to Antonio da San-
1. Inscription transcribed by G. Corti, February 1989.
gallo, and this design by Perino suggests either that he 2. R. Bacou, LeXVIesiedeeuropeen: Dessinsdu Louvre, exh. cat.
had a greater role than has been assumed or that he was (Musee du Louvre, Paris, 1965), p. 86, under no. 205.
copying a plan by Sangallo for his own use while design- 3. Y. Tan Bunzl et al., Italian i6th-Century Drawingsfrom British
ing the decoration of the vault. The figures on the recto Private Collections, exh. cat. (Scottish Arts Council, Edinburgh
divide into two groups. Perino first made the six smaller Festival Society, 1969), no. 60.
ones, all of which seem to have been intended for specific
locations, given the individualized nature of their attri-
butes and poses; in several cases they are shown with ar-
P E R I N O DEL VAGA ITALIAN SCHOOL 83

recto
verso
BALDASSARE PERUZZI
1481-1536
31 The Holy Family THIS DRAWING IS SIMILAR IN POSES AND HANDLING TO

a study of the Virgin and Christ child with a saint in a
Pen and brown ink and black chalk, top left squared in French private collection (Sotheby's, New York, January
black chalk; H: 23.8 cm (93/sin.); W: 18.9 cm (y'Ain.) 18, 1984, lot 212). It has been noted (Christie's 1986) that
87.00.20 the sheet in France shows the figures to half-length and
that the Museum's drawing is squared only over the Vir-
MARKS AND INSCRIPTIONS: (Recto) on mount, at bot- gin and child to her knees. The similarity is clear, but if
tom edge, inscribed Baldasar da Siena in graphite; (verso) they were made for the same project, the differences be-
on mount, inscribedJ. A. twice in black ink. tween the two sheets reflect a series of significant changes
PROVENANCE: Mr. and Mrs. Fred Kline, Texas (sale, in the course of its development. The Virgin in the Mu-
Christie's, New York, January 14, 1986, lot 93); art mar- seum's drawing looks more directly forward, and the
ket, London. viewer is assumed to be looking up at the scene, unlike
the more straightforward vantage point of the other
EXHIBITIONS: None. study.
BIBLIOGRAPHY: None. The only known project to which these studies may
be related is the Sacra conversazione of 1516 in the Cappella
Ponzetti, Santa Maria della Pace, Rome. The physiog-
nomic types of the Virgin in the Museum's drawing and
in the fresco are similar in their idealized classicism, and
the pose in the latter essentially reverses that of the draw-
ing. In addition the Virgin is shown looking down in the
fresco. The attendant figures there do not include Joseph,
however, and their presence argues against a direct con-
nection, as does a drawing recently on the art market
(Christie's, London, July 2, 1991, lot 237) that is more
closely related to the fresco.1 Nevertheless the Cappella
Ponzetti fresco is close in style to the drawing and pro-
vides a clear basis for situating it circa 1515.
i. A copy of this drawing is in a sketchbook in the Biblioteca

Comunale, Siena; see F. Sodi, ed., Taccuino S IV7 detto di Bal-
dassare Peruzzi della Biblioteca Comunale di Siena (Siena, 1981),
p. 26.
86 ITALIAN SCHOOL PERUZZI

32 Designfor an Altar THIS DRAWING HAS BEEN RECOGNIZED AS THE WORK
of Peruzzi since it was first published by Waagen (1854),
Pen and brown ink and brown wash, incised for transfer; who noted that it is a design for an altar. No existing proj-
H: 45.4 cm (i77/sin.); W: 37.7 cm (i47/sin.) ect can be related to it with any degree of certainty, but
88.GG.i30 Frommel (1968) reasonably proposed that the sheet rep-
resents an unexecuted project for a side altar for the ca-
MARKS AND INSCRIPTIONS: At bottom left corner, col- thedral of Siena. He also noted the considerable size of
lection mark of William, second duke of Devonshire the altarapproximately 6.4 by 7.3 metersand the use
(L. 718); at center, bottom, and right, various measure- of the Corinthian order in a manner resembling the tomb
ments; at bottom right corner, collection mark of Nich- of Pope Hadrian VI in Santa Maria dellAnima, Rome,
olas A. Flinck (L. 959); along right margin, inscribed and a design for an organ case for the Gonzaga (Windsor,
Quando q /pare st a I po streng I column] I emjejchlj I tanto Royal Library inv. 5495; Popham 1962-63). The three
ch I vero e / ne dj / for I lejndi I la cornjce I vada dr I schizo s share the use of a double row of niche figures, and the
in brown ink by the artist. decorative relief work on the architrave in the two draw-
PROVENANCE: Nicholas A. Flinck, Rotterdam; William, ings is also analogous. It is pointed out in the sale cata-
second duke of Devonshire, Chatsworth; by descent to logue (Christie's 1987) that three of the saints in niches
the current duke (sale, Christie's, London, July 6, 1987, are shown facing to the right, indicating that the altar was
lot 8); art market, New York. to stand in the left aisle. It should also be noted that Pe-
ruzzi tried a variant scheme for the base of the altar frame
EXHIBITIONS: Old Master Drawings from Chatsworth, on either side of the design. This would suggest that the
National Gallery of Art, Washington, D.C., and other sheet was intended to be shown to the patron, with
institutions, 1962-63, no. 48 (catalogue by A. E. whom a decision would have been reached. Peruzzi also
Popham); Old Master Drawings from Chatsworth, Royal showed the effect of shadows on the top and right parts
Academy of Arts, London, July-August 1969, no. 48 of the altar frame. All of this indicates that the sheet was
(catalogue by A. E. Popham); Old Master Drawings from a presentation drawing as well as one in which the artist
Chatsworth, National Museum of Western Art, Tokyo, worked out solutions for his own use. The date of circa
1975, no. 17; Old Master Drawings from Chatsworth, Israel 1527 proposed by Frommel appears likely.
Museum, Jerusalem, April-July 1977, no. 16.
BIBLIOGRAPHY: G. F. Waagen, Treasures of Art in Great
Britain (London, 1854), vl- 3> P- 354; W. W. Kent, The
Life and Works ofBaldassare Peruzzi of Siena (New York,
1925), p. 76; C. L. Frommel, Baldassare Peruzzi als Maler
undZeichner (Munich, 1968), p. 144, no. iosf; H. Wurrn,
Baldassare Peruzzi Architekturzeichnungen (Tubingen,
1984), vol. i, p. 158.
88 ITALIAN SCHOOL PERUZZI

G I O V A N N I BATTISTA PIAZZETTA
1683-1754
33 A Boy Holding a Pear THIS IS ONE OF THE MANY TESTE DI CARATTERE THAT
represent the most distinctive and successful aspect of Pi-
(Giacomo Piazzetta?) azzetta's drawn oeuvre. Showing a boy with a pear, it is
similar in both theme and gesture of the right hand to a
Black and white chalk on blue-gray paper, two joined sheet in the Pierpont Morgan Library, New York (inv.
sheets; H: 39.2 cm (i57/i6 in.); W: 30.9 cm (i23/i6 in.) iv. 89), showing a woman with a pear, and to a painting
86.GB.677 (SEE PLATE 5) in the Wadsworth Atheneum, Hartford, with the same
boy as in the Museum's drawing, also with a pear but de-
picted in profile. The rich, elaborate sleeve finds analogy
PROVENANCE: H. A. Vivian Smith, London (sale, Chris- in a drawing of a young boy feeding a dog in the Art In-
tie's, London, May 20, 1955, lot 45); Welker; sale, Chris- stitute of Chicago (inv. 1971.326). The boy has been
tie's, London, December 12, 1985, lot 269; art market, identified by G. Knox as Piazzetta's son Giacomo at the
London. age of thirteen.1 If this is the caseas appears likelyit
follows that the Museum's drawing also portrays him,
EXHIBITIONS: None.
perhaps at a slightly earlier age, thus suggesting a date of
BIBLIOGRAPHY: None. circa 1737.
The Museum's study has remnants of underdraw-
ing and several pentimenti, notably those visible along the
left shoulder, in the left hand, andalmost illegibly
above and behind the head. They indicate that the sheet
preceded the version in the Kupferstichkabinett, Berlin
(inv. xdz 5874), which is more precise and finished in
handling.
i. G. Knox, Piazzetta, exh. cat. (National Gallery of Art,

Washington, D.C., 1983), p. 100, no. 33.
9O ITALIAN SCHOOL PIAZZETTA

G I O V A N N I BATTISTA P I R A N E S I
1720-1778
34 Study for the Parte di ampio THIS NEWLY DISCOVERED DRAWING WAS MADE AS A
preparatory study for the print Parte di ampio magnifico
magnifico Porto Porto, dated to 1749-50 by A. Robison.1 The evolution
of the design of the print may have begun with a study
Red and black chalk and brown and reddish wash, in the Kupferstich-Kabinett, Dresden (inv. 1920-59),
squared in black chalk; H: 38.5 011(15 Vsin.); W: 52.8cm that contains a few of the principal motifs, though they
(20I3/i6in.) are organized in an entirely different fashion.
88.GB.i8 (SEE PLATED.) This study was followed by the Museum's drawing,
which is even closer to the final design and of the same
MARKS AND INSCRIPTIONS: On mount, at bottom left,
size. In it Piranesi reduced the foreground area with
inscribed J. B. Piranese in brown ink.
water, added the smoke at the top left, and closed the
PROVENANCE: Private collection, Geneva; art market, right side of the scene with the section of a monument at
Paris. the right margin. The sheet is squared for transfer, sug-
gesting that it was probably made late in the develop-
EXHIBITIONS: None.
ment of the composition. The rich and imaginative han-
BIBLIOGRAPHY: None. dling of red chalk underdrawing and wash is
characteristic of Piranesi's work at this point in his career,
as can be seen in the large sheet showing the interior of a
palace (Louvre inv. RF 39.010).
i. Piranesi: Early Architectural Fantasies: A Catalogue Raisonne of

the Etchings (Washington, 1986), p. 34.
92 ITALIAN SCHOOL PIRANESI

P O N T O R M O (JacopoCarucci)
1494-1557
35 Study of a Nude Boy, Partial THE RECTO OF THIS SHEET WAS FIRST ASSOCIATED BY
Popham (1931) with the putto at the top right of the Pala
Figure Studyr Pucci of 1518 in San Michele Visdomini, Florence. This
view was seconded by Cox-Rearick (1981, p. 136), who
Study of a Seated Manv went on to relate the fragmentary sketch at the left mar-
gin to the putto at the left side of the painting. These con-
Red and white chalk (recto); red, white, and black chalk nections are plausible, though without the evidence pro-
(verso); H: 38.9 cm (i55/i6 in.); W: 24 cm (97/i6 in.) vided by the verso, they would be no more than
87.06.95 reasonable hypotheses. A further study for the putto at
the right is in the Uffizi (inv. 6662 F).
MARKS AND INSCRIPTIONS: (Recto) inscribed n:i2 in
The kneeling figure on the verso is quite clearly a
black ink; (verso) inscribed 662. in graphite, n:i2 in black
study for the young Baptist in the Pala Pucci, as was first
ink.
noted by Cox-Rearick (ibid., p. 129). An earlier study for
PROVENANCE: Dr. Benno Geiger, Vienna (sale, Sothe- the same figure (Rotterdam, Museum Boymans-van
by's, London, December 8, 1920, lot 243); Captain G. Beuningen inv. 1-285 recto) shows him with legs apart
Fenwick Owen, London; sale, Sotheby's, London, July and facing the viewer more directly. The Getty drawing
6, 1987, lot 22. contains the essential elements of the final solution,
though the arms are set lower and the legs spread some-
EXHIBITIONS: Exhibition of Italian Art 1200-1900, Royal
what more in the painting. There is a black chalk penti-
Academy of Arts, London, 1930, no. 532.
mento in the right leg, which was first drawn sharply bent
BIBLIOGRAPHY: A. E. Popham, Italian Drawings Exhib- in red chalk and then sketched in an extended position.
ited at the Royal Academy, Burlington House, London, 1930 In the painting the leg is posed at an angle between the
(London, 1931), p. 64, no. 230; B. Berenson, The Draw- two possibilities described in the drawing.
ings of the Florentine Painters, 2nded. (Chicago, 1938), vol.
2, p. 301, no. 2256; idem, Idisegnideipittorifiorentini, 3rd
ed. (Milan, 1961), vol. 2, p. 506, no. 2256; J. Cox-
Rearick, The Drawings ofPontormo, 2nd ed. (New York,
1981), vol. i, pp. 128-29, no. 38; 135, underno. 57; 136,
under no. 59; no. 60.
94 ITALIAN SCHOOL PONTORMO

recto
verso (no. 35)
P O R D E N O N E (Giovanni Antonio de' Sacchis)
1483/84-1539
36 Martyrdom of Saint Peter

Martyr
Red chalk; H: 24.4 cm (95/8in.); W: 20.7 cm (SVs in.) fica veneta del cinquecento," in V. Branca, ed., Rinasci-
87.06.91 (SEE COVER) mento europeo e rinascimento veneziano (Florence, 1967), p.
3ii;G. Fiocco, Giovanni Antonio Pordenone, 3rded. (Por-
MARKS AND INSCRIPTIONS: At bottom left corner, col-
denone, 1969), vol. i, pp. 102, 107, 153, 177; T. Pignatti,
lection mark of William, second duke of Devonshire
I disegni dei maestri: La scuola veneta (Milan, 1970), vol. 2,
(L. 718); at bottom right corner, collection mark of
p. 82; F. Gibbons, Catalogue of Italian Drawings in the Art
Nicholas A. Flinck (L. 959).
Museum, Princeton University (Princeton, 1977), vol. i,
PROVENANCE: Nicholas A. Flinck, Rotterdam; William, pp. 162-63, under no. 502; C. E. Cohen, Corpusgraphi-
second duke of Devonshire, Chatsworth; by descent to cum: The Drawings of Giovanni Antonio da Pordenone
the current duke (sale, Christie's, London, July 6, 1987, (Florence, 1980), vol. 3, pp. 29; 66-67, n- 746; C. Fur-
lot 9)- Ian, "Aspetti del disegno in Tiziano e Pordenone," 77-
EXHIBITIONS: Exhibition of Italian Art 1200-1900, Royal ziano e Venezia: Convegno internazionale di studi, Venezia,
Academy of Arts, London, 1930, no. 673; Old Master 1976 (Vicenza, 1980), p. 429; A. Chastel, Chronique de la
Drawings from Chatsworth, National Gallery of Art, peinture italienne a la Renaissance (Fribourg, 1983), p. 179;
Washington, D.C., and other institutions, 1962-63, no. W. R. Rearick, "Pordenone romanista," in C. Furlan,
51 (catalogue by A. E. Popham); Old Master Drawings ed., // Pordenone: Atti del convegno internazionale di studio
from Chatsworth, Royal Academy of Arts, London, July- (Pordenone, 1985), p. 132, n. 19; P. Rossi, "Ilmondopit-
August 1969, no. 51 (catalogue by A. E. Popham); The torico veneziano intorno alia prima meta del cinquecento
Genius of Venice 1500-1600, Royal Academy of Arts, (1526 circa-1548)," in C. Furlan, ed., // Pordenone: Atti
London, November 1983-March 1984, no. 040 (cata- del convegno internazionale di studio (Pordenone, 1985), pp.
logue entry by D. Scrase); // Pordenone, San Francesco, 135; 136, n. 3; C. Furlan, II Pordenone (Milan, 1988), pp.
Pordenone, 1984, no. 4.10 (catalogue entry by C. E. 30, 36; 256-58, no. 016; 258, under no. 017; 260, under
Cohen). no. 018.
BIBLIOGRAPHY: G. Morelli, Kunstkritische Studien uber

italienische Malerei: Die Galerien Borghese und Doria Panfili
in Rom (Leipzig, 1890), p. 400; S. A. Strong, Reproduc-
tions of Drawings by Old Masters in the Collection of the Duke
of Devonshire at Chatsworth (London, 1902), p. 12, n. 5;
C. Gamba, "A proposito di alcuni disegni del Louvre,"
Rassegna d'arte 9, no. 3 (March 1909), pp. 38-39;
L. Frohlich-Bum, "Beitrage zum Werke des Giovanni
Antonio Pordenone," Munchner Jahrbuch der Bildenden
Kunst 2, no. i (1925), pp. 71-73; D. von Hadeln, Vene-
zianische Zeichnungen der Hochrenaissance (Berlin, 1925),
pp. 34-35; A. E. Popham, Italian Drawings Exhibited at
the Royal Academy, Burlington House, London, 1930 (Lon-
don, 1931), p. 75, no. 273; K. Schwarzeller, Giovanni An-
tonio de Pordenone (Gottingen, 1935), vols. i, p. 78; 2, p.
179, no. 141 ;H. TietzeandE. Tietze-Conrat, The Draw-
ings of the Venetian Painters in the i$th and i6th Centuries
(New York, 1944), p. 235, no. 1301; T. Pignatti, "Lagra-
PORDENONE ITALIAN SCHOOL 97

IN THE LATE I52OS TlTIAN, PALMA VECCHIO, AND
Pordenone competed for the commission to paint an al-
tarpiece depicting the death of Saint Peter Martyr for the
church of Santi Giovanni e Paolo, Venice. This drawing
was first attributed to Pordenone by Morelli (1890) and
later associated with the Santi Giovanni e Paolo compe-
tition by von Hadeln and Frohlich-Bum (both 1925). It
is generally assumed that Pordenone made this relatively
free study of the central group of Saint Peter and the as-
sassin, Carino de Balsamo, which he then used as the ba-
sis for the more finished and complete modello (Uffizi inv.
725 E) that was submitted to the church authorities. A
number of significant changes were introduced in the
Uffizi drawingincluding a somewhat less close inter-
weaving of figures and the raising of Carino de Balsa-
mo's right armthat lessen the extreme expressiveness
found in the Museum's study. There is also a greater de-
gree of detail in the modello, which reduces both the dra-
matic concentration and the geometric simplicity of the
chalk sketch. It is possible, as Cohen suggested (1980, pp.
29, 67), that these changes resulted from a desire to please
the artist's Venetian audience. It is more probable that
they resulted from the development of a spontaneous,
focused expressive idea into a larger, more intelligible
naturalistic representation. A chalk study for the head of
Saint Peter Martyr is also in the Uffizi (inv. 1740 F).
98 ITALIAN SCHOOL PORDENONE

FRANCESCO PRIMATICCIO
1504-1570
37 Centaur and Lapith THIS PREVIOUSLY UNKNOWN DRAWING MOST LIKELY

represents part of a larger composition that probably de-
9
Red chalk; H: 21.8 cm (8 /is in.); W: 27.8 cm (lo'Vio in.) picted an episode in the story of the Centaurs and Lapith
89.GB.66 women. The sheet contains color notes, thus indicating
that it was made as a study for a painting or for costume
MARKS AND INSCRIPTIONS: At bottom left, collection designs for a festival. The ornamental character of the
mark of N. Dhikeos; inscribed with color notes in scene, relatively static nature of the moment, and pres-
brown ink by the artist. ence of the standing female figure may support the latter
PROVENANCE: N. Dhikeos, Lyons; art market, New possibility, first suggested by K. Pask. She noted that
York. elaborately decorated helmets of the kind worn by the
Centaur occur in several of the costume designs by Pri-
EXHIBITIONS: None. maticcio in the Nationalmuseum, Stockholm (inv. 865/
BIBLIOGRAPHY: None. 1863, 848/1863, 856/1863). The style of the drawing
would support a date in the 15505, at the time of the Salle
de Bal at Fontainebleau.
100 ITALIAN SCHOOL PRIMATICCIO

38 Study of God the Father with THIS DRAWING WAS MADE AS A PREPARATORY STUDY
for the central section of the chapel ceiling in the Htel
Angels de Guise, Paris, painted by Nicol dellAbate with fres-
coes designed by Primaticcio and generally dated to circa
Red chalk and white gouache heightening on pink pre- 1555-60. The decoration of the chapel, destroyed in the
pared paper; H: 17. i cm (63/4n.); W: 22.4 cm (8I3/i6 in.) early nineteenth century, is known through written de-
88.GB.5 scriptions, prints, and several drawings by Primaticcio.
The central part of the ceiling showed God the Father in
MARKS AND INSCRIPTIONS: At bottom left corner,
glory surrounded by angels. An apparently complete
collection marks of P.J. Mariette (L. 1852), Defer-
preparatory study for it, squared for transfer, is in the
Dumesnil (L. 739), Louis Deglatigny (L. I768a); at
Louvre (inv. 8510). In it God is shown seated, his right
bottom right corner, inscribed 122 in black ink,
arm extended; the angels spreading drapery around him
PRIMATITIO in brown ink.1
are depicted in a wide variety of complex poses. The Mu-
PROVENANCE: Pierre Crozat(P), Paris (sale, Mariette, seum's drawing consists of studies of arms that in all but
Paris, April io-May 13, 1741, part of lot 410); P.J. Mar- one casethe sketch at the bottom left cornerreappear
iette, Paris (sale, F. Basau, Paris, November 15 et seq., in the Louvre modello. It seems likely that, after establish-
1775, part of lot 632); Pierre Defer, Paris; Henri Dumes- ing the composition as a whole and the poses of individ-
nil, Paris (sale, Htel Drouot, Paris, May n, 1900, lot ual figures, Primaticcio went on to make studies of de-
241); Louis Deglatigny, Rouen (sale, Htel Drouot, tails, as evidenced here. The technique of the drawing,
Paris, June 15, 1937, lot 197); sale, Htel Drouot, Paris, with red chalk and white highlights made with great pre-
March 10, 1986, lot 17; art market, London. cision and refinement, recalls the metalpoint drawings of
Raphael.
EXHIBITIONS: None.
BIBLIOGRAPHY: None.
i. The Deglatigny sale catalogue (Htel Drouot 1937) records

an inscription in chalk on the verso of the former mount: Vendu
chez Mariette 42 i. les deux parties du n 632.
IO2 ITALIAN SCHOOL PRIMATICCIO

GIULIO CESARE PROCACCINI
1574-1625
39 Head of a Female Figure

THIS RECTO IS CLOSELY COMPARABLE IN TECHNIQUE
to a study of the head of a boy by Procaccini in the Al-
Female Nude" bertina (inv. 24.985). The two are similar in the broad use
of black chalk, first to formulate facial features and then
Black and white chalk on brown paper; H : 33.4 cm ( 1 3 3/i6 to more rapidly sketch in the hair. Also similar are the
in.); W: 23.7 cm (93/8n.) elaborate additions in white chalk to give the hair greater
luminosity. In addition the morphology of the faces is
86.GB.20
similar, especially the eyes and eyebrows, nose, mouth,
MARKS AND INSCRIPTIONS: (Recto) at bottom right and outlines of the jaw. The physiognomic type on the
corner, inscribed Scuola di Caraca in brown ink; (verso) Getty recto can also be seen in Procaccini's paintings, as
inscribed n.20, S. B. tfiji illegibly twice in brown ink. for example in the Miracle of Carlina Nava of 1610 in the
PROVENANCE: Sagredo collection(?), Venice; de Bois- cathedral of Milan. The nude on the verso indicates that
sieu collection, Lyons; private collection, Paris; art mar- the sheet was cut down at the top. The figure style here
ket, Paris. is comparable to that of Venus in a painting, Venus and
Amor (art market, New York).1
EXHIBITIONS: None.
BIBLIOGRAPHY: None.
i. H. Brigstocke, "Giulio Cesare Procaccini Reconsidered,''
Jahrbuch der BerlinerMuseen 18 (1976), pp. 108-10, fig. 16.
GIULIO CESARE PROCACCINI (Italian, 1574-1625). Head of a Boy

with Curly Hair. Black chalk and white chalk heightening on
green-blue paper. H: 26.5 cm (io7/i6 in.); W: 22.9 cm (8I5/i6 in.)
Vienna, Graphische Sammlung Albertina 24.985. Photo cour-
verso tesy Fonds Albertina.
104 ITALIAN SCHOOL PROCACCINI

recto
R A P H A E L (Raffaello Sanzio) (attributed to)
1483-1520
40 Female Figure with a Tibia, However, the draughtsman here was not Perugino
but a more progressive and classical artist, possibly the
Ornamental Studies' young Raphael. Raphael's interest in Filippino s frescoes
in the Cappella Strozzi is documented by a sheet with
Ornamental Studiesv copies after them in the Louvre (inv. 3 848), and he would
naturally have had a keen appreciation for the Collegio
(Recto) pen and brown ink, black chalk underdrawing; del Cambio frescoes. Furthermore the selective emphasis
(verso) brown ink; H: 30.5 cm (12 in.); W: 18.9 cm (j7A6 here in executing detailssuch as the left leg and chin
in.) is a characteristic mannerism of Raphael's draughtsman-
88.GA.90 ship during his early years in Umbria. Similarly, the clas-
sical female profile recurs throughout his drawings of
MARKS AND INSCRIPTIONS: (Verso) inscribed Lippi (fra
this period. Lastly, an analogue to the pose and the fine
filippo) Carmalitano dafirenze 1381-1438 in brown ink.
parallel hatching in the top part of the figure can be found
PROVENANCE: Private collection, France (sale, Htel in a study of an angel in the Muse des Beaux-Arts, Lille
Drouot, Paris, June 19, 1986, lot 214); art market, (inv. 444). These similarities are not sufficient to firmly
Boston. attribute the drawing to Raphael, however, and the hy-
pothesis needs to be tested further.
EXHIBITIONS: None.
A copy of the female figure on the recto, by an anon-
BIBLIOGRAPHY: None. ymous early sixteenth-century artist, is in the Uffizi (inv.
199 E).
THE PRINCIPAL FIGURE AND SUBSIDIARY ORNAMENTAL
studies on this sheet1 clearly reflect the work of Filippino
Lippi, especially his frescoes in the Cappella Strozzi,
i. The appearance of the drawing is somewhat affected by rub-
Santa Maria Novella, Florence, and a painting, the Al-
bing of the surface in certain areas, such as the top half of the
legory of Music (Berlin, Staatliche Museum Preussischer head, the right leg and its drapery, and the left elbow and drap-
Kulturbesitz). In addition to indicating a knowledge ery near it.
of his figurai style, the inclusion of the infrequently
represented tibia brings to mind Filippino's considerable
interest in the rendering of somewhat arcane musical
instruments. Similarly, the fragmentary study of orna-
ment along the left margin of the recto is analogous to
his decorative vocabulary. However, the graphic manner
is not very close to Filippino's pen drawings, as a com-
parison with his double-sided sheet of women in the Frits
Lugt Collection, Institut Nerlandais, Paris (inv. 4984),
reveals. The draughtsmanship of the Museum's sheet is
calmer, more selective, and more classical.
At the same time, the Getty drawing contains qual-
ities that tie it to the work of Perugino. The pose, pro-
portions, and expressive character of the figure are not
unlike those in Perugino's fresco Venus and Cupid in the
vault of the Sala dell'Udienza, Collegio del Cambio, Pe-
rugia, completed in 1500. The ornamental detail in the
Museum's drawing also finds parallels in the same group
of frescoes.
verso
100 ITALIAN SCHOOL RAPHAEL (ATTRIB.)

recto
GUIDO RE
1575-1642
41 Virgin and Chdr THIS SHEET CAME TO LIGHT RECENTLY WHEN IT WAS
published by Pepper (1984), who identified the recto as a
Turbaned Womanv study for Reni s painting Holy Family Adored by Saints
Elizabeth and John the Baptist of circa 1640-42 (New
(Recto) black, red, and white chalk; (verso) black and red York, private collection; ibid., no. 214). There are hardly
chalk; H: 28.5 cm (11.3 in.); W: 13.9 cm (57/ioin.), irreg- any changes in the painting; even a few of the accents in
the drawing recur. In the painting a minor adjustment of
ular shape
89.03.43 proportions resulted in a thinner, more refined rendering
of the Virgin s face and a corresponding subtle diminu-
MARKS AND INSCRIPTIONS: (Recto) at bottom right, tion of naturalism.
unidentified collection mark PM; (verso) inscribed F. The technique of the drawing is notable, with
Torre, 599 in black chalk. sharp, rather scratchy strokes and a somewhat irregular
PROVENANCE: Private collection, New York; art mar- use of red chalk in the Virgin's face, the center of the
ket, London. group, and her foot. The verso, sketched in summarily,
suggests the kind of turbaned figure Reni might have
EXHIBITIONS: Guido Reni und Europa: Ruhm una Nach- employed to represent a sibyl (ibid.).
ruhm, Schirn Kunsthalle, Frankfurt, 1988, no. B 64 (cat-
alogue entry by V. Birke).
BIBLIOGRAPHY: D. S. Pepper, Guido Reni (New York,
1984), p. 292, under no. 214; idem, Guido Reni: L'opra
completa (Novara, 1988), p. 304, under no. 208; idem,
"Review of Guido Reni und Europa: Ruhm und Nach-
ruhm," Master Drawings 27, no. 3 (Autumn 1989), p. 235.
verso
IO8 ITALIAN SCHOOL RENI

recto
MARCO RICCI
1676-1729
42 Fishing Boats in a Storm RlCCI SEEMS TO HAVE MADE THE MAJORITY OF HIS
many drawings in this technique after his second return
3
Gouache on leather; H: 31.5 cm (i2 /8n.); W: 45.1 cm to Italy from England in 1716. The scene with a stormy
sea may reflect the influences of Salvator Rosa and An-
(17 13/16 in.)
87.00.39 tonio Peruzzini. It is interesting to note in this context
that Ricci rarely depicted seascapes in finished drawings,
MARKS AND INSCRIPTIONS: None. though he did so with some frequency in his paintings.
PROVENANCE: Private collection, London; sale, Chris- It has been pointed out by G. Gruitrooy1 that the stand-
tie's, London, December 12, 1985, lot 268; art market, ing figure wearing a windswept cloak at the bottom right
London. of this sheet recurs in very similar form in a painting in
the Palazzo Pitti, Florence (inv. 1890).
EXHIBITIONS: Fourth Loan Exhibition, Magnasco Soci-
ety, Spink and Son, Ltd., London, 1927, no. 24.
BIBLIOGRAPHY: None. i. In conversation with G. Goldner, 1988.
110 ITALIAN SCHOOL RICCI

F R A N C E S C O SA LVI AT I (Francesco dei Rossi)
CIRCA 1510-1563
43 Reclining Male Nude THIS ADDITION TO THE CORPUS OF SALVIATI DRAW-

ings was attributed to him by C. Monbeig-Goguel and
Red chalk and white chalk heightening; H: 27 cm (io5/s P. Pouncey, the latter of whom suggested that it may
in.); W: 39.7 cm (i55/sin.) have been made with a decorative figure above a door-
86.GB.574 way in mind.1 The sheet has been associated by Turner
(1986) with a study of a young man seated on the ground
MARKS AND INSCRIPTIONS: (Verso) inscribed di Fr. (British Museum inv. 1946-7-13-519) which is very
Sal. . . i in light brown ink. similar in technique and in details such as the hands.
PROVENANCE: Sale, Sotheby's, London, July 4, 1985, lot The Getty drawing is based on a classical sculpture,
15; art market, London. the Hercules Chiaramonti (Vatican Museums), which
was known in the sixteenth century and whichin this
EXHIBITIONS: None. or another versionwas copied by Sebastiano del
BIBLIOGRAPHY: N. Turner, Florentine Drawings of the Piombo in a drawing in the Ambrosiana, Milan (inv.
Sixteenth Century, exh. cat. (British Museum, London, F29O, no. 22) .2 The head, right forearm, and right leg be-
1986), p. 182, under no. 132. low the knee are Salviati's reconstructed additions to the
damaged statue. This use of classical sculpture would
reasonably have coincided with his expanded interest in
Michelangelo and with his own monumental figure style
at the middle of the century. Evidence for the latter is his
copy after the former's Hercules in the Louvre (inv. 1665)
and his other sculptural drawings of the period, includ-
ing the abovementioned sheet in the British Museum and
another drawing in the Louvre (inv. 1657), showing a re-
clining woman with a book. The latter is comparable to
the Getty sheet in the treatment of details such as the
hands, feet, and drapery folds as well as in its analogous
pose.

2. P. Bober and R. Rubenstein, Renaissance Artists and Antique
Sculpture (Oxford, 1986), pp. 168-69, no. 133.
112 ITALIAN SCHOOL SALVIATI

S A N T I DI TITO
1536-1603
44 The Resurrection THIS IS A RELATIVELY EARLY STUDY FOR THE ALTAR-

piece painted by Santi di Tito for the Cappella Medicea,
Pen and brown ink and black chalk on blue paper; H: Santa Croce, Florence, that appears to date to circa 1572-
31.5 cm (i4 3 / 4 in.); W: 25.3 cm (loin.) 73. Other major compositional drawings for the same
86.GA.i8 project are in the Gabinetto Nazionale delle Stampe,
Rome (inv. F. c. 130629), the Art Institute of Chicago
MARKS AND INSCRIPTIONS: (Recto) at bottom right (inv. 1922.5509), and the Uffizi (inv. 7687 F). The Getty
corner, collection mark mistakenly associated with study certainly precedes those in Chicago and Florence
Pierre Crozat (L. 474), unidentified collection mark; and very probably also the one in Rome, although in a
(verso) inscribed C-/-i5.7(?) in brown ink. few respectssuch as the soldier at the left, who is shown
PROVENANCE: Private collection, Switzerland; private on all but the sheet in Rome with his left arm extended
collection, United States (sale, Sotheby's, New York, it has more in common with the later studies and the
January 16, 1985, lot 4); art market, New York. painting. In this connection it is noteworthy that al-
though there were numerous small changes in the de-
EXHIBITIONS: From Studio to Studiolo: Florentine Drafts- velopment of the altarpiece from the Museum's study to
manship under the First Medici Grand Dukes, Allen Me- the final project, the essential components of the com-
morial Art Museum, Oberlin College, October-De- position are already present in the drawing.
cember 1991, no. 41 (catalogue entry by L. Feinberg). The Museum's drawing was first sketched in black
BIBLIOGRAPHY: None. chalk and then reworked by the artist in pen and ink.
There are several visible pentimenti, notably in the posi-
tioning of Christ's legs. There is also one detailthe staff
to which his standard is attachedthat is drawn in black
chalk without pen and ink.
114 I T A L I A N S C H O O L S A N T I DI TITO
GIOVANNI GIROLAMO SAVOLDO
CIRCA 1480-1548
45 Saint Paul astero di Santa Giulia, Brescia, and Schirn Kunsthalle,

Frankfurt, 1990), pp. 102, under no. i 3; 200, under no.
Black, white, and red chalk on blue paper, top corners il 4; 202, under no. n 5; 206, under no. n 7; A. Nova,
trimmed; H: 28.3 cm (n 3 /i6n.); W: 22.6 cm (8% in.) "Brescia and Frankfurt: Savoldo," Burlington Magazine
89.06.54 132, no. 1047 (June 1990), p. 434.

THE ATTRIBUTION OF THIS DRAWING TO SAVOLDO WAS
PROVENANCE: Charles Loeser, Florence; his daughter, first proposed by its former owner, C. Loeser; the con-
Geneva; by descent; art market, London. nection to the figure of Saint Paul in the altarpiece in
Santa Maria in rgano, Verona, is due to W. Suida
(Schnbrunner and Meder, 1904). This altarpiece was
developed from another by Savoldo in the Pinacoteca di
BIBLIOGRAPHY: J. Schnbrunner and J. Meder, Hand- Brera, Milan, and there has been considerable dispute as
zeichnungen alter Meister aus der Albertina una anderen to whether the variant in Verona of 1533 is by him or his
Sammlungen (Vienna, 1904), vol. 9, no. 1007; G. Gerola, workshop. In any event the figure of Saint Paul was in-
Le antichepale di S. Maria in rgano di Verona (Bergamo, vented for the Verona painting and based on the Mu-
1913), p. 9; W. Suida, in U. Thieme and F. Becker, All- seum's drawing. It was argued by Gilbert (1955) that the
gemeines Lexikon der bildenden Knstler (Leipzig, 1935), reason for the relatively high quality of the figure of Saint
vol. 9, p. 5ii;H. TietzeandE. Tietze-Conrat, The Draw- Paul as compared with other parts of the Verona altar-
ings of the Venetian Painters in the i$th and loth Centuries piece is the former's derivation from this study by Sa-
(New York, 1944), pp. 247-48, no. 1406; A. Avena, Ca- voldo. Gilbert may well be correct, but his theory leaves
polavori della pittura Veronese, exh. cat. (Museo del Cas- open the question of why the artist would have provided
telvecchio, 1947), p. 40, under no. 79; C. Gilbert, "Sa- a study for only one of the four heads of saints in a work-
voldo's Drawings Put to Use: A Study in Renaissance shop painting that involved the re-invention of all four.
Workshop Practices," Gazette des Beaux-Arts, ser. 6, 41 The figure of Saint Paul is repeated again in a painting in
( I 953)> PP- T 3> I(5-i7; idem, Essays in Honor of Hans the Courtauld Institute Galleries, London, that is also
Tietze 1880-1954 (Paris, 1958), pp. 103, 106-7; A. Bos- disputed in terms of authorship. It seems certainly to
chetto, Giovan Gerolamo Savoldo (Milan, 1963), opp. pi. have been produced in Savoldo's workshop and to have
66; P. Murray, Catalogue of the Lee Collection (London, resulted from the Museum's study.
1967), p. 39, under no. 72; L. Anelli, "La pala di S. Maria Technically, the Getty drawing is entirely character-
in rgano a Verona: Paternit e restauro, " Giovanni Ge- istic of Savoldo's draughtsmanship, with dramatic ef-
rolamo Savoldo pittore bresciano, Atti del convegno, Bres- fects of chiaroscuro and a forceful naturalism that is im-
cia, May 21-22, 1983 (Brescia, 1985), pp. 73-74; C. Gil- pressive even by the standard of Venetian drawings of
bert, "Osservazioni sulla pala di S. Maria in rgano a the period.
Verona attribuita a Gian Girolamo Savoldo," Giovanni
Gerolamo Savoldo pittore bresciano, Atti del convegno,
Brescia, May 21-22, 1983 (Brescia, 1985), p. 82; C. Gil-
bert, The Works of Girolamo Savoldo: The 1955 Disserta-
tion, with a Review of Research, 1955-1985 (New York,
1986), pp. 173, 458, 490, 506, 552; M. Gregoriet al., Pit
tura del cinquecento a Brescia (Milan, 1986), p. 190; G. R.
Goldner, L. Hendrix, and G. Williams, European Draw-
ings i: Catalogue of the Collections (Malibu, 1988), p. 112,
under no. 45; B. Passamani et al., Giovanni Gerolamo Sa-
voldo ira Foppa, Giorgione e Caravaggio, exh. cat. (Mon-
Il6 ITALIAN SCHOOL SAVOLDO

S O D O M A (Giovanni Antonio Bazzi)
1477-1549
46 Christ Carrying the Cross* THE ATTRIBUTION OF THIS SHEET IS DUE TO P. POUN-
cey. The recto is drawn in a highly elaborate technique,
The Resurrectionv with painterly brush effects and considerable white
heightening. The expressive character of the scene cen-
Pen and brown ink, white gouache heightening, and ters around the contrast between the impassive image of
black chalk on brownish paper (recto); brush and brown Christ and the harshness of the soldier at the right. The
ink and white gouache heightening (verso); H: 21.5 cm facial types on the recto are paralleled in Sodoma's
(87/i6n.); W: i8.8cm(7 3 /8n.) painted work throughout his career (Goldner 1985).
86.GA.2
The verso is drawn in a more calm, classical manner
with a more linear technique. It was made as a prepara-
MARKS AND INSCRIPTIONS: (Verso) collection mark of tory study for the Resurrection, a fresco Sodoma painted
Alfredo Viggiano (L. icia). in the Palazzo Pubblico, Siena, in 1535 (ibid.). Drawing
PROVENANCE: Alfredo Viggiano, Venice; sale, Sothe- and fresco correspond in the proportions and anatomical
by's, New York, January 16, 1985, lot 28; art market, rendering of Christ, in his depiction with one foot inside
Boston. the tomb, and in the drapery motifs. They also differ in
several details, but thisalong with the pentimenti in the
EXHIBITIONS: None. drawingis to be expected in a design that probably rep-
BIBLIOGRAPHY: G. Goldner, "A New Drawing by So- resents a relatively early stage in the evolution of the
doma," Burlington Magazine 127, no. 992 (November composition. Based on the date of the fresco, the sheet
1985), pp. 775-76; A. Petrioli Tofani and G. Smith, probably can be placed circa 1535.
Sixteenth-Century Tuscan Drawings from the Ujfizi, exh.
cat. (Detroit Institute of Arts, 1988), p. 28, under no. 13.
Il8 ITALIAN SCHOOL SODOMA

recto
verso (no. 46)
J AC OP O T I N T O R E T T O ( Jacopo Robusti)
1518-1594
47 Studies of a Statuette ofAtlasr THIS IS ONE OF AT LEAST FIFTEEN DRAWINGS BY TlN-

toretto and his workshop of a figure of Atlas which are
Studies of a Statuette of Atlas copied from a design by Sansovino, the latter known
through a bronze in the Pushkin Museum of Fine Arts,
and a Figure Prayingv Moscow. The identification of the source for these stud-
ies was first made by M. Liebmann,1 who initially con-
Black chalk and white chalk heightening; H: 25.5 cm (10 sidered the bronze a studio work but later followed H.
in.); W: 39. i cm (i57/i6 in.) Weihrauch2 in accepting a full attribution of it to San-
89.05.72 sovino himself. Weihrauch dated the bronze to the 15405,
a hypothesis that gains from the fact that Tintoretto
MARKS AND INSCRIPTIONS: (Recto) at bottom margin,
loosely based a number of figures in his paintings on it,
inscribed tintoretto in brown ink.
beginning not later than 1549 with Saint Roch Ministering
PROVENANCE: C. R. Rudolf, London (sale, Sotheby's, to the Plague-Stricken (Venice, Chiesa di San Rocco).3 As
London, July 4, 1977, lot 93); S. Abate, Boston; sale, has been pointed out by K. Pask, the same figure reap-
Christie's, London, April 19, 1988, lot 41; art market, pears with variations in a number of further paintings by
New York. Tintoretto,4 though in each instance with small differ-
ences from the Sansovino model. The small framed
EXHIBITIONS: Old Master Drawings from the Collection of
sketch on the verso of the sheet may represent an idea for
Mr. C. R. Rudolf, Arts Council of Great Britain, Lon-
a portrait. Lastly, the subtle surface handling and ani-
don, 1962, no. 69; Sculptors' Drawings over Six Centuries
mated outline argue for the attribution of this sheet to
1400-1950, Drawing Center, New York, 1987, no. 12
Tintoretto himself.
(catalogue by C. Eisler).
BIBLIOGRAPHY: None.
1. Soobshcheniya Akademiya Nauk Institut Istorii Iskusstv 13-14

(1960), pp. 154-65-
2. "Italienische Bronzen als Vorbilder deutscher Gold-
schmiedekunst," Festschrift TheodorMiiller (Munich, 1965), pp.
266-67; M. Liebmann, in Western European Sculpture from So-
viet Museums: i$th and loth Centuries (Leningrad, 1988), no. 56.
3. B. Wipper, Tintoretto (Moscow, 1948), p. 16.
4. Antiope and Jove (Modena, Galleria Estnse) ; David and Bath-
sheba (Vienna, Kunsthistoriches Museum); Martyrdom of Saint
Mark (Brussels, Muses Royaux des Beaux-Arts de Belgique);
Miracle of Saint Mark (Accademia).
TINTORETTO ITALIAN SCHOOL 121

recto
verso
T I T I A N (TizianoVecellio)
CIRCA 1480/90-1576
48 Nude Man Carrying a Rudder pleted by others many years later. This ingenious hy-
pothesis cannot be proven but at the very least is worth-
on His Shoulder while in drawing attention to the similarity between the
two figures.
Black chalk and white chalk heightening on blue paper; There are additional reasons to favor the attribution
H: 28.7cm(n 5 /i6n.); W: 15.5 cm (6Vsin.) to Titian. Although more meticulous and less animated
8y.GB.35 than the famous sheet showing an amorous couple in the
Fitzwilliam Museum, Cambridge (inv. 2256), both share
MARKS AND INSCRIPTIONS: (Recto) at bottom right
a tendency toward small, rather abstract heads. More im-
corner, collection mark of Sir Peter Lely (L. 2092); on
portantly, the Getty study was made with a fineness of
mount, inscribed Titian in black ink by Sir Anthony Van
modeling and an almost impressionistic rendering of
Dyck(?); (verso) inscribed Tiziano in brown ink; on
surface which are entirely in accord with Titian's late style
mount, unidentified collection mark; inscribed Snjcj, 19,
in painting. Parallels range from Actaeon in the Death of
4750 in brown ink.
Actaeon (National Gallery) to the figure at the left in the
PROVENANCE: Sir Anthony Van Dyck(?); Sir Peter Lely, Crowning with Thorns (Munich, Alte Pinakothek). In ad-
London; Dr. and Mrs. Francis Springell, Portinscale, dition these and other examples from the artist's later
Cumberland (sale, Sotheby's, London, June 28, 1962, lot work share with the drawing a figure style in which the
20); Lord Wharton, London and Switzerland; by image is shown twisting in space and somewhat tilted
descent. with Mannerist complexity and at the same time is com-
EXHIBITIONS: Old Master Drawings, P. andD. Colnaghi, posed with the most naturalistic observation. These
qualities support Rearick s proposed date of 1555-56 for
London, 1935, no. 63; Drawings by Old Masters from the
Collection of Dr. and Mrs. Francis Springell, P. and D. Col- the Getty drawing. It may be added that nowhere in the
naghi, London, October-November 1959, no. 25 (cat- work of Palma Vecchio can any comparable form or
alogue by J. Byam Shaw); Italian Art and Britain, Royal technique be seen. Equally, while Bordone tried to em-
Academy of Arts, London, 1960, no. 561 (catalogue by ulate precisely this kind of drawing by Titian, his black
A. E. Popham). chalk studies entirely lack the sensitive observation of
texture, varied rendering of light, and clarity of form
BIBLIOGRAPHY: None. that characterize this sheet.
THIS DRAWING WAS FIRST ATTRIBUTED TO TlTIAN (P.

and D. Colnaghi 1935), a view supported by Byam Shaw
i. W. R. Rearick to the former owner, October 31, 1986; con-
(1959) and Popham (1960). In the latter two publications
versation with G. Goldner, 1987. Oberhuber expressed his sup-
the opinion of K. T. Parker is cited as alternatively sug- port to G. Goldner for the attribution to Titian during a visit to
gesting attributions to Paris Bordone or Palma Vecchio. Malibu in 1987.
No further comment was made until the drawing resur-
faced in 1986 and was firmly ascribed to Titian by W. R.
Rearick and K. Oberhuber.1 Rearick compared it to
drawings by Titian for the Martyrdom of Saint Lawrence
(Venice, Gesuati) and proposed that it may have been a
study for the figure at the extreme right of the votive
painting of Doge Antonio Grimani (Venice, Palazzo Du-
cale). Excepting their arms, the poses of the two are very
similar, and Rearick suggested that Titian may have
planned the figure in the Getty drawing as a symbol of
civic constancy, an idea that was discarded in favor of the
more conventional soldier when the painting was com-
124 ITALIAN SCHOOL TITIAN

P A O L O V E R O N E S E (PaoloCaliari)
1528-1588
49 Martyrdom of Saint Justina D. DeGrazia Bohlin, Prints and Related Drawings by the
Carraca Family (Washington, D.C., 1979), p. 204, under
Pen and gray ink, gray wash, and white gouache height- no. 105; F. Trevisani, in A. de Nicol Salmazo and F. G.
ening on blue paper, squared in black chalk; H: 47 cm Trolese, eds., IBenedettini a Padova e nel territoriopadovano
(i8^2in.); W: 24 cm (97/ioin.) attraverso i secoli (Padua, 1980), pp. 450-51, under no.
8y.GA.92 (SEE PLATE 3) 450; R. Cocke, Veronese's Drawings: A Catalogue Raisonn
(London, 1984), p. 178, no. 75; R. Pallucchini, Veronese
MARKS AND INSCRIPTIONS: At bottom center edge, (Milan, 1984), pp. 99, 120; H. Coutts, "Review of Ve-
collection mark of William, second duke of Devonshire ronese's Drawings," Master Drawings 23-24, no. 3 (Au-
(L. 718); at bottom right corner, collection mark of P. H. tumn 1986), p. 401; idem, "Veronese in Venice and Wash-
Lankrink (L. 2090). ington," Master Drawings 27, no. 3 (Autumn 1989), p.
PROVENANCE: P. H. Lankrink, London; William, sec- 229.
ond duke of Devonshire, Chatsworth; by descent to the
THIS HIGHLY FINISHED DRAWING WAS MADE IN PREP-
current duke (sale, Christie's, London, July 6, 1987,
aration for the altarpiece painted by Veronese (with as-
lots).
sistance) for the church of Santa Justina, Padua, in 1574-
EXHIBITIONS: Old Master Drawings from Chatsworth, 75. Although the drawing shows the composition at a
National Gallery of Art, Washington, D.C., and other developed stage and squared for transfer, it was changed
institutions, 1962-63, no. 72 (catalogue by A. E. Pop- in a number of details in the painting. The alterations in-
ham); Between Renaissance and Baroque: European Art clude the further elaboration of the heavenly scene, the
1520-1600, City Art Gallery, Manchester, March-April replacement of the Baptist with John the Evangelist, the
1965, no. 392; Old Master Drawings from Chatsworth, addition of a view of the Santo in the distance, and a va-
Royal Academy of Arts, London, 1969, no. 72 (cata- riety of changes among the foreground figures. Never-
logue by A. E. Popham); Disegni veronesi del cinquecento, theless the principal elements and expressive character of
San Giorgio Maggiore, Venice, 1971, no. 65 (catalogue the scene were clearly established in the drawing.
by T. Mullaly); Old Master Drawings from Chatsworth, It was suggested by Tietze and Tietze-Conrat (1944)
National Museum of Western Art, Tokyo, 1975, no. 72 and others that this was the modello for the altarpiece
(catalogue by A. E. Popham); Old Master Drawings from mentioned by C. Ridolfi1 as having been in the chamber
Chatsworth, Israel Museum, Jerusalem, 1977, no. 6 (cat- of the abbot of Santa Justina, but this has frequently been
alogue by A. E. Popham); Treasures from Chatsworth, doubted. It appears more likely that Ridolfi's reference
National Gallery of Art, Washington, D.C., and other was to the painting of the same subject now in the Museo
institutions, 1979-80, no. 67 (catalogue by A. Blunt); Ci vico, Padua.
The Genius of Venice 1500-1600, Royal Academy of Arts,
London, November 1983-March 1984, no. 078 (cata-
logue entry by D. Scrase); Paolo Veronese: Disegni e di-
pinti, Fondazione Giorgio Cini, Venice, March-July i. Le mamviglie dell'arte . . . (Venice, 1648), p. 304.
1988, no. 19 (catalogue by W. R. Rearick).
BIBLIOGRAPHY: H. Tietze and E. Tietze-Conrat, The
Drawings of the Venetian Painters in the i$th and i6th Cen-
turies (New York, 1944), p. 342, no. 2056; M. Geiger and
M. Guillaume, Dessins de la collection His de La Salle (Di-
jon, 1974), p. 63, under no. 48; T. Pignatti, Veronese (Ven-
ice, 1976), vol. i, p. 137, under no. 182; R. Cocke, "Ve-
ronese's Independent Chiaroscuro Drawings," Master
Drawings 15, no. 3 (Autumn 1977), pp. 259; 263, n. 10;
126 ITALIAN SCHOOL VERONESE

V O L T E R R A N O (BaldassareFranceschini)
1611-1690
50 Assumption of the Virgin IN 1664 PRINCE MATTIAS DE' MEDICI COMMISSIONED

Li vio Mehus, Ciro Ferri, and Volterrano to paint (re-
Red chalk, red wash, and white gouache heightening; H: spectively) the Purification of the Virgin, the Assump-
48.4 cm (19 in.); W: 30.1 cm (n I3 /i6n.) tion, and the Flight into Egypt for the ceiling of the nave
88.GG.IIO
of SS. Annunziata, Florence. The plan was later reduced
in scope, although an oil sketch for the Flight into Egypt
MARKS AND INSCRIPTIONS! None. was produced and is in the M. Gregori collection, Flor-
PROVENANCE: Sale, Sotheby's, New York, January 13, ence. The later scheme called for only one painting, the
1988, lot 96; art market, London. Assumption, and the commission for it was given to Vol-
terrano; it was finished and set into the ceiling in 1670.
EXHIBITIONS: None. The Museum's drawing is the most complete study
BIBLIOGRAPHY: None. for the Assumption, excepting a painted modello that was
in the Galleria Corsini, Florence, and is now in the E. Bo-
rea collection, Rome.1 The drawing contains all of the
principal elements in the painting and its modello, though
a few of the figures are posed somewhat differently. The
expansive illusionism of the scene and freedom of move-
ment in the figures reflect Volterrano's Roman experi-
ence, especially the work of Pietro da Cortona. This is
also a clear example of the meticulous preparatory pro-
cess he employed. In addition to the modello and the Getty
drawing, there are drawings of the composition in the
Uffizi (inv. 20917 F); of the Virgin in the Stiftung Ratjen,
Vaduz (inv. R. 308); of the apostle at the bottom left in the
Fondazione Roberto Longhi, Florence (inv. 30/0), Bi-
blioteca Marucelliana, Florence (inv. vol. A, n. 10), and
sold at Sotheby's, London (July 3, 1980, lot 38a); and of
the apostle at the bottom right sold at Sotheby's, London
(July 3, 1980, lot 47a).
I. S. Prosperi Valenti Rodin, Bozzetti, modelli e grisailles dal

XVIal XVIIIseclo, exh. cat. (Fondazione Lungarotti, Museo
del Vino, Torgiano, 1988), no. 16.
128 ITALIAN SCHOOL VOLTERRANO

TADDEO ZUCCARO
1529-1566
51 Scenefrom the History of the fresco in all points in which the latter two differ. Whereas
the Getty study shows five figures at the right standing
Farnese Family in front of architecture and a curtain with a distant land-
scape, the Darmstadt drawing and the fresco each have
Black chalk, pen and brown ink, and brown wash, three figures at the right, no curtain, and a city view in
squared in red chalk; H: 30.2 cm (n 7 /8n.); W: 27.5 cm the distance. Equally, in the latter two renderings the fig-
(io7/sin.) ure at the right is clearly a cardinal with a key in his left
87.00.52 hand, while the Getty drawing does not show him wear-
ing identifiable regalia but holding what may be a book
or some documents in his left hand and what appears to
ner, collection mark of Giuseppe Vallardi (L. 1223);
be a baton in his right. This may suggest that at an earlier
(verso) inscribed Dzo in red chalk, di . . . Lucani in
stage Taddeo was asked to show a different scene. Never-
brown ink.
theless the essential components of the fresco, established
PROVENANCE: Giuseppe Vallardi, Milan; private collec- in the Museum's drawing, were later defined in more fi-
tion, Boston; art market, Boston. nal form in the Darmstadt sheet and then in the fresco by
EXHIBITIONS: Renaissance into Baroque: Italian Master the workshop.
Drawings by the Zuccari, 1550-1600, National Academy
of Design, New York, March-April 1990, no. 36 (cat-
alogue by E. J. Mundy with the assistance of E. Ouru- 1. Letter to a former owner, undated.
soff de Fernandez-Gimenez). 2. I. Cheney, "Les premires dcorations: Daniele da Volterra,
Salviati et les frres Zuccari," Le palais Farnse (Rome, 1981),
BIBLIOGRAPHY: None. vol. i, pt. i, p. 263.
3. J. Gere, Taddeo Zuccaro: His Development Studied in His Draw-
WHEN FRANCESCO SALVIATI DIED IN 1563, HE WAS IN ings (Chicago, 1969), p. 139, no. 26; Cheney (note 2), p. 263,
the process of decorating the Sala dei Fasti Farnesiani in n. 57.
the Palazzo Farnese, Rome. On his death the commission 4. Letter to G. Goldner, June 1987.
was given to Taddeo Zuccaro, but work was interrupted
by the deaths of Cardinal Ranuccio Farnese (1565) and
Taddeo himself (1566). At that point Federico Zuccaro
carried the project to completion.
The Museum s drawing was identified by J. Gere as
a study by Taddeo for the small quadro riportato scene
above the window at the right side of the room.1 Given
the program of the room and the presence of the Farnese
lilies on the shield carried by the boy at the left in both
drawing and painting, Gere noted that this must be a
scene from the history of the Farnese family. I. Cheney
proposed that the event depicted is Cardinal Albornoz
handing over the keys of the fortress of Valentano to the
Farnese in 1354, but this is uncertain.2
In addition to the Getty drawing, there is another
squared study for the fresco, in the Hessisches Landes-
musum, Darmstadt (inv. AE 1562). It was attributed b
Gere and Cheney to Federico,3 but more recently, Gere
has been inclined to give it to Taddeo.4 In any event the
Darmstadt drawing is closer than the Museum's to the
130 ITALIAN SCHOOL ZUCCARO

SEBASTIEN BOURDON
1616-1671
52 The Isralites Dancing around IN 1657-58 BOURDON is KNOWN TO HAVE PRODUCED

six paintings of the story of Moses for the baron de Vau-
the Golden Calf vert, Montpellier.1 These paintings have not as yet been
traced to known works by the artist, but it is possible that
Pen and brown ink and brown and white oil paint; H: the Museum's drawing is a study for one of this series. A
47.6cm(i8 3 / 4 in.); W: 65 cm (259/ioin.) further drawing showing the same subject, including
88.GG.39 Moses breaking the tablets with the ten commandments
at the left, is in the Muse Atger, Montpellier (inv. M42
MARKS AND INSCRIPTIONS: (Verso) on mount, in-
folio 53). It is drawn in the same technique as the Mu-
scribed . . . Bourdon in black chalk.
seum's study and is also unusually large. However, it is
PROVENANCE: Private collection, Lugano; art market, less classical in composition and figurai types than the
Boston. Getty sheet, which seems to refer to Poussin s painting
of the subject in the National Gallery, London, in the
EXHIBITIONS: None.
right-hand grouping of figures. There are two studies
BIBLIOGRAPHY: None. of Moses Striking the Rock in the Muse Atger (inv.
MA in, MA 113) and another showing the Crossing of
the Red Sea in the Nationalmuseum, Stockholm (inv.
2456/1863), that may also have some connection to the
series for the baron.
i. For the commission and later history of this series, see C.

Ponsonailhe, Sbastien Bourdon: Sa vie et son oeuvre (Paris, 1883),
pp. 170; 172, n. i; 284; C. Saunier, "Une collection de dessins
de matres provinciaux: Le Muse Xavier Atger Montpellier, "
Gazette des Beaux-Arts 64, no. i (1922), p. 38.
132 FRENCH SCHOOL BOURDON

MICHEL CORNEILLE THE YOUNGER
1641-1708
53 Studies of the Madonna and

Child and of Headsr
Madonna and Child with Saint
John Seated in a Landscapev
Red, black, and white chalk on blue paper (recto); pen
and brown ink, brown wash, and black chalk (verso); H:
30.8 cm (i2 3 /iin.); W: 27.2 cm (io 3 / 4 in.)
87.00. i
MARKS AND INSCRIPTIONS: (Recto) at top right corner,
inscribed Les yeux trop prs du ne in red chalk by the artist;
at bottom left corner, inscribed M. corneille in black
chalk.
PROVENANCE: Private collection, France; art market,
Paris.
EXHIBITIONS: None.
BIBLIOGRAPHY: None. verso
BOTH SIDES OF THIS SHEET ILLUSTRATE CHARACTER-

istic aspects of Corneille's draughtsmanship. Study
sheets similar to the recto, also drawn in trois crayons, are
in the Louvre (inv. 25651), the Nationalmuseum, Stock-
holm (inv. THC 4015), and the Staatliche Graphische
Sammlung (inv. 3331). As has been pointed out by G.
Gruitrooy,1 the head of the bearded man derives from
Agostino Carracci's engraving of Saint Jerome (6.74-
n[75]v.39,i8), as does the hand along the left mar gin. The
young boy shown along the left margin appears in the
finished pen drawing on the verso, and it is probable that
the sketch of the Virgin and Child on the recto was also
made with the composition on the verso in mind. It is
amusing to note Corneille's self-critical comment at the
top right corner of the recto. The verso is drawn with
precise linearity, suggestingalong with the interior
framing linesthat it was preparatory for a print. An
analogous drawing, the Rest on the Flight into Egypt, is in
the Louvre (inv. 25408).
i. In conversation with G. Goldner, 1987.
134 FRENCH SCHOOL C O R N E I L L E THE YOUNGER

recto
ANTOINE COYPEL
I66I-I722
54 The Crucifixion
THIS DRAWING WAS FIRST IDENTIFIED BY SCHNAPPER
(1979-80) as a study by Coypel for the painting he exe-
Red and black chalk and white gouache heightening; H: cuted for the duc de Richelieu in 1692. Although it is
40.5 cm (i5 I5 /iin.); W: 58.1 cm (227/sin.) highly finished, Coypel made several important changes
88.GB.4i (SEE PLATE) in the composition of the painting.1 In the latter there are
fewer figures, and most of those repeated from the draw-
MARKS AND INSCRIPTIONS: At bottom right corner, ing are in somewhat altered poses. For example the
collection mark of Alfred Beurdeley (L. 421). equestrian figure of Saint Longinus is shown riding for-
PROVENANCE: Alfred Beurdeley, Paris (sale, Galerie ward, while the gestures of the Virgin, Saint John, and
Georges Petit, Paris, June 10, 1920, lot 289); private col- the Magdalen are much more restrained. There is also a
lection, France (sale, Htel Drouot, Paris, May 27, 1987, greater emphasis on sharp spotlighting, especially on the
lot 96); art market, London. central group. It is possible that the Museum's study was
made for presentation to the patron and that alterations
EXHIBITIONS: None. were made on the basis of other studies. The resulting
BIBLIOGRAPHY: A. Schnapper, "The Moses of Antoine painting, exhibited twice at the Salon (1699 and 1704),
Coypel," Bulletin of the Allen Memorial Art Museum 37, was received to great acclaim. Both painting and
no. 2 (1979-80), pp. 61-62; N. Gamier, "AntoineCoy- drawingthe latter once attributed to Rubens (Galerie
pel 1661-1722," Cahiers du dessin franais 6 (1989), pp. 6, Georges Petit 1920)illustrate the triumph ofrubenisme
16, no. 10; idem, Antoine Coypel (1661-1722) (Paris, in France at the end of the seventeenth century.
1989), pp. 114, under no. 47; 193, no. 209.
i. Sold, Sotheby's, Monaco, December 6, 1987, lot 66; To-

ronto, private collection.
136 FRENCH SCHOOL COYPEL

HONORE DAUMIER
1808-1879
!938), pp. 50, 60-61; H. James, Daumier, Caricaturist

55 A Criminal Case (Une cause (Emmaus, Pa., 1954), pp. 3436; J. le Foyer, Daumier au
criminelle) Palais deJustice (Paris, 1958), pi. 59; K. E. Maison, Honor
Daumier: Catalogue Raisonn of the Paintings, Watercolours
Pen, watercolor, gouache, and black chalk; H: 38.5 cm and Drawings (London, 1968), vol. 2, pp. 224-25, no.
(i5y 8 in.);W: 32.8cm(i2 I 3 /i6in.) 673-
89.GA.33 (SEE PLATE io)
THIS CELEBRATED WATERCOLOR IS AMONG THE CLASSIC
examples of Daumier's depictions of judicial subjects.
signed H. Daumier in black ink.
The contrast between the self-assured lawyer and his
PROVENANCE: Charles de Briot, Paris; Mme Albert Es- awkwardly posed, wild-eyed client is given further res-
nault-Pelterie, Paris; Gustave Meuni, Paris; art market, onance by the monumental, rather empty space above
London. and behind them. The scene was well described by
Henry James (1954): "The criminal in the dock, the flat-
EXHIBITIONS: Exposition des peintures et dessins de H. Dau-
headed murderer, bending over to speak to his advocate,
mier, Galeries Durand-Ruel, Paris, 1878, no. 225; Expo-
who turns a whiskered, professional, anxious head to
sition internationale universelle, Grand Palais, Paris, 1900,
caution and remind him, tells a large, terrible story and
no. 847; Daumier: Peintures, aquarelles, dessins, Muse de
awakes a recurrent shudder. We see the gray court-room,
l'Orangerie, Paris, 1934, no. 136 (catalogue by C. Ster-
we feel the personal suspense and the immensity of
ling); Rhabilitation du sujet, Galerie A. Seligmann, Paris,
justice."
November-December 1934, no. 79; Daumier 1808-
This watercolor may have been one of the impres-
1879, Philadelphia Museum of Art, 1937, no. 35 (cata-
sive group seen by the Concourt brothers in March 1865 -1
logue by E. Van Hook).
This would argue for a date of shortly before that mo-
BIBLIOGRAPHY: J. F. H. Champfleury, "L'oeuvre de ment. Equally insecure support is offered for a much ear-
Daumier," L'art 13 (1878), opp. p. 219; A. Alexandre, lier date by the similarity in subject and composition be-
Honor Daumier: L'homme et l'oeuvre (Paris, 1888), p. 378; tween this watercolor and a lithograph of i840.2 Given
R. Muther, The History of Modem Painting (London, the uncertain character of Daumier's chronological de-
1896), vol. 2, p. 67; C. Roger-Marx, d., Les matres du velopment, no resolution of this question is currently
dessin (Paris, 1901), vol. 2, pi. 47; L. Rouart, "Collection possible. Technically, this is among the most finished of
de Madame Esnault-Pelterie, " Les arts 54 (June 1906), Daumier's watercolors, with rich application of
pp. 12, 16; H. Marcel, Honor Daumier (Paris, 1907), p. gouache, especially on the lawyer's robes and bundle of
109; R. Escholier, Daumier: Peintre et lithographe (Paris, books.
1923), p. 115; E. Klossowski, Honor Daumier (Munich,
1923), p. loi, no. 172; C. Baudelaire, Les dessins de Dau-
mier, Ars graphica, vol. i (Paris, 1924), pi. 22; E. Fuchs,
1. E. andj. de Concourt, Journal: Mmoires de la vie littraire
Der Maler Daumier (Munich, 1927), p. 54, no. I99b; H.
(Paris, 1935), vol. 2, p. 200.
Focillon, La peinture aux XIXe et XXe sicles (Paris, 1928), 2. L. Delteil, Le peintre-graveur illustr: Honor Daumier (Paris,
p. 31; idem, "Honor Daumier, " Gazette des Beaux-Arts, 1926), vol. 4, no. 1357.
ser. 6, 2 (1929), p. 92; C. Roger-Marx, "Le sujet dans la
peinture franaise," L'art et les artistes 29 (December
1934), pp. 92, 95; idem, Daumier (Paris, 1938), p. 32; R.
Escholier, "Daumier," L'art et les artistes 33 (November
138 FRENCH SCHOOL DAUMIER

EUGENE DELACROIX
1798-1863
5 6 The Education of Achilles

THIS IS ONE OF RELATIVELY FEW PRESENTATION DRAW-
ings in pastel by Delacroix. In 183 8 he was commissioned
Pastel; H: 30.6 cm (12Vie in.); W: 41.9 cm (lo'Ain.) to decorate the library of the Palais Bourbon, Paris, a
86.00.728 (SEE PLATE 8) project that was completed in 1847. For one of the pen-
dentives of the cupola concerned with poetry, he painted
MARKS AND INSCRIPTIONS: At bottom left, signed this scene, which was repeated in a hexagonal painting in
Eug. Delacroix in white chalk. the Muse Fabre, Montpellier. In 1862 Delacroix painted
PROVENANCE: George Sand (sale, Galerie Georges Petit, a rectangular version of the subject (Paris, private collec-
Paris, April 23, 1864, lot 40); Khalil Bey (sale, Htel tion) which was much admired by George Sand. Since
Drouot, Paris, January 16, 1868, lot 22); Quincy Shaw he had other plans for that painting, he made this pastel
McKean, Boston; Richard S. Davis, New York and Lon- for her; it is recorded in a letter to her of May 4, 1862
don; John R. Gaines, Lexington, Kentucky (sale, Soth- (Santa Monica, Getty Center for the History of Art and
eby's, New York, November 17, 1986, lot 29). the Humanities). The letter was discovered by
L.Johnson (1988, p. 29), who pointed out that the pastel
EXHIBITIONS: None. version is organized in a subtly tighter and cleaner man-
BIBLIOGRAPHY: A. Moreau, E. Delacroix et son oeuvre ner than the painting. It should also be noted that the fig-
(Paris, 1873), p. 323, no. 277; A. Robaut, L'oeuvre com- ures are more fully integrated into the landscape than in
plte de Eugne Delacroix (Paris, 1885), p. 218, no. 841; M. any of the other depictions of the scene.
Srullaz, Inventaire gnral des dessins colefranaise: Dessins
d'Eugne Delacroix (Paris, 1984), vol. i, p. 164, under no.
305; C. Somerset, "The Education of Achilles," Two
Worlds (1987), p. 7; L.Johnson, "Eugne Delacroix's Ed-
ucation of Achilles," J. Paul Getty Museum Journal 16
(1988), pp. 25~32;J. Bean and W. Griswold, Eugne De-
lacroix (1798-1863): Paintings, Drawings, and Prints from
North American Collections, exh. cat. (Metropolitan Mu-
seum of Art, New York, 1991), p. 105, under no. 38; L.
Johnson, d., Eugne Delacroix, Further Correspondence,
1817-1863 (Oxford, 1991), pp. viii, 172.
140 FRENCH SCHOOL DELACROIX

THEODORE GERICAULT
1791-1824
57 Classical Nudesr THIS COMPLEX SHEET IS A CHARACTERISTIC EXAMPLE

of what has been called Gricault's "antique manner."
Classical Statuaryv The recto consists of two michelangelesque nudes drawn

over the remnants of pencil sketches loosely based on
Jean-Antoine Houdon's Ecorch in the Ecole des Beaux-
Graphite, pen and brown ink, and brown wash; H: 21.3
Arts, Paris (Bazin 1987, pp. 309, 402). The nudes' bold,
cm (83/s in.); W: 28.4 cm (ii 3 /i6 in.)
muscular forms are defined in broad outline and richly
87.00.97
applied wash, with a resonant tension arising out of the
MARKS AND INSCRIPTIONS: (Recto) numerous graph- contrast between linearity and powerfully described vol-
ite inscriptions by the artist; at bottom left, inscribed M. ume. They also possess an expressive power that has
le marchal de Palais Bertrand. Le Gouveneurgeneral broyer, rightly been compared to works by Henry Fuseli.
76 in brown ink. The verso is more orderly and less inventive, with
PROVENANCE: Hans E. Bhler, Winterthur (sale, Chris- two rows of figures based on antique models, including
tie's, London, November 15, 1985, lot 39); art market, the Cupid and Psyche in the Pinacoteca Capitolina,
New York. Rome (for the bottom right detail). Here the insistent lin-
earity in describing most of the forms reflects a depen-
EXHIBITIONS: Thodore Gricault, Kunstmuseum, Win- dence on line engravings, especially those of John Flax-
terthur, August-November 1953, no. 124 (catalogue by man, while other figures show the broad use of wash
P. DubautandG. Jedlicka); Gricault, Grand Palais, Paris, found on the recto of the sheet. Here too the pen-and-
October I99i-January 1992, no. 7 (catalogue entry by S. wash sketches were drawn over pencil designs, consist-
Laveissire). ing mainly of various head studies. The sheet was dated
BIBLIOGRAPHY: P. Dubaut and P. Nathan, Sammlung by Eitner (1963, 1983) to between March and June 1815
Hans E. Bhler: Gericault 1791-1824, Gemdlde, Aquarelle, on the basis of the inscription in brown ink on the recto.
Zeichnungen (Winterthur, 1956), nos. 34, 35; L. Eitner,
"Gricault's Dying Paris and the Meaning of His Ro-
mantic Classicism," Master Drawings i, no. i (Spring
1963), pp. 27-29, 31; 34, n. 18; idem, Gricault: His Life
and Work (London, 1983), pp. 80-81, 84; 333, n. 119; G.
Bazin, Thodore Gricault: Etude critique, documents et cata-
logue raisonn, vol. 2: L'oeuvre: Priode de Formation (Paris,
1987), vol. 2, pp. 401-2, nos. 234, 235.
142 FRENCH SCHOOL GERICAULT

recto
verso (no. 57)
58 Horses and Riders ' THIS SHEET OF STUDIES IS CLOSELY ASSOCIATED WITH
several in the album of drawings by Gericault in the Art
Horsesv Institute of Chicago (inv. 1947.35, fols. 35 verso, 39
recto, 47 recto, verso) as well as to a study of a mounted
Graphite; H: 21 cm (S'/iin.); W: 28 cm (n in.) Polish officer on the recto of a sheet in a private collec-
88.GD.4 tion, London (Eitner 1983, p. 47), and a related one in a
private collection, Paris (Grunchec 1982, pp. 38-39).
MARKS AND INSCRIPTIONS: (Recto) at top right corner, The sketch of the horseman at the top right of the recto
inscribed 30 in brown ink; (verso) inscribed 31 in brown is also related to paintings of Polish horsemen, one in a
ink. French private collection and another in the Muzeum
PROVENANCE: Baron Vitta, Paris; Hans E. Bhler, Win- Narodowe, Warsaw (Thuillier and Grunchec 1978, nos.
terthur (sale, Christie's, London, November 15, 1985, lot 67, 7A). It is especially close to the latternotably in the
41); art market, New York. pose of the horseand has sometimes been regarded as
a preparatory study for it, probably with good reason
EXHIBITIONS: Thodore Gericault, Winterthur Kunst- (Wiercinska 1967, p. 90). The bolder renderings of
museum, August-November 1953, no. 136 (catalogue horses on the verso find close parallels on other sheets of
by P. Dubaut and G. Jedlicka); Gericault, Grand Palais, studies by Gericault, as for example on folio 47 recto of
Paris, October I99i-January 1992, no. 38 (catalogue en- the Chicago album.
try by S. Laveissire). The Museum's drawing and the Chicago album and
BIBLIOGRAPHY: P. Dubaut and P. Nathan, Sammlung related paintings have been dated to 1813-14 by Eitner
Hans E. Bhler: Gericault 1791-1824, Gemalde, Aquarelle, (1960, 1983), but this view has recently been challenged
Zeichnungen (Winterthur, 1956), nos. 36, 37; L. Eitner, by Sells (1989), who prefers a date after the artist's Italian
Gericault: An Album of Drawings in the Art Institute of Chi- stay, that is, 1817-18. Although the evidence is not con-
cago (Chicago, 1960), pp. 9; 47, n. 17; J. Wiercinska, clusive on either side, it does appear to favor slightly
"Thodore Gericault et le Lander polonais du Muse Na- Sells's revised dating.
tional de Varsovie, " Bulletin du Muse National de Varsovie
8 (1967), pp. 83, 90-91; J. Thuillier and P. Grunchec,
L'opra completa di Gericault (Milan, 1978), under no. 67;
P. Grunchec, Gericault: Dessins et aquarelles de chevaux
(Lausanne, 1982), p. 39; English d. (New York, 1984),
p. 39; L. Eitner, Gericault: His Life and Work (London,
1983), pp. 43 -44; 327, n. 6;328,n. 13; G. Bazin, Thodore
Gericault: Etude critique, documents et catalogue raisonn, vol.
3: La gloire de l'empire et la premire restauration (Paris,
1989), p. 234, nos. 945, 946; C. Sells, "A Revised Dating
for Part of Gericault 's Chicago Album, " Master Drawings
27, no. 4 (Winter 1989), pp. 341-42, 350-51; 356, n. 3;
L. Eitner, "Review of Thodore Gericault. Etude critique,
documents, et catalogue raisonn by Germain Bazin," Bur-
lington Magazine 133, no. 1057 (April 1991), p. 257, n. 7.
GERICAULT FRENCH SCHOOL 145

recto
verso
59 Sailboat on the Sea THIS DRAWING WAS FIRST PUBLISHED BY GRUNCHEC
(1985-86), who related its technique to two studies of
Watercolor, brown wash, white gouache, and black the sky in the Muse Bonnat, Bayonne (inv. NI 8oo, Soi),
chalk on tan paper; H: 15.3 cm (6 in.); W: 24.7 cm (93/4 which Gericault made at Le Havre during the period
in.) when he was painting the Raft of the Medusa of 1819
86.GG.79 (Louvre). Although similar in manner of execution, me-
dium, and dramatic tenor, the Museum's study differs in
MARKS AND INSCRIPTIONS! None. its presentation of a variant possibility for the entire com-
PROVENANCE: Private collection, Paris (sale, Htel position. It was suggested by Grunchec that the ship in
Drouot, Paris, May 4, 1984, lot 129); art market, the foreground may be the Medusa, with another ship
London. shown disappearing into the distance. He also noted a
similarity between the scene and a print by A. Cham-
EXHIBITIONS: Master Drawings by Gericault, Pierpont pion, but the two do not have more than a general resem-
Morgan Library, New York, San Diego Museum of Art, blance to one another. It is more likely that Gericault
and Museum of Fine Arts, Houston, June 1985 -January made this study as a result of the inspiration he derived
1986, no. 64 (catalogue by P. Grunchec); Gericault, Grand from visiting the sea at Le Havre in the midst of consid-
Palais, Paris, October I99i-January 1992, no. 162 (cat- ering various options for the final composition.
alogue entry by S. Laveissire).
BIBLIOGRAPHY: L. Eitner, "Review of Master Drawings
by Gericault," Burlington Magazine 128, no. 994 (January
1986), p. 56; H. Lthy, "Review of Master Drawings by
Gericault," Master Drawings 23-24, no. 4 (Winter 1986),
p. 566.

6o The Giaour THIS FAMOUS WATERCOLOR WAS INSPIRED BY BYRON's
poem of the same name, published in 1813. It directly
5
Watercolor and graphite (recto); H: 21. i cm (8 /iin.); W: evokes the passage of the poem with specificity of mood
23.8 cm (93/sin.) and gesture:
86.GC.6y8 (SEE PLATE 9)
His brow was bent, his eye was glazed;
MARKS AND INSCRIPTIONS: (Verso) inscribed gericault He raised his arm, and fiercely raised,
in brown ink, le giaour in graphite. And sternly shook his hand on high,
PROVENANCE: A. M. de la Cressonnire, Lausanne; As doubting to return or fly . . .
Hans E. Bhler, Winterthur (sale, Christie's, London,
November 15, 1985, lot 58); art market, New York. It is generally agreed that the watercolor was made in
preparation for a lithograph. In 1820 Gericault first of-
EXHIBITIONS: Theodore Gericault, Kunstmuseum, Win- fered it for an annual album published by a Mme Del-
terthur, August-November 1953, no. 209 (catalogue by pech, but it was rejected and only published in 1823 by
P. Dubaut and G. Jedlicka); Gericault: Romantic Paintings the Gilhaut brothers. There are a number of minor dif-
and Drawings, Fine Arts Museums of San Francisco, Jan- ferences between watercolor and lithograph, but they are
uary-March 1989, no. 64 (catalogue by L. Eitner and S. not of great consequence, though the powerful, affecting
Nash); Gericault, Grand Palais, Paris, October i99i-Jan- quality of the sky and night light is largely lost in the
uary 1992, no. 286 (catalogue entry by S. Laveissire). print. A rapid pencil sketch for the Giaour, made early in
BIBLIOGRAPHY: C. Clment, Gericault: Etude biogra- its evolution, is in the Ecole des Beaux-Arts, Paris (Ar-
phique et critique (Paris, 1879), pp. 432-33, no. 171 bis\ P. mand-Valton Bequest, 1908, inv. 989). There is a faint
Dubaut and P. Nathan, Sammlung Hans E. Bhler: Geri- sketch of the giaour on the verso of the Getty sheet.
cault 1791-1824, Gemdlde, Aquarelle, Zeichnungen (Win-
terthur, 1956), no. 62; L. Eitner, "Gricault's La tempte,"
Museum Studies 2 (1967), pp. 10-12; idem, Gericault Sup-
plement (Paris, 1973), p. 472; F. Bergot, Gericault: Tout
l'oeuvre grav et pices en rapport, exh. cat. (Muse des
Beaux-Arts, Rouen, 1981), p. 86, under no. 69; P. Grun-
chec, Gericault: Dessins et aquarelles de chevaux (Lausanne,
1982), pp. 138-39; L. Eitner, Gericault: His Life and Work
(London, 1983), pp. 258, 260-62; 359, n. ni; P. Grun-
chec, Master Drawings by Gericault, exh. cat. (Pierpont
Morgan Library, New York, San Diego Museum of Art,
and Museum of Fine Arts, Houston, 1985), p. 161, under
no. 86; H. Lu thy, "Review of Master Drawings by Geri-
cault," Master Drawings 23-24, no. 4 (Winter 1986), p.
566.

JEAN-AUGUSTE-DOMINIQUE INGRES
1780-1867
61 Madame Moitessier
Graphite and white chalk; H: 45.8 cm (18 in.); W: 33.6
cm (i3 I / 4 in.)
89.00.50
MARKS AND INSCRIPTIONS: At top right, inscribed

with color notes in graphite; at bottom left, signed Ingres
in graphite.
PROVENANCE: Ins Moitessier, Paris; by descent; Edgar

Degas, Paris (sale, Galerie Georges Petit, Paris, March
26, 1918, lot 210); private collection, Geneva; private col-
lection, New York; art market, London.

BIBLIOGRAPHY: D. Bull, "London Old Master Draw-

ings," Burlington Magazine 131, no. 1030 (January 1989),
p. 50; Nineteenth Century French Drawings, exh. cat. (Haz-
litt, Gooden and Fox, Ltd., London, 1990), p. 22, under
no. 10.
THIS STUDY WAS MADE IN PREPARATION FOR INGRESA

Portrait of Madame Moitessier of 1851 (National Gallery of JEAN-AUGUSTE-DOMINIQUE INGRES (French, 1780-1867). Ma-
Art). The drawing is of the same scale as the painting and dame Moitessier (detail). Oil on canvas. H: 146.7 cm (573/4 in.);
is quite fully evolved in terms of Ingres's rendering of the W: 100.3 cm (39/4 in.). Washington, D.C., National Gallery of
face and neck. The cool, rather cubistic character of the Art, Samuel H. Kress Collection.
facial featurescentral to the expressive nature of the
paintingis already present. By contrast the hair is more
broadly indicated, and the flowers decorating it are
shown in a most summary manner, with associated color
notes.
Although this is the only known drawing for the
head of Madame Moitessier, there are studies for the en-
tire figure in the National Gallery of Art (inv. 1951.14. i);
the Lyman Allyn Museum, New London, Connecticut
(inv. 1941.85); thej. Dupont collection, Paris; and thej.
Paul Getty Museum (inv. 91.66.79). There is also a sheet
with studies of her left arm in the Muse Ingres, Mont-
auban (inv. 867.321). A drawing similar to the present
one in scale, technique, and purpose, for Ingres's Portrait
of the Comtesse d'Haussonville (New York, Frick Collec-
tion), is in the Bibliothque Inguimbertine, Carpen tras
(inv. 1899-407).
152 FRENCH SCHOOL INGRES

JEROME-MARTIN LANGLOIS
1779-1838
62 Alexander Ceding Campaspe THIS HIGHLY FINISHED DRAWING WAS MADE IN PREP-
aration for Langlois's painting of the same subject (Tou-
to Apelles louse, Muse des Augustins), which achieved great suc-
cess at the Salon of 1819 (exhibited as "La gnrosit
Black chalk, gray wash, and white gouache heightening; d'Alexandre"). Although the composition is davidean,
H: 39 cm (i53/sin.); W: 51.4 cm (20 %.in.) Langlois chose a different moment from that depicted in
86.GG.475 David's picture in the Muse des Beaux-Arts, Lille, in
which Apelles is shown pausing to admire the figure of
Campaspe. By contrast Langlois has shown Alexander
PROVENANCE: Private collection, United States; art handing her over to the artist, who responds with appro-
market, New York. priate enthusiasm and gratitude to his master's magna-
EXHIBITIONS: French and English Drawings 1700-1875, nimity. The clarity and severity of setting and cool, pol-
Zangrilli, Brady and Co., New York, February-March ished rendering of form are hallmarks of Langlois's fully
1986, no. 23. developed Neoclassicism.
BIBLIOGRAPHY: None.
154 FRENCH SCHOOL LANGLOIS

H E N R I L E H M A N N (Karl Ernest Rodolphe Heinrich Salem Lehmann)
1814-1882
63 Lamentation at the Foot of THIS STUDY WAS MADE IN THE LAST STAGES OF PREP-
aration for Lehmann's painting of 1847 in the Chapelle
the Cross de la Compassion, Saint-Louis-en-1'Ile, Paris. The paint-
ing forms part of an ensemble that also includes the As-
Black and white chalk, graphite, and gray wash on sumption and Virgin Presenting the Christ Child, completed
brown paper; H: 42. 8 cm (i67/sin.); W: 29.2 cm (n Vîn.) in 1848 and 1850, respectively. Lehmann had already be-
86.GB.474 gun work on designing the Lamentation by 1844, as is
noted in a letter from him to the comtesse d'Agoult.1 His
first attempts to lay out the composition reveal that his
signed and dated henri Lehmann. 1847. in black chalk.
ideas hardly changed between 1844 and 1847; this is in-
PROVENANCE: Descendants of the artist; private collec- dicated by a drawing dated 1844 that contains almost all
tion, Paris; Mario Amaya, New York; Frederick}. Cum- of the principal features of the completed painting.2 This
mings, Detroit; art market, New York. dated drawing and another of 1847 in a private collection,
Paris (Aubrun 1983, p. 113, no. 0287), show Christ's
EXHIBITIONS: Christian Imagery in French Nineteenth
body being carried away in the left background, a detail
Century Art, 1798-1906, Shepherd Gallery, New York,
omitted from the Museum's drawing and the final paint-
1980, no. 86 (catalogue by R. Kashey and M. H. Rey-
ing. The former differs from other studies for the picture
mert); University of Chicago Alumni Who Collect Drawings
in its technical precision and high degree of finish, both
from the loth Century to the Present, David and Alfred
of which are echoed in the resulting painting.
Smart Gallery, New York, March-May 1982, no. 39
(catalogue by R. Born); French and English Drawings
1700-1875, Zangrilli, Brady and Co., Ltd., New York,
February-March 1986, no. 32. 1. S. Joubert, Une correspondance romantique: Madame d'Agoult,
Liszt, Henri Lehmann (Paris, 1947), pp. 191-92.
BIBLIOGRAPHY: M.-M. Aubrun, Henri Lehmann, 1814- 2. Sold Sotheby's, London, November 27, 1980, lot 55; art
1882: Portraits et dcors parisiens, exh. cat. (Muse Carna- market, New York, 1988.
valet, Paris, 1983), pp. 75-76, under nos. 81, 82;}. Fou-
cart and L.-A. Prat, "Quelques oeuvres indites d'Henri
Lehmann (1814-1882) au Louvre et au Muse d'Orsay,"
La revue du Louvre et des Muses de France 33, no. i (1983),
p. 23, n. 12; M.-M. Aubrun, Henri Lehmann , 1814-1882:
Catalogue raisonn de l'oeuvre (Nantes, 1984), vol. i, p.
113, no. D288.
156 FRENCH SCHOOL LEHMANN

JEAN-BAPTISTE OUDRY
1686-1755
64 Park Scene THIS IS ONE OF ROUGHLY FIFTY KNOWN DRAWINGS BY

Oudry showing park scenesmainly of large scale and
13
Black and white chalk on tan paper; H: 35 cm (13 /i6 in.); drawn on blue-green-to-gray or tan paperthat date
W: 51.5 cm (20 y4 in.) from between 1744 and 1747. Many of them depict the
8y.GB.i3 gardens of the prince de Guise's chateau at Arcueil, al-
though other similar settings may have been employed
MARKS AND INSCRIPTIONS: At bottom right corner, for some of the views. The chateau and surrounding set-
signed and dated JB (paraph) Oudry 1744 in brown ink. ting were destroyed shortly after Oudry made these
PROVENANCE: Private collection, France (sale, Fournier, studies, which provide the best record of them. H. Op-
Rouen, December 15, 1985, lot 49); art market, London. perman has noted that the vast majority of figures ap-
pearing in this series of drawings were added later by
EXHIBITIONS: None. other artists,1 but it is not at all certain that this was the
BIBLIOGRAPHY: None. case in the Museum's example, given the full graphic and
aesthetic integration of figures into their surrounding
setting.
i. J.-B. Oudry 1686-1755, exh. cat. (Grand Palais, Paris, 1982),

p. 234.
158 FRENCH SCHOOL OUDRY

PIERRE-ADRIEN PARIS
1745-1819
65 Vases, Furniture, and Objects THIS DRAWING WAS MADE AS A PREPARATORY STUDY
for an aquatint by Pierre-Philippe Choffard for the abb
Discovered at Herculaneum de Saint-Non s Voyage pittoresque; ou Description des roy-
aumes de Naples et de Sicile (vol. 2 [Paris, 1783], pi. 3). Al-
Pen and black ink and watercolor; H: 22.9 cm (9 in.); W: though the publication date is 1783, it was pointed out by
3 7 cm (i49/ioin.) R. Rand1 that the print dates from 1777, so the Museum's
88.GA.2 drawing was certainly conceived during the first of
Paris s Roman visits. Rand also noted that all of the ob-
MARKS AND INSCRIPTIONS: (Recto) at top, inscribed
jects represented in the drawing and resulting aquatint as
Meubles Antiques trouves dans la Ville d'herculanum. in
then being in the Museo di Portici are now in the Museo
brown ink by the artist; at bottom left, signed Paris Delin.
Archeologico Nazionale, Naples, except the chair with
in brown ink.
sphinxes at the right in the drawing. The chair is men-
PROVENANCE: Paigon Dijonval collection(?), Paris; tioned in the text of Voyage pittoresque (p. 45) as being
Charles G. Vicomte Morel de Vind(?), Paris; P. P. Ste- based on a Pompeiian wall fresco.
ven(?), Douvre; sale, Christies, London, December 12,
1986, lot 322; art market, Boston.
EXHIBITIONS: None. i. Letter to G. Goldner, September 1989.
BIBLIOGRAPHY: M. Bnard, Cabinet de M. Paigon Dijon-

val (Paris, 1810), p. 171, part of no. 4O04(?);
M. L. Cornillot, Inventaire general des dessins des muses de
province: Collection Pierre-Adrien Paris, Besanon (Paris,
I
95?)J vol. i, Introduction, p. 2.
100 FRENCH SCHOOL PARIS

J E A N - B A P T I S T E PATER
1695-1736
66 Study of a Seated Woman THIS IS A CHARACTERISTIC RED CHALK FIGURE STUDY

by Pater in a category that clearly reflects the impact of
Red chalk on tan paper; H: 15.2 cm (6 in.); W: 16.7 cm Watteau. Similarly posed female figures recur with some
(69/i6in.) frequency in Pater's paintings, but this study was cer-
86.GB.6i3 tainly made in preparation for the seated mother with a
child in the right foreground of a painting showing
MARKS AND INSCRIPTIONS: At bottom left corner, in- troops resting in the countryside (formerly collection of
scribed JB. pater in graphite, 25 in brown ink. Mrs. Herbert MacBride, New York).1 There were only
PROVENANCE: Private collection, Paris; art market, relatively minor changes in the evolution of the pose
Paris. from drawing to painting.
EXHIBITIONS: None.
BIBLIOGRAPHY: None. i. F. Ingersoll-Smouse, Pater (Paris, 1921), fig. 126.
l62 FRENCH SCHOOL PATER

JACQUES-ANDRE PORTAIL
1695-1759
67 A Music Party THIS IS A CHARACTERISE EXAMPLE OF PORTAIL's USE

of red and black chalk in a manner reflecting the prece-
3
Red and black chalk; H: 32.4 cm (i2 /4in.); W: 25.3 cm dent of Watteau. From the same source Portail was in-
(loin.) spired to frequently portray musical scenes with great
88.GB.6o subtlety and sensitivity. He also retained some of the po-
etic, rather introverted expressiveness that is present in
MARKS AND INSCRIPTIONS: (Verso) inscribed Collection Watteau's musical and theatrical representations, though
CJusky(?) peintre in brown ink. his draughtsmanship is less dynamic and his expressive
PROVENANCE: Private collection, England; sale, Chris- values less rich than Watteau's own.
tie's, London, December 9, 1986, lot 152; art market, It has been noted by K. Pask that two female figures
London. posed similarly to those in the Museum s drawing appear
at the left in a drawing by Portail showing a more elab-
EXHIBITIONS: None. orate musical scene.1 Furthermore the principal female
BIBLIOGRAPHY: None. figure is a type that recurs with regularity in his draw-
ings. Two copies of the Museum's drawing are known
(formerly Viscountess Harcourt collection; Bourgarel
collection),2 but on the basis of photographs, the former
probablyand the latter certainlyare not by Portail
himself.
1. Sold, Htel Drouot, Paris, March 9, 1988, lot 42.

2. The former sold at the Htel Drouot, Paris, April 3, 1886,
lot 117; the latter is known to the author through a photograph
in the Witt Library, London.
164 FRENCH SCHOOL PORTAIL

NICOLAS POUSSIN
1594-1665
68 Two Women Accompanied by THIS DRAWING WAS DISCOVERED BY BLUNT, WHO

considered it to be early, probably made during Poussins
Cupid first years in Rome (Courtauld Institute of Art 1964;
Friedlnder and Blunt 1974). It was pointed out by Blunt
Pen and brown ink, brown wash, and black chalk; H: and Friedlnder that the sheet accords stylistically with
14.5 cm (5"/loin.); W: 12.4 cm (4%in.) the Marino series of drawings at Windsor Castle. This is
86.GG.48 certainly true of the rather abstract rendering of features
and the broad use of wash, but the Museum's drawing is
MARKS AND INSCRIPTIONS: (Verso) collection mark of
somewhat more flexible in line and more fluently
Baron Milford (L. 2687).
achieved overall. In these respects and in certain mor-
PROVENANCE: Richard Philipps, Baron Milford, Pick- phological details, it can be compared to the study of Ju-
ton Castle, Pembrokeshire; by descent to Sir John Phi- piter and Antiope in the Ecole des Beaux-Arts, Paris (inv.
lipps; Anthony Blunt, London; art market, Zurich; art 2865). In terms of subject it has been suggested that the
market, Boston. scene may represent a bride being led to her groom by a
putto and an attendant, while Cupid urges her on. The
EXHIBITIONS: The Sir Anthony Blunt Collection, Cour-
drawing might have been made with a classical marriage
tauld Institute of Art, London, 1964, no. 57.
scene in mind or for a more specific theme such as Bac-
BIBLIOGRAPHY: W. Friedlnder and A. Blunt, The chus and Ariadne (Courtauld Institute of Art 1964; Fried-
Drawings of Nicolas Poussin (London, 1974), vol. 5, p. lander and Blunt 1974).
115, no. 444.
166 FRENCH SCHOOL POUSSIN

6g The Crossing of the Red Sea THIS IS ONE OF SIX KNOWN STUDIES POUSSIN MADE
in preparation for his Crossing of the Red Sea, a picture
Red chalk; H: 15.5 cm (6 Ysin.); W: 22.6 cm (8% in.) commissioned by Amadeo del Pozzo and executed in the
86.GB.46 mid-i63os (National Gallery of Victoria). The Mu-
seum's drawing, the only one of the six in red chalk, is
MARKS AND INSCRIPTIONS: None. among the very small group of studies by Poussin en-
PROVENANCE:}. Isaacs, London (sale, Sotheby's, Lon- tirely in that medium. It is not easy to situate it in relation
don, February 27, 1964, part of lot 69); art market, Lon- to the other studies in terms of the development of Pous-
don; Anthony Blunt, London; art market, Zurich; art sin s design for the painting. Blunt (1979) tended to see it
market, Boston. as relatively late in the evolution of the project, based on
the similarity between the background group of Moses
EXHIBITIONS: The Sir Anthony Blunt Collection, Cour- and his companions emerging from the sea and an anal-
tauld Institute of Art, London, 1964, no. 60. ogous detail in the painting that is absent from the other
BIBLIOGRAPHY: W. Friedlnder and A. Blunt, The drawings. On the other hand Wild (1980) put it at the be-
Drawings of Nicolas Poussin (London, 1974), vol. 5, p. 66, ginning of the group of studies. Although the matter is
no. 386; A. Blunt, The Drawings of Poussin (New Haven, difficult to resolve, it seems likely that the three drawings
1979), pp. 89-90; D. Wild, Nicholas Poussin: Katalog der for this project in the Hermitage came first (in the pro-
Werke (Zurich, 1980), vol. 2, p. 63, under no. 63; H. T. gression inv. 14542, 14540, 14541), followed by the Mu-
Goldfarb, From Fontainebleau to the Louvre: French Draw- seum's drawing and then by the double-sided sheet in the
ings from the Seventeenth Century, exh. cat. (Cleveland Louvre (in the progression inv. 842V, 842R).
Museum of Art, 1989), pp. 48-49, under no. 17; H.
Brigstocke, A Loan Exhibition of Drawings by Nicolas
Poussin from British Collections, exh. cat. (Ashmolean Mu-
seum, Oxford, 1990), under no. 23.

jo Study for the Triumph of THIS RAPID SKETCH WAS IDENTIFIED BY FRIEDLNDER
and Blunt (1953) as a study for Poussin's Triumph of Nep-
Neptune and Amphitrite tune and Amphitrite (Philadelphia Museum of Art), which
he painted for Cardinal Richelieu in the mid-to-late
Pen and brown ink; H: 14.6 cm (53/4in.); W: 20.6 cm (8 Vs 16305. The two seated nymphs and the triton with a flut-
in.) tering piece of drapery recur in the painting. The stand-
86.GA.470 ing female figure at the left seems closer to studies of Ve-
nus, as in Poussins drawing of her landing on Cythera
MARKS AND INSCRIPTIONS: (Recto) at bottom right,
in the Muse Bonnat, Bayonne (inv. 1668). It has been
collection mark of Nathaniel Hone (L. 2793); (verso)
suggested (ibid.) that the Cupid at the right was made in
fragment of a letter in brown ink.
preparation for the one in the center foreground of the
PROVENANCE: Nathaniel Hone, London; Anthony Philadelphia picture, but he might equally be connected
Blunt, London; art market, Zurich; art market, Boston. with one of the flying putti above Amphitrite who
shoots an arrow and faces in the same direction as the fig-
EXHIBITIONS: The Sir Anthony Blunt Collection, Cour-
ure in the Museum's drawing.
tauld Institute of Art, London, 1964, no. 56.
BIBLIOGRAPHY: W. Friedlnder and A. Blunt, The
Drawings of Nicolas Poussin (London, 1953), vol. 3, p. 34,
no. 213; D. Wild, Nicolas Poussin: Katalogder Werke (Zu-
rich, 1980), vol. 2, p. 66, under no. 66.

71 Votary of Bacchus BLUNT (1974) FIRST PROPOSED THAT THIS DRAWING
was copied from an ancient engraved gem analogous to
Pen and brown ink and brown wash; H: 15.7 cm (63/i6 the cameo that once had belonged to Lorenzo de' Medici.
in.); W: 13.6 cm (55/i6 in.) Subsequently, a second drawing emerged in a private
86.00.469 collection, London, that is closely similar in the pose and
proportions of the head, torso, and legs of the figure
MARKS AND INSCRIPTIONS: (Recto) at top right corner, while having a different detailing of the lion's skin and
inscribed log in brown ink; (verso) inscribed G.F.M. in showing the figure with torches in his hands (Blunt
brown ink. 1979). It has been plausibly suggested by J. Shear man that
PROVENANCE: Private collection, England; Anthony both drawings are attempts to reconstruct an ancient
Blunt, London; art market, Zurich; art market, Boston. cameo (ibid., p. 139) missing those sections that are
shown differently in the two drawings. Lastly, M. True
EXHIBITIONS: None. has proposed that the drawings were inspired by a Ro-
BIBLIOGRAPHY: A. Blunt, "Newly Identified Drawings man oscillum with a relief figure.1
by Poussin and His Followers," Master Drawings 12, no.
3 (Autumn 1974), pp. 243-44, 2475 idem, "Further
Newly Identified Drawings by Poussin and His Follow- i. Note to G. Goldner,July 1986.
ers," Master Drawings 17, no. 2 (Summer 1979), pp. 139
40, 146.

72 Two Studies of an Ancient THIS SHEET WAS FIRST PUBLISHED IN A SOTHEBY'S SALE
catalogue (1968) with information supplied by A. Blunt,
Statuer who noted the similarity between the recto and Poussins
study of two ancient statues in the Royal Library, Wind-
Scylla and a Centaurv sor (inv. 11916). Blunt also pointed out that the verso
consists of a section of a trapezopher copied from one in
Pen and brown ink, red chalk framing lines; H: 16.2 cm the Museo Archeologico Nazionale, Naples, that was in
(63/8in.);W: 12.6 cm (4I5/i6n.) the Villa Madama, Rome, during the sixteenth and sev-
86.GA.47i enteenth centuries. The recto also is close in style and
purpose to one of a man wearing a toga in a private col-
lection, Paris (Friedlnder and Blunt 1974, no. 306), and
PROVENANCE: Sale, Sotheby's, London, July 9, 1968, lot in the arrangement of figures to a detail at the bottom
49; art market, London; Anthony Blunt, London; art right of a sheet in the Biblioteca Reale, Turin (inv. 16304).
market, Zurich; art market, Boston. It was stated by Friedlnder and Blunt (ibid.) that the
recto of the Museum's drawing shows two studies of a
EXHIBITIONS: None.
statue, but it is more likely that two different figures are
BIBLIOGRAPHY: W. Friedlnder and A. Blunt, The depicted, since there are minor variations in the render-
Drawings of Nicolas Poussin (London, 1974), vol. 5, p. 42, ing of the draperies. The date of circa the late 16305 or
nos. 346, 34a. early 16405 suggested in the Sotheby's catalogue (1968)
appears correct.
verso

recto
73 Studies of Antiquities r>v THIS ELABORATE SHEET IS ONE OF MANY ON WHICH
Poussin recorded some of the antiquities he saw in Rome
Pen and brown ink and brown wash (recto); pen and or learned of through drawings and other secondary
brown ink, red chalk framing lines (verso); H: 26.8 cm sources. The bronze tripod at the top left of the recto was
(io 9 /i6in.);W: 19.6 cm (y'Yio in.) acquired by Nicolas-Claude Fabri de Peiresc in 1629
86.GA.47 (Friedlnder and Blunt 1974), while the Etruscan third-
century mirror to its right may have been the one given
MARKS AND INSCRIPTIONS: (Recto) at top left, in- by Cardinal Francesco Barberini to the count of Olivares
scribed hypocrateridium . . . passa, testa di hour; at top in 1626 (Jaff 1988). The latter is known through several
right, collection mark of Count Moriz von Fries drawings, including one attributed to Poussin himself in
(L. 2903); at left center, inscribed in villa Julia; at right, the British Museum (Jenkins Catalogue 58). While
inscribed torques; at bottom left, collection mark of Ed- Poussin might well have seen the Etruscan mirror, he
ward J. Poynter (L. 874); inscribed putto, bulla con la trabea would have been acquainted with the tripod through
in brown ink by the artist; at bottom center, collection drawings, presumably those from the dal Pozzo albums
mark of Aim-Charles-Horace His de La Salle (L. 1333); in the British Museum (Jenkins Catalogue 52, 53). The
at bottom right, collection mark of marquis de Lagoy other objects depicted on the recto are a tripod base, a
(L. 1710); (verso) on mount, inscribed a. 65 in brown ink. draped torso, a bust of a Roman boy (Sussex, Petworth
PROVENANCE: Count Moriz von Fries, Vienna; marquis House), and a sandaled foot. It has been suggested (Bon-
de Lagoy, Aix-en-Provence; Sir Thomas Lawrence, fante and Thomson de Grummond 1976, p. 76) that the
London; Aim-Charles-Horace His de La Salle, Paris last item has some connection with the sandal worn by
(sale, Christies, London, November 27, 1880, part of lot Mars in Mars and Venus (Toledo Museum of Art), but the
18); Sir Edward J. Poynter, London (sale, Sotheby's, relationship is probably generic. The verso of the draw-
London, April 25, 1918, lot 225); art market, London; ing contains studies of sphinxes, a woman with a pot,
Clarke collection, London; art market, London; An- and an elaborate ornamental ceiling frieze. The sheet
thony Blunt, London; art market, Zurich; art market, probably dates from the 16405.
Boston.
EXHIBITIONS: Exhibition of Architectural and Decorative
Drawings, Courtauld Institute of Art, London, February
1941, no. 28; Exposition Nicolas Poussin, Muse du
Louvre, Paris, May-July 1960, no. 186 (catalogue by A.
Blunt); The Sir Anthony Blunt Collection, Courtauld In-
stitute of Art, London, 1964, no. 58; Reflections on the
Etruscan Mirror, Museum of Florida History, Tallahas-
see, October-November 1982, no. i; Rubens' Self-
Portrait in Focus, Australian National Gallery, Canberra,
August-October 1988, p. 52 (catalogue by D. Jaff).
BIBLIOGRAPHY: A. Blunt, "Poussin et les crmonies re-
ligieuses antiques," Revue des arts 10 (1960), pp. 59, 61;
W. Friedlnder and A. Blunt, The Drawings of Nicolas
Poussin (London, 1963), vol. 4, p. 25, no. 247; idem, The
Drawings of Nicolas Poussin (London, 1974), vol. 5, p. 41,
no. 344; L. Bonfante and N. Thomson de Grummond,
"Poussin et gli specchi etruschi, " Prospettiva 20 (January
1980), pp. 76-77, 79-80; N. Thomson de Grummond,
d., A Guide to Etruscan Mirrors (Tallahassee, 1983), p. 2;
D. JafTe, "Two Bronzes in Poussins Studies of Antiqui-
ties," J. Paul Getty Museum Journal 17 (1989), pp. 39-46;
H. Brigstocke, A Loan Exhibition of Drawings by Nicolas
Poussin from British Collections, exh. cat. (Ashmolean Mu-
seum, Oxford, 1990), under no. 31. verso

recto
HYACINTHE RIGAUD
1659-1743
74 Portrait of a Man ALTHOUGH TENTATIVELY IDENTIFIED AT ONE TIME AS

a portrait of the marquis de Louvois (Htel Drouot 1971,
Black chalk, gray wash, and white gouache heightening as "Portrait prsum de Louvois"), there appears to be no
on blue paper; H: 35.4 cm (14 in.); W: 28 cm (n in.) basis for this hypothesis, and the sitter remains elusive.
86.GB.I2
The drawing itself falls into the category of finished
sheets made by Rigaud after his own painted composi-
MARKS AND INSCRIPTIONS! None. tions, some of which were intended as the basis for
PROVENANCE: Sale, Htel Drouot, Paris, May 10, 1971, prints. Unfortunately, no painting or print of this com-
lot 26; private collection, Paris; art market, Paris. position has survived. Stylistically, the drawing is com-
parable to a portrait, Martin van den Bogaert (Desjardins)
EXHIBITIONS: None. (Stdelsches Kunstinstitut inv. 1068). It shares with the
BIBLIOGRAPHY: None. latter and with other finished portrait drawings by Ri-
gaud an exquisite rendering of white highlights.
178 FRENCH SCHOOL RIGAUD

FRANOIS STELLA
1563-1605
75 View of Tivoli THIS DRAWING WAS MADE DURING A VISIT BY STELLA

to Tivoli with the Jesuit architect Etienne Martellange.
Black chalk, pen and brown ink, and gray and brown The two artists visited Italy in 1586-87 and produced a
wash; H: 26.9 cm (loVsin.); W: 41.3 cm (i6V4m.) series of drawings of Rome and its environs during their
86.GG.28 stay.1 Several other sheets by them with various views of
Tivoli are dated by Martellange to 1587, and it is therefore
MARKS AND INSCRIPTIONS: (Recto) on mount, at bot- probable that this is the date of the Museum's drawing.
tom, inscribed Paul Brill in brown ink; (verso) collection Among Stella's other Tivoli views, the closest in style is
mark AW (close to L. 202). one from that year showing the great waterfall there
PROVENANCE: Sir Anthony Westcombe(?), England; Sir (Louvre inv. 32866). The two sheets share an animated
William Forbes, Bt., Scotland; by descent to his heirs use of line, a breadth in the application of wash, and a
(sale, Christie's, London, April 10, 1985, lot 130); art somewhat idiosyncratically expressive treatment of rock
market, Paris. formations.
EXHIBITIONS: Old Master and XIXth Century Painting and

Drawings, Galerie del Scala, Paris, November 1985, no.
32. i. J. Vallery-Radot, "Le sjour de Martellange Rome en 1586
et 1587 et ses dessins de jeunesse," Revue du Louvre 12, no. 5
BIBLIOGRAPHY: G. Chmer, Matres franais 1550-1800: (1962), pp. 205-16.
Dessins de la donation Mathias Polakovits l'Ecole des Beaux-
Arts, exh. cat. (Ecole des Beaux-Arts, Paris, 1989), p. 56,
under no. 9.
ISO F R E N C H S C H O O L F. STELLA
JACQUES STELLA
1596-1657
76 An Apple Harvest THIS HIGHLY FINISHED COMPOSITION IS INDENTED

throughout, suggesting that it was made with a print in
Brush and gray wash and black chalk, incised for transfer mind, probably to be executed by Stella's niece, pupil,
throughout (recto), covered with red chalk for transfer and engraver, Claudine Bouzonnet Stella. In composi-
(verso); H: 24.3 cm (99/ioin.); W: 32.4 cm (i23/4in.) tion and theme the Museum's drawing is closely related
86.GG.6i9 to the sixteen Pastorales she engraved after lost paintings
by her uncle.1 The simple clarity of form, expression, and
MARKS AND INSCRIPTIONS: None. overall design lend a direct rustic poetry to this aspect of
PROVENANCE: Private collection, Paris; art market, Jacques Stella's work. Thematically, the scene reflects the
Paris. Northern tradition of depicting the labors of the months
and seasons, as for example in the engraving by Aegidius
EXHIBITIONS: None. Sadeler after Pieter Stevens's drawing of autumn.2 The
BIBLIOGRAPHY: None. Museum's drawing appears to date from relatively late in
Stella's career.
1. J. R. Thom, "Les pastorales de Jacques et Claudine Stella,"

Le courrier graphique 17 (September 1938), pp. 1520.
2. F. W. H. Hollstein, Dutch and Flemish Etchings, Engravings
and Woodcuts ca. 1450-1700 (Amsterdam, 1949), vol. 22, no.
144.
l82 F R E N C H S C H O O L J. STELLA
SIMON VOUET
1590-1649
77 Study of a FemaleFigure with

aPuttor
Study of a Male Nude v
Black and white chalk; H: 38.7 cm (15'în.); W: 21.8 cm
(89/i6in.)
87.06.104
ner, collection mark of Marquis Charles-Philippe de
Chennevires (L. 2072), unidentified collection mark
(L. 1516); (verso) unidentified collection mark (L. 1516).
PROVENANCE: Marquis Charles-Philippe de Chenne-
vires, Paris; Franois Heim, Paris (sale, Htel Drouot,
Paris, November 22, 1985, lot 4); art market, London.
EXHIBITIONS: None.
BIBLIOGRAPHY: None.
THE RECTO OF THIS SHEET APPEARS TO HAVE BEEN

made as a preparatory study for Vouet's painting Rinal-
do's Companions in the Garden ofArmida (Paris, M. Guyot
de Villeneuve collection). The picture is part of a series
of six illustrating Tasso's Gerusalemme liberata (1575) that
seem to have been made for the Htel de Bullion in the
early 16305. The female figure is very similar in pose and
placement to the nymph in the right foreground of the
painting, though the putto does not recur in the latter. A
perhaps earlier study for the nymph, showing her look-
ing up and to her left, is in the Louvre (inv. RF 14729). The
muscular male figure on the verso of the Museum's verso
drawing cannot be connected to a painting but is broadly
similar to others by Vouet.
184 FRENCH SCHOOL VOUET

recto
J E A N - A N T O I N E WATTEAU
1684-1721
78 Studies of Three Women THE CENTRAL FIGURE IS A STUDY FOR THE WOMAN
seated at the right foreground in the Embarkation for Cy-
9
Red, black, and white chalk; H: 26.8 cm (io /i6 in.); W: thera. Minor differences in detail between this figure in
32. 7 cm (i27/8n.) the two versions of the painting put the study on the Mu-
86.GB.59 seum's sheet closer to the one in the Louvre. For example
the bit of drapery at the figure's bottom right being
MARKS AND INSCRIPTIONS: At bottom left corner, un- pulled in the Louvre version by a child reflects the same
identified collection mark. detail in the drawing but is changed considerably in the
PROVENANCE: Jules-Robert Auguste, Paris and Rome later painting in Berlin. This figure also was used for a
(sale, J. Lematre-Lauguettrie, Paris, May 28, 1850, lot lost painting by Watteau, the Bon Voyage, known
loi or 102); Baron L. A. de Schwiter, Paris (sale, Htel through an engraving by Benot Audran.1 The woman
Drouot, Paris, April 20-21, 1883, lot 157); M. Larroque; standing at the right in the Museum's drawing was used
H.-A. Josse, Paris (sale, Galerie Georges Petit, Paris, in Watteau's painting Assembly in a Park (Louvre), where
May 28, 1894, lot 46); Jacques Doucet, Paris (sale, Galerie she appears with only minor changes in the left fore-
Georges Petit, Paris, June 5, 1912, lot 55); M. Feral; Don- ground. She also appears in engravings by Jean Audran2
aldson collection, London; Walter S. M. Burns, London; and Gilles Demarteau.3 Only the frontal figure at the left
Mortimer L. Schiff, New York (sale, Christie's, London, on the Museum's sheet cannot be connected to a known
June 24, 1938, lot 54); Lord Wharton, Dublin and Swit- painting. The drawing seems surely to date from circa
zerland; by descent to his heirs, Switzerland; art market, 1716, given the usual dating of 1716-17 for the Assembly
London. in a Park and of 1717 for the Louvre Embarkation to
Cythera.
EXHIBITIONS: European Masters of the Eighteenth Century,
Royal Academy of Arts, London, 1954-55, n- 277;
Christie's Bi-Centenary Exhibition, Christie's, London,
January 1967, no. 57. 1. E. Dacier and A. Vuaflart, Jean dejullienne et les graveurs de
Watteau au XVUle sicle (Paris, 1921), no. 35.
BIBLIOGRAPHY: E. de Concourt, Catalogue raisonn de 2. Figures de diffrents caractres, de paysages et d'tudes dessines
Voeuvre peint, dessin et grav d'Antoine Watteau (Paris, d'aprs nature par Antione Watteau (Paris, 1826), vol. 2, pi. 205.
1875), p. 366; G. Dargenty, Antoine Watteau (Paris, 1891), 3. P. Mantz, Antoine Watteau (Paris, 1892), p. 37.
p. 47; K. T. Parker, The Drawings of Antoine Watteau
(London, 1931), p. 45, no. 53; E. Michel, R. Aulanier,
and H. de Valle, Watteau: L'embarquement pour Vile de Cy-
thre (Paris, 1939), vol. 2, p. 13; H. Adhmar, L'embarque-
ment pour l'le de Cythre, Watteau (Paris, 1947), fig. 12;
K. T. Parker and J. Mathey, Antoine Watteau: Catalogue
complet de son oeuvre dessin (Paris, 1957), vol. 2, p. 315,
no. 606; M. Grasselli and P. Rosenberg with the assis-
tance of N. Parmantier, Watteau 1684-1721, exh. cat.
(National Gallery of Art, Washington, D.C., 1984), pp.
385-86, under no. 56; 400, 406, under no. 61.
l86 FRENCH SCHOOL WATTEAU

79 Two Studies of a Flutist and THIS is AMONG WATTEAU'S MOST COMPELLING Musi-
cal studies. With great spontaneity it shows an uniden-
One of the Head of a Boy tified musician playing the transverse flute, suggesting
that it was made while observing a concert. Though the
Red, black, and white chalk; H: 21.4 cm (87/i6 in.); W: young boy at the left is a not entirely felicitous addition,
33.6cm (i33/i6n.) it has recently been suggested by M. Stuffmann that he
88.GB.3 (SEE PLATE 7) may have been a member of the audience.1 He recurs on
at least three other sheets by Watteau (New York, John
and Paul Herring collection; Paris, private collection;
PROVENANCE: R. Brisart, Ghent; Andrew James, Lon- Paris, marquis de Ganay collection; Parker and Mathey
don; by descent to his daughter, Sarah Ann James, Lon- 1957, vol. 2, nos. 714, 715, 743). The study at the right
don (sale, Christie's, London, June 23, 1891, lot 33 5); Ste- was used for Watteau's painting Perfect Accord (London,
phan Bourgeois(?); Camille Groult, Paris; by descent to private collection), whereas the boy and the flutist in the
J. Groult, Paris; by descent to Pierre Bordeaux-Groult, center were etched by Franois Boucher and Laurent
Paris; private collection, Paris; art market, New York. Cars, respectively.2 While Perfect Accord may date toward
EXHIBITIONS: European Masters of the Eighteenth Century, the end of the second decade of the century, Grasselli (in
Royal Academy of Arts, London, 1954-55, n- 2$2; Grasselli and Rosenberg with Parmantier 1984-85) pos-
Watteau 1684-1721, National Gallery of Art, Washing- ited a date of 1716-17 for the Museum's drawing, which
ton, D.C., Galeries Nationales du Grand Palais, Paris, seems convincing.
and Schloss Charlottenburg, Berlin, June 1984-May
1985, no. 82 (catalogue by M. Grasselli and P. Rosenberg
with the assistance of N. Parmantier). 1. Conversation with G. Goldner, March 1989.
2. Figures de diffrents caractres, de paysages et d'tudes dessines
BIBLIOGRAPHY: G. Waagen, Galleries and Cabinets of Art
d'aprs nature par Antoine Watteau (Paris, 1826), vols, i, pi. 88; 2,
in Great Britain (London, 1857), p. 216; E. de Concourt, pi. 232.
Catalogue raisonn de l'oeuvre peint, dessin et grav d'An-
toine Watteau (Paris, 1875), pp. 258-59, under no. 448;
288, under no. 609; P. Leroi, "La saison des ventes pu-
bliques Londres et Paris," L'art 51 (1891), p. 98, no.
335, n. 4; P. Mantz, d., Cent dessins de Watteau, gravs par
Boucher (Paris, 1892), p. 109; J. Mathey, "Documents
indits: Aspects divers de Watteau dessinateur dans la col-
lection Groult," L'amour de l'art 10 (December 1938), pp.
375-76; H. Ascher, "Palette and Chisel," Antique Dealer
and Collectors' Guide 9, no. 6 (January 1955), p. 36; K. T.
Parker and J. Mathey, Antoine Watteau: Catalogue complet
de son oeuvre dessin (Paris, 1957), vol. 2, pp. 331; 332, un-
der no. 693; 334, under no. 714; 341, under no. 743; 353
54; 359, no. 837, under no. 838; A. P. de Mirimonde,
"Les sujets musicaux chez Antoine Watteau," Gazette des
Beaux-Arts 58 (November 1961), p. 286, n. 9; P. Jean-
Richard, L'oeuvre grav de Franois Boucher dans la collection
Edmond de Rothschild (Paris, 1978), pp. 42-43, under no.
71; F. Gtreau, "Watteau et la musique: Ralit et inter-
prtations," in F. Moreau and M. Grasselli, Antoine Wat-
teau (1684-1721): The Painter, His Age and His Legend
(Paris and Geneva, 1987), pp. 238-39; J.-F. Mjans, in
Dessins franais du XVIIIe sicle de Watteau Lemoyne, exh.
cat. (Muse du Louvre, Paris, 1987), p. 79, under no. 105.
188 FRENCH SCHOOL WATTEAU

8o The Remedy THIS UNUSUALLY COMPLETE DRAWING BY WATTEAU
was made in preparation for his painting now in the Nor-
3
Red, black, and white chalk; H: 23.4 cm (9 /i6 in.); W: ton Simon Museum, Pasadena. The latter has been cut
37.1 cm (i45/8n.) down substantially, so that the principal figure is severed
86.GB.594 just below her knees and the panel is reduced in height by
approximately one third. The drawing contains not only
MARKS AND INSCRIPTIONS: (Verso) on mount, in- the luscious nude lying provocatively in the foreground
scribed Watteau I Etude de femme nue couche sur un lit. Ser- but a nurse who appears at the right with a clyster in order
vante tenant une seringue 3 crayons I F. Villot in brown ink. to administer an enema. This figure either was excluded
PROVENANCE: Frdric Villot, Paris (sale, Vignres, by Watteau from the final painting or was in the section
Paris, May 16-18, 1859, lot 184); sale, Htel Drouot, that was removed. The erotic overtones of the depicted
Paris, December 6, 1875, lot 46; Alexandre Dumas th action have been pointed out by Posner (1972, 1973,
Younger, Paris; Antoine Vollon, Paris; Camille Groult, 1984). The nude and bed were executed by Watteau with
Paris; by descent to J. Groult, Paris; by descent to Pierre consummate mastery, while the nurse seems to have
Bordeaux-Groult, Paris; John R. Gaines, Lexington, given him greater difficulty. He drew her head twice over
Kentucky; art market, New York. an earlier and perhaps unrelated head study. She also ap-
pears on another sheet in the Louvre (inv. 33381) that
EXHIBITIONS: Watteau 1684-1721, National Gallery of contains two sketches of heads made in connection with
Art, Washington, D.C., Galeries Nationales du Grand the second version of the Embarkationfor Cythera (Berlin,
Palais, Paris, and Schloss Charlottenburg, Berlin, June Schloss Charlottenburg). The Museum's drawing prob-
1984-May 1985, no. 88 (catalogue by M. Grasselli and ably dates from circa 1717.
P. Rosenberg with the assistance of N. Parmantier).
BIBLIOGRAPHY: J. Mathey, "Aspects divers de Watteau
dessinateur dans la collection Groult," L'amour de l'art io
(December 1938), pp. 372-73; H. Adhmar and R.
Huyghe, Watteau: Sa vie, son oeuvre (Paris, 1950), p. 54,
no. 20; K. T. Parker andj. Mathey, Antoine Watteau: Cat-
alogue complet de son oeuvre dessin (Paris, 1957), vol. 2, p.
366, no. 865; J. Mathey, Antoine Watteau: Peintures rap
parues, inconnues ou ngliges par les historiens identification
par les dessins, chronologie (Paris, 1959), pp. 49, 79; M.
Cormack, The Drawings of Watteau (London, 1970), pi.
114; D. Posner, "Watteau's Reclining Nude and the 'Rem-
edy' Theme," Art Bulletin 54, no. 4 (December 1972),
pp. 385-88; idem, A Lady at Her Toilet (London, 1973),
PP- 35 ~36, 99; O. T. Banks, Watteau and the North (New
York, 1977), p. 185; D. Posner, Antoine Watteau (London,
1984), pp. 105-6; M. Roland Michel, Watteau: An Artist
of the Eighteenth Century (New York, 1984), p. 221.
190 FRENCH SCHOOL WATTEAU

D E N Y S VAN ALSLOOT
1570-1628
81 Forest Landscape with a THIS AND TWO FURTHER EXAMPLES, ONE DATED I0o8
(Paris, Ecole des Beaux-Arts inv. M. 33 5) and another
Distant Castle dated ion,1 are among the handful of signed drawings
by Alsloot that have been published. In contrast to the
Pen and brown ink and brown and blue-gray wash; H: sketchy character of other drawings associated with him,
20.3 cm (8 in.); W: 27.6 cm (io 7 /8n.) these three are fully developed compositions of great
86.GA.9 technical refinement. Although it cannot be ruled out
that the Museum's drawing was made as a study for a
painting, it was more probably made as an independent
ner, dated 1608 in brown ink; at bottom right corner,
work of art. It offers a tranquil prospect through a forest
signed D.ab Alsloot.S.A.Pic: in brown ink; (verso) in-
toward buildings on a distant bluff. Alsloot's landscapes
scribed Alsloot in graphite.
frequently combine imaginary forest scenes with views
PROVENANCE: Private collection, Paris; art market, of castles and abbeys located in the forest of Soignes near
London. Brussels, a region with close historical ties to the Brussels
court, where he was employed as official painter. The
EXHIBITIONS: None.
previously mentioned drawing in the Ecole des Beaux-
BIBLIOGRAPHY: None. Arts, which is particularly close in composition to the
present example, shows the chateau of Tervueren in the
background. The specificity of the structures and topog-
raphy in the background of the Museum's drawing sug-
gests that the view may also correspond to an actual site
that has not yet been identified.
I . E . Brugerolles with the assistance of D. Guillet, Renaissance

et manirisme dans les coles du nord: Dessins des collections de l'Ecole
des Beaux-Arts, exh. cat. (Ecole des Beaux-Arts, Paris, and
Hamburger Kunsthalle, Hamburg, 1985), no. 121; Master
Drawings Presented by Adolphe Stein, exh. cat. (Bury Street Gal-
lery, London, 1981), no. I.
192 FLEMISH SCHOOL ALSLOOT

CIRCLE OF GILLIS VAN CONINXLOO
1544-1607
82 Forest Scene inal prints that often emphasize monumental trees in the
tradition of the former. None of these, however, corre-
Brush and gray and white gouache on black prepared pa- spond to the Museum's sheet, and de Bruyn's drawn
per; H: 54.4 cm (21'Ain.); W: 42.1 cm (i6 9 /i6n.) oeuvre remains little known. This sheet has also been
87.00.12 compared to drawings by Frederick van Valckenborch,
Kerstiaen de Keuninck (Gerszi 1971, p. 36), and Jacques
MARKS AND INSCRIPTIONS: (Verso) on mount, in- Fouquier (Zafran 1986, p. 97), but thus far the attribution
scribed Nicholas de Bruyn, Paignon-Dijonval coll., no. 1306 to the circle of Coninxloo remains most supportable.1
in brown ink. Although late sixteenth- and early seventeenth-
PROVENANCE: Paignon-Dijonval, Paris; Col. P. L. century Netherlandish brush drawings of trees done in
Bradfer-Lawrence, Norwich; by descent; art market, colored wash are not uncommon, the use of grisaille, not
London. to mention the large scale of the present drawing, render
it exceptional. Overall it is most comparable to a brush
EXHIBITIONS: Drawings by Old Masters, Royal Academy drawing of a tree and travelers in the Kupferstichkabi-
of Arts, London, 1953, no. 205 (catalogue by K. T. Parker nett, Berlin (inv. Kdz 16558), also made on black-
andj. By am Shaw). prepared paper but mixing reddish brown and gray
BIBLIOGRAPHY: M. Bnard, Cabinet de M. Paignon Di- gouache. Although previously associated with Elshei-
jonval (Paris, 1810), no. 1306; T. Gerszi, Netherlandish mer, the Berlin sheetlike the Getty sheetis more
Drawings in the Budapest Museum (Amsterdam, 1971), p. strongly tied to the style of Coninxloo,2 and both would
36, under no. 54; E. M. Zafran, Master Drawings from Ti- appear to date from the first several decades of the sev-
tian to Picasso: The Curtis O. Baer Collection, exh. cat. enteenth century. The moody, haunting quality of the
(High Museum of Art, Atlanta, 1986), p. 97, under no. nocturnal scene in the Museum's drawing might derive
53- from the graphic art of the School of Prague, as can be
seen in the engraving Moonlit Landscape with Fishermen by
THE ATTRIBUTION OF THIS LARGE FOREST SCENE, a River by Aegidius Sadeler after Pieter Stevens.3
drawn in grisaille with a brush, to Gillis van Coninxloo
is due to Parker and Byam Shaw (1953, no. 205). While
the work is not comparable to the delicate pen sketch in 1. The author here concurs with the opinion of C. van Hasselt,
the Kupferstichkabinett, Berlin (inv. xdz 12958) generously shared in a letter of October 6, 1986.
among the few drawings that have been plausibly asso- 2. H. Mhle, Die Zeichnungen Adam Elsheimers (Berlin, 1966),
ciated with his handit has a strong affinity with paint- no. A 17, pi. 53. The association of this drawing with the style
ings by him (for example Landscape with Hunters [Speyer, of Coninxloo was kindly confirmed by H. Mielke (letter to
L. Hendrix, September 20, 1989).
Historisches Museum der Pfalz inv. H. M. 1957/122]). In-
3. A. Zwollo, in Prag um 1600: Kunst und Kulturam Hofe Rudolfs
triguing as it may be, the attribution of the drawing to
//., exh. cat. (Kulturstiftung Ruhr, Villa Hgel, Essen, 1988),
Nicolaes de Bruyn in the catalogue of the Paignon- no. 3233.
Dijonval collection (Bnard 1810) remains difficult to
substantiate. De Bruyn, best known for his engravings
after Coninxloo and David Vinckboons, also made orig-
194 F L E M I S H S C H O O L C I R C L E OF CONINXLOO
JAMES ENSOR
1860-1949
83 Christ's Entry intoJerusalemr prentenkabinet, Amsterdam, May-September 1987,

no. 49 (catalogue by R. Hoozee, S. Bown-Taevernier,
Christ Bearing the Crossv and J. F. Heijbroek); James Ensor, Muse du Petit Palais,
Paris, April-July 1990, no. 85 (catalogue entry by G.
Graphite and Cont crayon on off-white wove paper Ollinger-Zinque).
(recto); graphite (verso); H: 22.5 cm (8% in.); W: 16.6 cm BIBLIOGRAPHY: W. Vanbeselaere, L'entre du Christ
(6 Vain.) Bruxelles (Brussels, 1957), pp. 17, 32, 37; P. Haesaerts,
89.00.42 Ensor (New York, 1959), p. 180; W. Vanbeselaere,
MARKS AND INSCRIPTIONS: (Recto) at top, inscribed "Quand James Ensor peignant 'L'entre du Christ
SalutJesus roi desJuifs, Vive . . . la Sociale, Les XX on ban- Bruxelles,'" L'oeil 31 (November 1965), p. 30; J. Kaplan,
ners in Cont crayon by the artist. "The Religious Subjects of James Ensor, 1877-1900,"
Revue belge d'archologie et d'histoire de l'art 35 (1966), p.
PROVENANCE: Mme Klerx-Rousseau, Brussels; Ernest 203; G. Ollinger-Zinque, "Les auroles du Christ ou les
Rousseau, Brussels; Jeanne Demany-Rousseau, Brus- sensibilits de la lumire de James Ensor, " Bulletin des
sels; art market, Ostend; art market, Zurich. Muses Royaux des Beaux-Arts de Belgique 3-4 (1968), p.
EXHIBITIONS: Retrospective James Ensor, Koninklij k Mu- 197; idem, Ensor par lui-mme (Brussels, 1976), p. 102,
sum voor Schone Kunsten, Antwerp, June-August no. 17; R. L. Delevoy, Ensor (Antwerp, 1981), pp. 190-
1951, no. 56 (catalogue by W. Vanbeselaere) ;JdW$:tts0r, 91, no. 29; D. Lesko, James Ensor: The Creative Years
Kunsthalle, Basel, and Landesmuseum, Munster, 1963, (Princeton, 1985), p. 133; S. McGough, James Ensor's
no. 107 (catalogue by M. de Maeyer); Ensor, Art Institute "The Entry of Christ into Brussels in 1889" (New York and
of Chicago and Solomon R. Guggenheim Museum, London, 1985), pp. xv, 118; B. Adams, "Low Countries
New York, 1976-77, no. 77 (catalogue byJ. D. Farmer); Charade," Art in America 78, no. n (November 1990),
Ensor: Dipintidisegniincisioni, Palazzo dei Conserva- p. 84.
tori, Campidoglio, Rome, July-August 1981, no. 48
(catalogue by M. Calvesi and F. P. Edebau); James
Ensor (1860-1949), Tel Aviv Museum, September-
November 1981, no. 49 (catalogue by N. Guralnik);
James Ensor, Kunsthaus, Zurich, and Koninklijk Mu-
sum voor Schone Kunsten, Antwerp, May-October
1983, no. 184 (catalogue by G. Ollinger-Zinque); Gus-
tave Klimt, Egon Schiele, James Ensor, Alfred Kubin: Knst-
ler derjahrhundertwende, M. Knoedler, Zurich, Septem-
ber-December 1983, no. 6 (catalogue by B. Catoir, A.
Strobl, andE. Mitsch); IkJames Ensor: Tekeningen en Pren-
ten, Musum voor Schone Kunsten, Ghent, and Rijks-
196 FLEMISH SCHOOL ENSOR

DURING 1885-86 ENSOR BECAME INCREASINGLY recto of the Getty drawing is among the earliest depic-
preoccupied with the portrayal of Christ. This resulted tions of a theme that would eventually evolve into the
in the group of five large-scale drawings and one paint- painting Christ's Entry into Brussels in 1889 (Malibu, J.
ing of the life of Christ entitled Visions: The Aureoles of Paul Getty Museum).
Christ or the Feelings of Light, which he sent to the
Brussels exhibition of the avant-garde artists' group Les
XX (Les Vingt) in 1887. The centerpiece was the third
1. F. W. H. Hollstein, Dutch and Flemish Etchings, Engravings,
drawing in the series, The Lively and Radiant: The Entry and Woodcuts (Amsterdam, n.d.), vol. 15, no. 46.
into Jerusalem (Ghent, Museum voor Schone Kunsten 2. My thanks to S. Goddard for informing me of his previ-
inv. I93-E), which measures 2 by i y2 meters and was ex- ously unpublished discovery in a letter of May 1991.
ecuted in 1886. The Getty study is preparatory to the
large drawing and, despite its far smaller scale, corre-
sponds to the finished work in surprising detail. Its
rough, linear technique establishes the structure of the
composition and imbues the whole with tumultuous en-
ergy. This gives way in the finished version to a sense of
life emanating from visionary effects of luminosity and
shadow achieved through the softer, richer handling of
black and brown chalk.
The Ernest Rousseau collection formerly contained
the Getty drawing as well as the studies for Christ Shown
to the People (Dusseldorf, Kunstmuseum inv. K. 1983-74)
and Christ Ascending to Heaven (art market, Zurich). Due
to their similar measurements, it has been proposed that
they were all probably made in 1885 and might have orig-
inally been conceived as a triptych, as such forming the
kernel around which the Aureoles eventually developed
(Hoozee, Bown-Taevernier, andHeijbroek 1987, p. 62).
Unpublished heretofore is Christ Bearing the Cross, on the
verso of the present drawing, which suggests that Ensor
possibly contemplated including this subject in the Au-
reoles. Moreover S. Goddard has discovered that the
small sketch of the woman and child on the verso is de-
rived from Adriaen van Ostade's etching The Family of
I47,1 a work that also inspired Ensor's drawing in the
1888 catalogue of the annual exhibition of Les XX.2 The
ENSOR FLEMISH SCHOOL 197

recto
verso
JACOB JORDAENS
1593-1678
84 Man Kneeling, Facing Right* MAN KNEELING, FACING RIGHT is ONE OF A GROUP
of monumental draped figure studies by Jordaens.1 Its
Sketches of Figuresv large scale is characteristic of this group, as is its painterly
use of colored pigment to model the drapery. Jordaens
Black chalk, brown and ocher wash, and violet and mas- applied a thick coat of massicot gouache to highlight the
sicot gouache (recto); black chalk (verso); H: 36.9 cm cloak and violet wash to articulate the strip of lining vis-
(i4I/2n.); W: 33.4 cm (i3 3 /i6n.) ible behind the figure's left hand. As noted by d'Hulst
87.00.130 (1974, vol i., pp. 202-3), the sheet is most similar to a
study of a kneeling woman facing right in the Yale Uni-
MARKS AND INSCRIPTIONS: (Verso) inscribed No A in versity Art Gallery, New Haven (inv. 1959.9.5),2 which
brown ink. also has figure studies in black chalk on the verso. Neither
PROVENANCE: Art market, Paris; J. P. Dumont, Paris drawing has been connected to a further work. D'Hulst
(sale, Htel Drouot, Paris, June 19, 1986, lot 212); art (ibid.) suggested that the present example might have
market, London. been made as a study for an apostle kneeling in the fore-
ground of an Assumption of the Virgin, as was the drawing
EXHIBITIONS: None. from this group in the Kupferstichkabinett, Berlin (inv.
BIBLIOGRAPHY: R.-A. d'Hulst, Jordaens Drawings (Lon- 2825). Although he believed that both the Getty and Yale
don and New York, 1974), vls- !> PP- 202-3, under no. drawings were made circa 1630-35, their stylistic affinity
Ai03a; no. AiO3b; 2, p. 349, under no. A28. to Man Standing with Raised Hand, a study in the Institut
Nerlandais (inv. 3029) that served as a basis for Saint Ivo
in the painting Saint Ivo, Patron of Lawyers of 1645 (Mu-
ses Royaux des Beaux-Arts de Belgique), suggests a
somewhat later date.3 The compositional study on the
verso of the Getty drawing is too vague to allow an iden-
tification of the subject.4
1. The others are in the Yale University Art Gallery (Everett

V. Meeks Fund, inv. 1959.9.5); Museum Boymans-van Beu-
ningen (inv. v.83); formerly Alfred Brod Gallery, London; In-
stitut Nerlandais (inv. 3029); Muse des Beaux-Arts, Arras
(inv. N-2-I99); and Kupferstichkabinett, Berlin (inv. 2825).
2. E. Haverkamp-Begemann and A.-M. Logan, European
Drawings and Watercolors in the Yale University Art Gallery 1500-
1900 (New Haven and London, 1970), vols, i, no. 579; 2, pi.
301.
3. The connection of the Paris drawing to the painting was rec-
ognized by J. S. Held, in "Tekeningen van Jacob Jordaens
(1593-1678)," Kunstchronik 20, no. 4 (April 1967), pp. 95-96.
4. D'Hulst has commented on the frequent occurrence of ab-
breviated compositional sketches on the versos of Jordaens's
drawings (1984, vol. i, p. 202, under no. 1033). Ones com-
parable to this example include the black chalk sketch Pan Teased
by Nymphs (location unknown). See R. A. d'Hulst, 'Jordaens
Drawings: Supplement I," Master Drawings 18, no. 4 (Winter
1980), pi. 23.
200 FLEMISH SCHOOL JORDAENS

recto
verso (no. 84)
P E T E R PAUL R U B E N S
1577-1640
85 Anatomical Studies AMONG THE MOST IMPORTANT RECENT ADDITIONS TO

Rubens's oeuvre is a group of eleven anatomical draw-
ings.1 Executed in a luminous light brown ink, the pres-
Pen and brown ink; H: 28 cm (n in.); W: 18.7 cm (73/s
ent drawing is one of six in the group (lots 57-62) por-
in.)
traying full or partial views of heroically muscular
88.GA.86
acorches in motion. The principal figure demonstrates the
MARKS AND INSCRIPTIONS! None. musculature of the back, buttocks, and legs. It is depicted
PROVENANCE: Sir Roger Newdegate; by descent (sale, from a vantage point at the bottom right, with subsidiary
Christie's, London, July 6, 1987, lot 61); art market, views of the same figure and a detail of the left arm por-
London. trayed from the top left. The web of diagonals and or-
thogonals created by the figures and enhanced by their
EXHIBITIONS: An Exhibition of Old Master Drawings, lunging poses evidences a complex and dynamic grasp of
Richard Day, Ltd., New York and London, November- the human form in three dimensions.
December 1987, no. 23. JafTe (1987, p. 58), who first attributed the newly
BIBLIOGRAPHY: M. JafF, "Rubens's Anatomy Book," discovered anatomical drawings to Rubens,2 argued that
in sale catalogue, Christie's, London, July 6, 1987, pp. the artist made them and several other surviving corchs
58-6i;J. GarffandE. de la Fuente Pedersen, Rubens Can- in preparation for a projected instructional book on anat-
toor: The Drawings of Willem Panneels (Copenhagen, omy that he was unable to publish.3 Copies of a number
1988), vol. i, pp. 79-80; D. Jaff, Rubens' Self-Portrait in of these anatomical drawings, probably by his assistant,
Focus, exh. cat. (Australian National Gallery, Canberra, Willem Panneels, form part of the so-called Cantoor
1988), p. 31; D. Bodart, "Abbozzo di ritratto," in Pietro group of drawings preserved in Copenhagen (Statens
Paolo Rubens (1577-1640), exh. cat. (Palazzo della Ra- Museum for Kunst, Den Koneglige Kobberstik-
gione, Padua, Palazzo delle Esposizioni, Rome, and So- samling). These include a copy of the right-hand figure
ciet per le Belle Arti ed Esposizione Permanente, Milan, on the present sheet (Box vi, 44). After Rubens's death,
1990), pp. 16, 18. Paulus Pontius reproduced the Museum's and several of
the other anatomical studies as part of an album of en-
gravings after the master's drawings.4 The print after the
Museum's drawing, which is in reverse, follows it in
most details. Jaffa's suggestion (ibid.) that Rubens orig-
inally made the drawing with an engraving in mind is
corroborated by its linear technique and the calculated in-
terrelation of the forms on the page.
Taken as a whole, this drawing encapsulates the in-
tensive and synthesizing study of the human form which
Rubens undertook during his Italian sojourn. Calling to
mind his study of the Laocoon as well as of antique sculp-
tural combatants of the type represented by the Borghese
Warrior (Louvre), it also evidences a grasp of the body's
muscular structure, which presupposes a study of An-
drea Vesalius's De humani corporis fabrica (1543). This is
notable particularly in the truncation of the main figure's
right arm to suggest antique sculpture, continuing a con-
vention begun in the Vesalian illustrations.5 Above all,
RUBENS FLEMISH SCHOOL 2O3

however, one can see the impact of Michelangelo, both
in the extensive delicate hatching articulating the mus-
culature and in the surging, heroically proportioned
forms. The Italianate character of its handling and sub-
ject matter and the Mantuan watermarks on its compan
ion drawings argue for a dating of the sheet to the early
years of Rubens's Italian sojourn.
1. Auctioned at Christie's, London, July 6, 1987, lots 57-67.

As mentioned in the sale catalogue, lots 60, 62, 64, and 67 bore
a watermark of a fleur-de-lis above the letter M (similar to Bri-
quet 7307 [recorded at Mantua, 1575]), and lots 58 and 61 bore
the countermark CP with a trefoil.
2. The attribution of the Museum's drawing to Rubens has
been confirmed by E. Haverkamp-Begemann and A.-M. Lo-
gan (conversations with G. Goldner, 1987).
3. Another in this group is Anatomical Study of Legs (Albertina
inv. 8.3 09). For further discussions of Rubens's anatomy book,
see M. JafF, Van Dyck's Antwerp Sketchbook (London, 1966),
vol. i, pp. 38-39, 42-43.
4. Undated; published by A. Voet, Antwerp. The frontispiece
bears the centered inscription PETRUS PAULUS I RUB-
BENS / DELINEAVIT. SeeM. Rooses, L'Oeuvre de P. P. Ru-
bens (Antwerp, 1892), vol. 5, no. 1229; C. G. Voorhelm
Schneevoogt, Catalogue des estampes graves d'aprs P. P. Rubens
(Haarlem, 1873), Suites, no. 68. See also J. Bolten, Method and
Practice: Dutch and Flemish Drawing Books 1600-1750 (Landau,
1985), pp. 102-6. GarfFhas advanced the untenable suggestion
that the present drawing may be a copy by Pontius after Rubens
or by an Italian draughtsman such as Passarotti (Garff and de la PAULUS PONTIUS (Flemish, 1603-1658). Study of ThreeEcorchs
Fuente Pedersen 1988, vol. i, pp. 80-81). (after Peter Paul Rubens). Engraving. H: 3i.4cm(i2 3 /8n.); W:
5. G. Harcourt, "Andreas Vesalius and the Anatomy of An- 21.7 cm (85/s in.). Antwerp, Stad Antwerpen Museum Plantin
tique Sculpture," Representations 17 (Winter 1987), p. 29. Moretus en Prentenkabinet m/P.289.
2O4 FLEMISH SCHOOL RUBENS

86 The Adoration of the 1977), pp. 131-32; J. R. Judson and C. van de Yelde,
Book Illustrations and Title-Pages, Corpus Rubenianum
Shepherds Ludwig Burchard, vol. 21 (London and Philadelphia,
1978), vol. i, pp. 130-31, no. 2ia; A.-M. Logan, "Re-
Pen and brown ink, brown wash, and white gouache view of Julius S. Held: Rubens: Selected Draw ings," Master
heightening, incised for transfer; H: 27.9 cm (n in.); W: Drawings 25, no. i (Spring 1987), p. 64.
18. i cm (yVsin.)
86.GA.592 (SEE PLATE n) THE ACCOUNTS OF THE PLANTIJN PRESS FROM THE
years 1610-18 record a payment to Rubens for nine de-
MARKS AND INSCRIPTIONS: At bottom left, inscribed
signs for a new edition of the Breviarium romanum (com-
P. P. Rub . . . in brown ink.
pleted by March 10, 1614)* which included the present
PROVENANCE: Henri Tersmitten, Amsterdam (sale, Jean drawing (Judson and van de Velde 1978, vol. 2, p. 447).
de Bary and Pierre Yver, Amsterdam, September 23 et On April 12, 1614, Theodore Galle received payment for
seq., 1754, lot 430); Pieter Testas the Younger, Amster- cutting the plate for the engraving (ibid., p. 455), which
dam (sale, Hendrik de Leth, Amsterdam, March 29, is in reverse of the drawing and departs from it only in a
1757, lot 49); Gerard Hoet, Jr., The Hague (sale, Ottho few details, such as the addition of a strip at the top show-
van Thol, The Hague, August 25-28, 1760, lot 243); ing the rafters of the stable. This is among the most richly
Dionis Muilman, Amsterdam (sale, Jan de Bosch, Jr., worked of Rubens's drawings for the Breviarium and is
Corn. Ploos van Amstel, Hendrik de Winter, Amster- notable for its delicate effects of nocturnal illumination.
dam, March 29, 1773, lot 965); M. Neyman, Amsterdam Such careful and detailed execution, which left little to the
(sale, F. Basan, Paris, July 8-n, 1776, lot 755); Armand- initiative of the cutter, is also apparent in The Adoration
Frdric-Ernest Nogaret (sale, Langlier, Antoine C. D. of the Magi (Pierpont Morgan Library inv. i, 230). The
Thierry, Paris, April 6, 1807, lot 457); sale, Christie's, stylistic similarity between the two argues for a date of
London, April 2, 1947, lot 47; Ludwig Burchard, Lon- 1613 (ibid., vol. i, p. 131, no. 2ia).
don; W. Burchard, Farnham; art market, New York. The Adoration of the Shepherds forms a transition be-
tween Rubens's later Nativities and his paintings of the
EXHIBITIONS: Drawings by Old Masters, Royal Academy
scene of 1608, in the church of San Filippo Neri, Fermo
of Arts, London, 1953, no. 292 (catalogue by K. T. Par-
(Fermo, Museo Civico), and in the Sint-Pauluskerk,
ker and J. Byam Shaw); Flemish Art 1300-1700, Royal
Antwerp, the latter executed in the years following his
Academy of Arts, London, Winter 1953-54, n- 57
return from Italy. The Museum's drawing follows the
(catalogue of drawings by K. T. Parker and J. Byam
correggesque precedent of the Fermo and Antwerp pic-
Shaw); De Madonna in de Kunst, Museum voor Schone
tures by showing the onlookers bathed in miraculous
Kunsten, Antwerp, August-November 1954, no. 335
holy light emitted by the Christ child. As noted by Bau-
(catalogue by F. Baudoin, F. van den Wijngaert, and J.
douin (1972, pp. 89-90), this composition is echoed in
van Herck); Tekeningen van P. P. Rubens, Rubenshuis,
the oil sketch of circa 1615-16 in the Rubenshuis, Ant-
Antwerp, June-September 1956, no. 48 (catalogue by
werp (inv. s.i23). The statuesque woman balancing the
L. Burchard and R.-A. d'Hulst).
milk pitcher on her head, who makes her first appearance
BIBLIOGRAPHY: F. Basan, Dictionnaire des graveurs: An- in the Getty drawing, recurs in Rubens's paintings of the
ciens et modernes depuis l'origine de la gravure (Paris, 1767), Nativity in the Alte Pinakothek and in the Muse des
p. 14, no. il bis; C. G. Voorhelm Schneevoogt, Catalogue Beaux-Arts, Marseilles (Judson and van de Velde 1978,
des estampes graves d'aprs P. P. Rubens (Haarlem, 1873), vol. i, pp. 129-30).2
p. 18, under no. 41; M. Rooses, L'oeuvre de P. P. Rubens
(Antwerp, 1892), vol. 5, p. 60, under no. 1253; E.
Haverkamp-Begemann, Olieverfschetsen van Rubens,
1. B. Moretus, Antwerp, to Jan Hasrey, Madrid, March 10,
exh. cat. (Museum Boymans-van Beuningen, Rotter-
1614 (cited in Judson and van de Velde 1978, vol. 2, p. 399).
dam, 1953), p. 50, under no. 20; F. Baudouin, "De Aan- 2. R. Oldenbourg, P. P. Rubens: Des Meisters Gemlde, Klassi-
bidding der Herders, een Schets van P. P. Rubens," An- ker der Kunst 5, 4th ed. (Stuttgart and Berlin, 1921), pp. 166,
twerpen i (1955), p. 3; L. Burchard and R.-A. d'Hulst, 198.
Rubens Drawings (Brussels, 1963), vol. i, p. 114, under
no. 68; F. Baudouin, Rubens en Zijn Eeuw (Antwerp,
1972), pp. 89-91; idem, Pietro Paolo Rubens (Antwerp,
2O6 FLEMISH SCHOOL RUBENS

JOSEPH-BENOIT SUVEE
1743-1807
$7 The Invention of Drawing THIS DRAWING DEPICTS DlBUTADE, A CORINTHIAN

maiden, tracing her lover s silhouette on the wall of her
Black and white chalk on brown paper (recto); H: 54.6 father's studio so as to retain a remembrance of his ap-
cm (2i l /2in.); W: 35.5 cm (14 in.) pearance after his departure. In this composition Suve
87.06.145 followed the precedent of David Allan, who showed the
two lovers embracing in his picture of 1773 (National
MARKS AND INSCRIPTIONS: (Recto) at bottom, in- Gallery of Scotland), which Suve might well have seen
scribed J.B. SUVEE. A SON AMI VAN SPAEN- in Rome. Suve was commissioned to paint this theme
DONCK MEMBRE DE L'INSTITUT NATIONAL for the Socit des Amis des Arts in 1791 and exhibited
on attached strip in graphite by the artist. the painting, now in the Groeningemuseum, Bruges, in
PROVENANCE: Gerardus van Spaendonck, Paris (sale, the Salon of that year. Two smaller versions were also
Paillet, Paris, July 15, 1822, lot 37); sale, Christie's, Lon- completed, one shown at the Salon of 1793 and another
don, December 13, 1984, lot 150; art market, Boston. confiscated from the house of Simon-Charles Boutin in
the same year (Mjans 1985). Both of these works have
EXHIBITIONS: None. disappeared. In addition several drawings of this theme
BIBLIOGRAPHY: J.-F. Mjans, in D. Coekelberghs and by Suve are recorded, including two in his sale of I8O71
P. Loze, d., 17701830: Autour au no-classicisme en Bel- and another, sold in 1902, dedicated to his friend L. E.
gique, exh. cat. (Muse des Beaux-Arts d'Ixelles, Brus- van Outryve (ibid.). The Museum's drawing was cer-
sels, 1985), p. loi, under no. 63. tainly made as a replica rather than as a preparatory study.
It demonstrates command of a highly refined Neoclas-
sical aesthetic with strong Romantic overtones. There is
a faint sketch of a leg bone in black chalk on the lining on
the verso of the sheet.
i. Regnault and Andr, Paris, November 4-7, 1807, lots 41,

73-
208 FLEMISH SCHOOL SUVEE

LUCAS VAN UDEN
1595-1672
88 Forest Road at Evening VAN UDEN PRODUCED A NUMBER OF PASTORAL LAND-

scape paintings with cattle and women bearing milk con-
Pen and brown ink and watercolor; H: 18.7 cm (yVsin.); tainers, but none correspond to the present drawing,
W:28.8cm(ii 3 / 8 in.) which appears to have been made as a finished work of
89.00.39 art. Although many of his watercolors depict actual sites,
this example gives the impression of showing an imag-
MARKS AND INSCRIPTIONS: (Recto) at bottom right inary idyllic panorama. The composition, with its shim-
corner, partial dry stamp of Franois Renaud (L. Suppl. mering birches in the left foreground and deep vista
1042), signed /. v.v in brown ink; on mount, at bottom opening onto a flat landscape punctuated by a church
center, inscribed F.55 in brown ink; (verso) collection spire, is reminiscent of Rubens's painting Summer
mark of John MacGowan (L. 1496), indecipherable (Windsor Castle, Royal Collection). In this drawing van
paraph. Uden brought to a high degree of delicacy Rubens's ten-
PROVENANCE: Franois Renaud, Paris; John Mac- dency to portray sunlight filtering through the scintillat-
Gowan, Edinburgh (sale, T. Philippe, London, February ing foliage of trees. Indeed van Uden often isolated this
i, 1804, lot 706); private collection (sale, Christie's, Am- motif as the focal point of drawings, as in Three Birch
sterdam, December i, 1986, lot 4); art market, London. Trees (Institut Nerlandais inv. 3090). A number of the
artist's watercolors are dated to the 16405, during which
EXHIBITIONS: None. decade the present example might also have been made.
BIBLIOGRAPHY: None.
210 F L E M I S H S C H O O L VAN UDEN

DAVID V I N C K B O O N S
1570-ciRCA 1632
8 Peasant Kermis VINCKBOONS'S SURVIVING DRAWINGS OF A KERMIS, OR

peasant festival, include four that date successively to
Pen and brown ink and brown and gray wash; H: 21.3 1602 (Copenhagen, Statens Museum for Kunst, Den Ko-
cm (83/s in.); W: 33.9 cm (i35/i6 in.) neglige Kobberstiksamling inv. SK 18.7), 1603 (Pierpon
88.GA.I2
Morgan Library inv. m, 164), 1604 (the present sheet),
and 1605 (Amsterdam, P. and N. de Boer collection).
MARKS AND INSCRIPTIONS: (Recto) at bottom right Like the Morgan drawing of a year earlier, the Getty ex-
corner, unknown collection mark B, signed and dated ample seems to have been made as an independent work
D VB 1604 in brown ink; on mount, at center, inscribed of art. It reflects the precedents of what now appears to
Vinck-Boons. in black ink; (verso) unknown collection be Vinckboonss earliest surviving kermis scene, the
mark B stamped twice; on mount, inscribed 65. in well-known .painting in the Staatliche Kunstsammlun-
brown ink. gen, Dresden,1 and the Copenhagen drawing of 1602,
PROVENANCE: Private collection (sale, Sotheby's, Lon- which was engraved twice.2 The overall disposition of
don, November 22, 1974, lot 28); J. Theodor Cremer, the figures is closest to the artist's painting Village Festival
New York; art market, London. (Paris, private collection), which K. Goossens dated to
circa 1604 (Wegner and Pee 1980, p. 65, under no. I9).3
EXHIBITIONS: None. The present example is more dynamic spatially than
BIBLIOGRAPHY: W. WegnerandH. Pee, "DieZeichnun- Vinckboonss earlier peasant kermis drawings, largely
gen des David Vinckboons," Mnchner Jahrbuch der Bil- due to the focus on the "round dance" that snakes into
dendenKunst, 3rd ser., 31 (1980), pp. 39, 41; 63-64, under the distance. The gray washes lending weight to the fig-
no. 16; 65-66, no. 19; 72, under no. 27; P. C. Sutton et ures and the finely delineated church in the background
al., Masters of Seventeenth-Century Dutch Genre Painting, are precedents for similar features in the 1605 drawing.4
exh. cat. (Philadelphia Museum of Art; Gemldegalerie,
Staatliche Museen Preussischer Kulturbesitz, Berlin; and
Royal Academy of Arts, London, 1984), p. 352, under 1. Although dated circa 1611 by K. Goossens in David Vinck-
no. 122, n. i;J. O. Hand et al., The Age of Bruegel: Neth- boons (Antwerp, 1954), pp. 78-79, it has recently been noted
erlandish Drawings in the Sixteenth Century, exh. cat. (Na- that there is a copy of this undated painting in Kromrz Castle
tional Gallery of Art, Washington, D.C., and Pierpont (inv. 365), signed and dated 1601 (Sutton et al. 1984, p. 352, n.
Morgan Library, New York, 1986), p. 300, under no. 2, under no. 122).
118, n. 4; J. Briels, Vlaamse Schilders in de Noordelijke Ned- 2. F. W. H. Hollstein, Dutch and Flemish Etchings, Engravings
and Woodcuts, ca. 14501700 (Amsterdam, 1949), vols. 3, no.
erlanden in het Begin van de Gouden Eeuw 1585-1630 (Ant-
320; 4, no. 171.
werp, 1987), pp. 122, fig. 140; 125. 3. See also Goossens (note i), pp. 70-71.
4. There is a copy of the present drawing in the Herzog Anton
Ulrich-Musum, Braunschweig; see E. Flechsig, Zeichnungen
alter Meister im Landesmuseum zu Braunschweig (Frankfurt,
1925), no. 68.
212 FLEMISH SCHOOL VINCKBOONS

DAVID BAILLY
1584-1657
go 1Portrait of a Woman THE NUMEROUS FINISHED PORTRAIT DRAWINGS BY

Bailly generally assume a square or oval format, with the
Pen and light and dark brown ink, pupils scratched by the exception of this previously unpublished example and
artist; diam. 12.8 cm (5 in.) one other,1 which are circular. Bailly exploited the cir-
8y.GA.40 cular format by accentuating the roundness and sym-
metry of the young woman's face, coiffure, and collar, a
MARKS AND INSCRIPTIONS: At right, signed D. bailly tendency that can also be observed in the miniature oil
fee. in black ink, dated Ao 1629 in light brown ink. Portrait of a Woman of 1626 (Rijksmuseum). Among Bail-
PROVENANCE: Sale, Christies, Amsterdam, November ly's female portraits, this sitter most resembles the one in
18, 1985, lot 27; art market, London. Claudine van underwater of 1633 (private collection).2 As
is often noted, his miniaturistic portrait drawings
EXHIBITIONS: None. evolved directly from the tradition of small-scale portrait
BIBLIOGRAPHY: None. drawings and engravings maintained by artists such as
Hendrick Goltzius and Jacques de Gheyn II, as can be
seen in the latter s drawing Bust-Length Portrait of a Lady
(Institut Nerlandais inv. 6860), which is similarly mod-
eled in a hatched and stippled technique employing two
tones of brown ink. Although Bailly's portrait drawings
sometimes appear rather stiff and contrived, in the Mu-
seum's sheet he achieved a particularly felicitous result in
which the straightforward, descriptive character of the
line work complements the relaxed, unprepossessing
mien of the sitter.
1. Formerly Mensing collection; sold, Frederick Muller, Am-

sterdam, April 27, 1937, lot 16.
2. J. Bruyn, "David Bailly," Oud Holland 66, no. 4 (1951), p.
213, fig. TO.
214 DUTCH SCHOOL BAILLY

JAN DE B I S S C H O P
1628-1671
gi The Sons ofNiobe Being Slain DE BISSCHOP PORTRAYED THE SUBJECT OF APOLLO
and Diana slaying the sons and daughters of Niobe
by Apollo and Diana (Ovid, Metamorphoses 6:204-312) in this and another
drawing (Amsterdam Historisch Museum inv. A 18008)
Brown wash and black chalk; H: 23.9 cm (97/i6 in.); W: as well as including plates after the so-called Medici
40.8 cm (l'/iin.) Group of antique niobid marbles (Uffizi) in his Signorum
88.GA.54 veterum icones (van Gelder and Jost 1985, pp. 94-97). In
contrast to the Amsterdam drawing, which shows the
MARKS AND INSCRIPTIONS: (Verso) inscribed E mar-
deaths of both the daughters and sons ofNiobe, the pres-
maro antiqus in brown ink by the artist, d historie van
ent example only depicts the slaying of the sons. Like
Niobe I na antijq N 169. in black chalk, 26 in red chalk,
many other drawings by de Bisschop, it is inscribed by
Jan de Bisschop 11628-1671 in graphite.
the artist as having been based on an antique relief. A
PROVENANCE: G. Uilenbroek(P) (sale, Beukalaar van drawing that may be identical to this sheet is described in
den Land, Amsterdam, October 23, 1741, portfolio G, the Terwesten sale catalogue (1757) as being after a work
no. 43); M. Terwesten(P) (sale, De Groot, The Hague, by Algardi. J. Montagu, however, has pointed out1 that
September 20, 1757, portfolio B, no. 3);DionisMuilman, this drawing is not based on Algardi but is closer to a re-
Amsterdam (sale, Jan de Bosch, Jr., Corn. Ploos van lief (location unknown) of which there is a cast in the Vic-
Amstel, Hendrik de Winter, Amsterdam, March 29, toria and Albert Museum. When the cast was acquired
1773, lot 167); D. de Jongh (sale, van Rijp, Muys, van in 1879, it was thought to be after Pierino da Vinci, but
Leen, Rotterdam, March 26, 1810, portfolio T, no. 2); A. the author may well prove to be Netherlandish.2
Beheydt et al. (sale, Rotterdam, April 26, 1911, lot 398);
private collection, Cambridge, Mass, (sale, Christie's,
New York, January 14, 1986, lot 169); art market,
1. Letter to L. Hendrix, June 5, 1990. The author wishes to
London. thank Dr. Montagu for her assistance.
EXHIBITIONS: None. 2. A. Radcliffe kindly offered this suggestion in a letter to
L. Hendrix, August 7, 1990.
BIBLIOGRAPHY: J. G. van Gelder and I. Jost, Jan de Bis-
schop and His Icones and Paradigmata, d. K. Andrews
(Doornspijk, 1985), pp. 96-97, nn. 24-25.
2l6 D U T C H S C H O O L DE B I S S C H O P
ABRAHAM BLOEMAERT
1564-1651
92 Mars and Venus K. OBERHUBER REJECTED THE PREVIOUS ATTRIBUTION

of this drawing to Bartholomeus Spranger (Richardson
Pen and brown ink, brown wash, white gouache height- 1979, no. 74), placing it instead in the oeuvre of Bloe-
ening, and traces of black chalk; H: 41.2 cm (i63/i6 in.); maert; J. Bolten has since affirmed Bloemaert's author-
W: 30.2 cm (n7/8n.) ship.1 Other drawings to which the sheet can be com-
88.GG.40 pared include Venus and Amor (National Gallery of
Scotland inv. RSA 408) and Ads and Galatea (New York,
MARKS AND INSCRIPTIONS: at bottom left corner, col- Ian Woodner Family collection). The latter is a prepara-
lection mark of Germain Seligman; at bottom right cor- tory study for Bloemaert's painting Apollo and Daphne,
ner, inscribed B:Spranger I fec.A01600 in brown ink. which is signed and dated 1592 (Leipzig, Museum der
PROVENANCE: Francis Howard, London; Germain Se- Bildenden Kiinste). The Getty drawing as well as those
ligman, New York (sale, Sotheby's, New York, January in Edinburgh and New York thus also seem to date to
16, 1986, lot 86); art market, London. this period, which corresponds to Bloemaert's earliest ac-
tivity as an independent artist.
EXHIBITIONS: Mannerist Drawings, Prints and Paintings, The composition of the present drawing was in-
Davison Art Center, Wesleyan University, Middletown, spired by the engraving Mars and Venus of 1588 by
Conn., January-February 1957, no. 59; The Nude in Art, Hendrick Goltzius after Spranger (B.276(84]v.3,3).
Vancouver Art Gallery, November 1964, no. 31 (cata- Bloemaert, however, eschewed the convolutions of
logue by D. Shadbolt). Spranger's Venus in favor of a figure that forms a grand
BIBLIOGRAPHY: J. Richardson, d., The Collection of diagonal sweep; typical decorative touches include the
Germain Seligman (New York, 1979), no. 74; K. An- flying putti holding bunches of fruit.2 Its high degree of
drews, Catalogue of Netherlandish Drawings in the National finish suggests that the drawing was made as a model for
Gallery of Scotland (Edinburgh, 1985), vol. i, p. 7, under an unexecuted print or as a presentation sheet.
no. RSA4O8.
1. Conversation with L. Hendrix, 1988.

2. An iconographie interpretation of the drawing will appear
in A. W. Lowenthal's forthcoming monographic study of the
painting Venus and Mars Surprised by Vulcan by Joachim Wte-
wael (J. Paul Getty Museum).
2l8 DUTCH SCHOOL BLOEMAERT

FERDINAND BOL
1616-1680
93 The Messenger of God THIS DRAWING APPEARED IN A 1985 SOTHEBY'S SALE

with an attribution to Bol advanced by W. Sumowski,
Appearing toJoshua who pointed out that the same figure appears in a com-
plete version of the composition in the Rijksprentenka-
Pen and brown ink, brown and gray wash, and red, binet, Amsterdam (inv. 1930-37), which he dated to the
white, and black chalk; H: 27.1 cm (lo11/^ in.); W: 19.5 early I4OS.1 The subject is taken from Joshua 5:13, in
cm (7"/loin.) which Joshua, outside the city of Jericho, "lifted up his
87.00.81 eyes and saw a man standing over against him, holding
a drawn sword." The appearance of this figure, who
MARKS AND INSCRIPTIONS! None.
identifies himself as the messenger of the host of the
PROVENANCE: Sale, Sotheby's, Amsterdam, November Lord, precedes God's instruction to Joshua to order his
18, 1985, lot 73 A; art market, London. troops to march around the city in order to bring down
EXHIBITIONS: None. its walls.
The sketchier execution of the Amsterdam drawing
BIBLIOGRAPHY: None. indicates that it preceded the present example, in which
Bol worked out the figure of the messenger in greater
detail, transforming it from a prophetlike figure into one
of supernatural dimensions. Critical to this effect is the
messenger's emission of a heavenly aureole that pene-
trates the surrounding shadows, rendered by the tones of
gray wash intermingling with the white paper under-
neath. The artist developed the composition further in
another drawing2 in which the messenger's figure bears
many similarities to that in the Museum's study. Bol's
painting of this subject of circa 1656 (The Hague, Vre-
despaleis)3 is only marginally dependent on the earlier
drawings.
1. Drawings of the Rembrandt School (New York, 1979), vol. i,

no. I96x. The present drawing will be included in Sumowski's
supplementary volume 12 (forthcoming).
2. Netherlandish and Italianate Old Master Drawings, exh. cat.
(Bob P. Haboldt and Co., New York, 1990), no. 9.
3. A. Blankert, Ferdinand Bol (1616-1680): Rembrandt's Pupil
(Doornspijk, 1982), p. 94, no. 10, pi. 39.
22O DUTCH SCHOOL - B O L

AELBERT CUYP
1620-1691
94 A Milkmaid
CUYP'S FEW SURVIVING FIGURE STUDIES TEND TO DE-
pict young males, in particular shepherds. This example
Black and white chalk, graphite, and gray wash; H: 12 is distinctive for its focus on a female figure as well as a
cm (43/4 in.); W: 14.7 cm (5I3/u in.) degree of finish surpassing that of most other figure
86.GG.6y2 studies by him.1 In a rich mixture of chalk and wash,
making liberal use of the white paper, he rendered the
MARKS AND INSCRIPTIONS! None. nuanced play of sunlight and shadow over the form and
PROVENANCE: L. Dupper, Dordrecht (sale, Roos, En- voluminous soft folds of the mildmaid's sleeves and
gelberts, and Roos, Dordrecht, June 28-29, 1870, part skirt. Cuyp's focus on the youthful charm of the milk-
of lot 452); Victor de Stuers, The Hague; private collec- maid anticipates eighteenth-century depictions of this
tion, The Netherlands; art market, Boston. theme. The artist used the drawing for the main figure in
the painting The Dairymaid (Saint Petersburg, Hermi-
EXHIBITIONS: Tentoonstelling van de Verzameling Oude tage), a composition whose success is indicated by the
Teekeningen van Jhr. Mr. Victor de Stuers, Haagsche many variants produced by Cuyp's workshop.2 Cuyp
Kunstkring, The Hague, November-December 1889, probably executed the present drawing shortly before
no. 60. beginning the Saint Petersburg Dairymaid, which is gen-
BIBLIOGRAPHY: Honderd Teekeningen naar Oud Hol- erally dated to circa 1647 (Reiss 1975, p. 92; Sokolova
landsche Meesters (Bloemendaal, n. d.), pi. 15; Aelbert 1988, p. 15).
Cuyp: Originalabbildungen nach seinen vorzglichsten Ge-
mdlden una Handzeichnungen (Leipzig, 1912), pi. 12; H.
Kleinmann, Handzeichnungen alter Meister der holldn- 1. Its handling is most comparable to Seated Shepherd ( Vorden,
dischen Malerschule (Leipzig, 1921), vol. 2, pi. 2; S. Reiss, Gatacre-de Stuers collection). SeeJ. Giltay, Aelbert Cuyp en Zijn
Aelbert Cuyp (London, 1975), p. 90, under no. 55; H. Familie, Schilders te Dordrecht, exh. cat. (Dordrechts Museum,
Potterton, Dutch Seventeenth and Eighteenth Century Paint- Dordrecht), 1977, no. 58.
ings in the National Gallery of Ireland (Dublin, 1986), pp. 2. Milking Cows (Dublin, National Gallery of Ireland); The
28-29, under no. 49; I. Sokolova, Dutch and Flemish Milkmaid (Museum Boymans-van Beuningen); Young Milk-
maid in a Pasture (Hamburg, Weber collection in 1907 [as men-
Paintings from the Hermitage, exh. cat. (Metropolitan Mu-
tioned in C. Hofstede de Groot, Beschreibendes un kritisches Ver-
seum of Art, New York, and Art Institute of Chicago, zeichnis der Werke der hervorragendsten holldndischen Maler des
1988), p. 15, under no. 7. XVII. Jahrhunderts (Esslingen and Paris, 1908), vol. 2, no.
36?]).
222 DUTCH SCHOOL CUYP

95 View of the Rhine Valleyr CUYP MADE THIS SHEET AS PART OF A SKETCHBOOK OF
panoramic landscape views compiled during a visit to the
View of the Heideberger Mill region of Nijmegen and Cleves in 1651-52. Although it
was once thought that the scene represented High and
near Clevesv Low Elten (Hannema 1955, p. 117), this is not the case,
and the site remains unidentified.
Black chalk, graphite, and gray wash; H: 13.2 cm (53/i6 As discovered by J. G. van Gelder and I. Jost (Rob-
in.); W: 23.7 cm (95/i6 in.) inson 1973-74), the verso of this sheet continues a draw-
86.GG.73 ing in the Muse Cond, Chantilly (inv. 1085), that
shows a panorama of the city of Cleves, in present-day
Germany. The continuation of the Chantilly View of
ner, signed A Cuyp in black chalk; (verso) inscribed Coll.
Cleves in the Museum s drawing depicts a portion of the
ten Cate 196 in graphite.
city wall, outside of which is the Heideberger Mill as
PROVENANCE: D. Katz, Dieren; Bernard Houthakker, seen from the Galgenberg. M. Westermann and E.
Amsterdam; H. E. ten Cate, Oldenzaal; art market, Dus- Haverkamp-Begemann have confirmed this connec-
seldorf; Charles C. Cunningham, Jr., Williamstown, tion, pointing out that a slight discrepancy in size be-
Mass.; art market, London. tween the Getty and Chantilly sheets indicates that one
or both have been cut down. In further support of this
EXHIBITIONS: Dessins anciens, franais, hollandais, italiens,
Bernard Houthakker, Amsterdam, July-August 1952, relationship they call attention to the View of Cleves from
the same sketchbook in the Rijksprentenkabinet (inv.
no. 15; 150 Meisterzeichnungen des 16. bis ij. Jahrhunderts,
00:106), which is extended to the verso of a drawing in
C. G. Boerner, Dusseldorf, December 1964, no. 13;
the British Museum (inv. i9O5.ii.io.67).1 While Cuyp
One Hundred Master Drawings from New England Private
used several of the landscapes from this sketchbook in
Collections, Wadsworth Atheneum, Hartford; Hopkins
later paintings, he does not appear to have made further
Center Art Gallery, Dartmouth College, Hanover,
use of the present example.
N. H.; and Museum of Fine Arts, Boston, September
1973 -January 1974, no. 26 (catalogue by F. W.
Robinson).
i. Letter to L. Hendrix, July 27, 1989. My thanks to M. Wes-
BIBLIOGRAPHY: D. Hannema, Catalogue of the H. E. ten
termann and E. Haverkamp-Begemann for kindly sharing re-
Cate Collection (Rotterdam, 1955), p. 117, no. I96;J. Gil- search to be published in their forthcoming catalogue of Cuyp's
tay, Aelbert Cuyp en Zijn Familie, Schilders te Dordrecht, drawings.
exh. cat. (Dordrechts Museum, Dordrecht, 1977), p.
172, n. i, under no. 70.
224 DUTCH SCHOOL CUYP

recto
verso
CORNELIS ENGEBRECHTSZ
CIRCA 1465-1527
go Salome with the Head of John GIBSON (1977, PP. 33, 41) FIRST ATTRIBUTED THIS
drawing to Engebrechtsz., noting its similarity to one of
the Baptist his earliest known paintings, Christ Carrying the Cross
(Leiden, Stedelijk Museum "De Lakenhal"), which was
Brush and dark gray ink, gray wash, and white gouache probably executed during the 14905. Especially close are
heightening on gray prepared paper, corners cut; H: 19.9 the figures of Salome and the Magdalen, which ap-
cm (7I3/iin.); W: 15.5 cm (oVfein.) proximate one another in general pose as well as the
87.00.119 prominent painterly highlights on their gowns. Besides
its surface richness, which calls to mind similar aspects
of Engebrechtsz.'s painting technique, the drawing is
PROVENANCE: Art market, London; Gsta Stenman, also typical in its subtle rendering of the emotions of the
Stockholm; Einar Perman, Stockholm (sale, Christie's, protagonists. There is only one other drawing generally
London, December 12, 1985, lot 329); art market, thought to be autograph, Study Sheet with Four Heads (Bu-
London. dapest, Szpmvszeti Muzeum inv. 1413). Although it
is on a page from a sketchbook rather than a finished
EXHIBITIONS: Dutch and Flemish Drawings in the Nation-
composition, the Budapest drawing, like the Getty
almuseum and Other Swedish Collections, Nationalmu-
sheet, is largely drawn with the brush and shares the
seum, Stockholm, 1953, no. 6 (catalogue by N. Lind-
generous application of luminous white heightening.
hagen and P. Bjurstrm); Middeleeuwse Kunst der
In contrast to the numerous fifteenth- and sixteenth-
Noordelijke Nederlanden, Rijksmuseum, Amsterdam,
century representations of the martyrdom of the Baptist,
June-September 1958, no. 198 (drawings entries by I. Q.
which show the decapitation or feasting scenes with the
van Regieren Aliena and L. C. J. Frerichs).
dance of Salome, the present drawing shows the less
BIBLIOGRAPHY: W. S. Gibson, The Paintings of Cornells common episode of Salome presenting his head to
Engebrechtsz (New York, 1977), pp. 7, 33, 41; 244, no. Herod and Herodias. Salome's costume and the general
25; J. O. Hand et al., The Age of Bruegel: Netherlandish disposition of the figures hark back to earlier Nether-
Drawings in the Sixteenth Century, exh. cat. (National landish portrayals of this scene such as a woodcut illus-
Gallery of Art, Washington, D.C., and Pierpont Mor- tration in Ludolfphus de Saxonia's Leven ons Heerenjhesu
gan Library, New York, 1986), p. 135, under no. 46. Christ (I488).1 Engebrechtsz. s pupil Lucas van Leyden
later depicted the episode in two woodcuts (B. 12(441],
I3[44i]v. 12,7).
i. E. S. Jacobowitz and S. L. Stepanek, The Prints of Lucas van

Leyden and His Contemporaries, exh. cat. (National Gallery of
Art, Washington, D.C., 1983), p. 115, under no. 36, fig. 36a.
220 DUTCH SCHOOL ENGEBRECHTSZ.

GOVAERT FLINCK
1615-1660
97 A Young Man Standing ALTHOUGH THIS DRAWING WAS PREVIOUSLY GIVEN TO

Jacob Backer (Colnaghi 1967), it corresponds more
Black and white chalk on blue paper; H: 40.8 cm (i6Vi6 closely to works by Flinck, such as the signed study of a
in.); W: 21.5 cm (87/ioin.) seated man in the Schlossmuseum, Weimar (inv.
89.GB.46 KK 4949). Based on stylistic analysis, J. W. von Moltke
dated the Weimar drawing to the later 16508. W. Su-
MARKS AND INSCRIPTIONS: At bottom left corner, in- mowski agreed, noting that the date of 1658 inscribed at
scribed Backer in faint black chalk. the bottom of the sheet (of which von Moltke seems to
PROVENANCE: Private collection (sale, Sotheby's, New have been unaware) probably transcribes an authentic
York, January 13, 1988, lot no); art market, New York. date that was trimmed away.1 The Museum's drawing,
whose attribution to Flinck was affirmed by Sumowski
EXHIBITIONS: Old Master Drawings, P. andD. Colnaghi, (Sotheby's 1988), must also have been made around this
London, June 1967, no. 25. time.2 It is highly worked and drawn with great sureness
BIBLIOGRAPHY: None. of hand in all respects save the positioning of the staff,
which Flinck left unfinished. Although he sometimes
used his figure studies for paintings, he does not appear
to have done so in this case.
1. J. W. von Moltke, Govaert Flinck 1615-1660 (Amsterdam,

1965, p. 54); W. Sumowski, Drawings of the Rembrandt School
(New York, 1981), vol. 4, p. 1946, no. 892.
2. The present drawing will be included in Sumowski's sup-
plementary volume 12 (forthcoming).
228 DUTCH SCHOOL FLINCK

J A C Q U E S DE GHEYN II
1565-1629
DE GHEYN FIRST SKETCHED THE THREE FOREGROUND

98 Bust of a Boy in a Turban, a figures, beginning probably with the boy at the far left.
Winged Angel, and Three Old The studies might have been cut from a larger sheet, at
which time the triangular patch at the bottom was pre-
Men sumably added. Although their authenticity was upheld
by van Regteren Altena (1983, vol. 2, p. 80), the signatur
Pen and brown ink on light brown fibrous paper, patched and date display a certain stiffness that leads one to con-
at bottom in the same paper; H: n.8 cm (4II/i6 in.); W: clude that they were made by a later hand. Nevertheless,
20.7 cm (SVs in.) the drawing indeed appears to have been made circa 1600
88.GA.i34 or shortly thereafter, and as such should be counted
MARKS AND INSCRIPTIONS: (Recto) at bottom right among the earliest of the spontaneous study sheets co-
corner, collection mark of Gopel(?), inscribed Jaques de mingling motifs from nature and the imagination that
Geijn 1600 in brown ink; (verso) collection mark of Go- form one of the most original features of de Gheyn's
pel(?); inscribed 378 in black ink. graphic oeuvre.1
De Gheyn's debt to the precedent of medieval and
PROVENANCE: E. Ehlers, Gottingen (sale, C. G. Boer- Northern Renaissance physiognomic studies of exotic
ner, Leipzig, November 27, 1935, lot 456); Gpel collec- types is especially apparent in this drawing.2 He joins this
tion, Germany; art market, Germany. older format, however, with a vibrant interest in im-
EXHIBITIONS: None. mediate reality characteristic of his own times, as is evi-
denced in the torso of the young boy at the far left. Dom-
BIBLIOGRAPHY: H. Mhle, Die Zeichnungen Adam Els-
inating the drawing as a whole as he gazes outward at the
heimers: Das Werk des Meisters una der Problemkreis
viewer, his portraitlike features are at variance with the
Elsheimer-Goudt (Berlin, 1966), p. 63, fig. G28; I. Q. van
other, patently imaginary heads as well as with his own
Regieren Alina, Jacques de Gheyn: Three Generations
exotic andone assumesfanciful costume.3 De
(The Hague, Boston, and London, 1983), vols, i, p. 101;
Gheyn rendered the boy in exceedingly beautiful, varied
2, p. 80, no. 495; J. O. Hand et al., The Age of Bruegel:
pen work, paying close attention to the fall of light and
Netherlandish Drawings in the Sixteenth Century, exh. ca
evocation of textures, while employing a somewhat sim-
(National Gallery of Art, Washington, and Pierpont
pler and more burinlike manner for the remaining
Morgan Library, New York, 1986), p. 150, n. 9, under
figures.
no. 52.
1. The drawing A Seated Woman and Death (Rijksprentenka-

binet inv. A 3964) bears an identical inscription of the artist's
name and date of 1600 and is drawn in a comparable pen style.
For a discussion of de Gheyn's sheets of studies, which date
roughly between 1600 and 1604, see W. W. Robinson in Hand
etal. 1986, pp. 148-50, no. 52.
2. Compare it, for example, with the lower portion of Two
Rows of Half-Length Figures by a follower of Schongauer (Brit-
ish Museum inv. 5236-165). For the link between de Gheyn's
drawings and earlier traditions of model books and physiog-
nomic studies, see E. K.J. Reznicek, "Two 'Masters of the
Pen,'" in Jacques de Gheyn II Drawings 1565-1629, exh. ca
(Museum Boymans-vanBeuningen, Rotterdam, and National
Gallery of Art, Washington, D.C., 1986), p. i6;J. R. Judson,
The Drawings of Jacob de Gheyn II (New York, 1973), p. 18.
3. Van Regteren Altena tentatively identified the child as
Jacques de Gheyn III (1983, vol. 2, p. 80, no. 495).
230 D U T C H S C H O O L DE G H E Y N II
HENDRICK GOLTZIUS
1558-1617
P9 Bust of an Angel THIS MONUMENTAL ANGELIC HEAD IS AMONG THE

most important recent additions to the drawn oeuvre of
Black chalk, oiled black chalk, and white chalk height- Goltzius (Reznicek 1985). The grand scale of the image
ening; H: 55.6 cm (2i7/sin.); W: 39.7 cm (i55/8n.) as well as the broad handling of the chalk are character-
86.GB.593 istic of his tendency to explore painterly concerns in his
later drawings, a tendency that coincided with his aban-
MARKS AND INSCRIPTIONS: (Recto) at right, signed and donment of engraving in favor of painting after 1600. As
dated HG/A: 1609 in black chalk; (verso) indeciphera- was recognized by Egorova (1989, p. 24), the figure in
ble, partially trimmed seventeenth-century (?) inscrip- the drawing is close to the angel of the Annunciation in
tion, inscribed N.2? in brown ink. Goltzius's painting in the Pushkin Museum, which, like
PROVENANCE: Private collection, Denmark; private col- the drawing, is signed and dated 1609.
lection, Malm, Sweden; private collection, London; art The study does not, however, appear to have been
market, Boston. made in preparation for the painting. Instead, like other
large, imaginary heads and bust-length figures of this pe-
EXHIBITIONS: None. riod, such as Female Torso (Haarlem, Teyler's Stichting,
BIBLIOGRAPHY: E. K.J. Reznicek, "A Survey of Recent Mappe N, nr. 64) and Head of a Siren (National Gallery
Discoveries and of Bibliography Concerning Dutch Art of Art inv. 1986.92. i), it seems to have been made as a
1500-1600," in G. Cavalli-Bjrkman, d., Netherlandish finished work of art. The chalk style of the Washington
Mannerism: Papers Given at a Symposium in Nationalmu- Siren corresponds closely to that of the present drawing,
seum Stockholm, September 21-22, 1984, Nationalmusei as does its date of 1609, its dimensions (52.4 by 38 cen-
Skriftserie, n. s. 4 (Stockholm, 1985), pp. 10-11; X. timeters), and the presence of a central fold in the same
Egorova, "A Painting by Hendrick Goltzius at the Push- position. Moreover both have Scandinavian prove-
kin Museum of Fine Arts, Moscow," Burlington Maga- nances.1 All of this suggests that the drawings were once
zine 131, no. 1030 (January 1989), pp. 24-27. in the same collection and indeed might have been made
as a pair.
i. L. Hendrix appreciates the assistance of L. Bier with the

provenance of the Washington drawing, which formerly be-
longed to her and the late H. Bier.
232 DUTCH SCHOOL GOLTZIUS

M A S T E R OF THE E G M O N T A L B U M S (DirckHendricksz. Centn?)
ACTIVE LATE SIXTEENTH-EARLY SEVENTEENTH(?) CENTURY
Maerten van Heemskerck.5 The dog, which became

wo The Good Samaritan such a prominent element of the scene in Rembrandt's
Pen and brown ink and traces of black chalk; H: 27.3 cm later etching, was borrowed from Drer's engraving
(io3/4in.); W: 35 cm (i33/4n.) Knight, Death and the Devil (B.98[io6]v.io,7). An earlier
87.00.29 appearance of the dog in this scene is found in a drawing
attributed to Wouter Crabeth in the British Museum
MARKS AND INSCRIPTIONS: At bottom center, traces of (inv. 1923.1.13.18).
trimmed inscription in brown ink; at bottom right, in- First identified by P. Pouncey as the Master of the
scribed An.S1 in brown ink; (verso) inscribed Comp. Egmont Albums, the artist has been the subject of a re-
Bartsch XVI,241 in pencil. cent study by Dacos (1990), who has proposed that he is
PROVENANCE: Sale, Christie's, London, April 10, 1985, identical with the Dutch painter Dirck Hendricksz. Cen-
lot 125; art market, Boston. tn (Amsterdam 1542/43-1618) and with the previously
known Neapolitan painter Teodoro d'Errico.6 While the
EXHIBITIONS: None. drawing reflects stylistic currents of the 15805, Dacos be-
BIBLIOGRAPHY: N. Dacos, "Le matre des albums Eg- lieves the master's manner to have been retardataire and
mont: Dirck Hendricksz Centn," Oud Holland 104, no. has dated the sheet to the mid-i59os (ibid., p. 66).
2 (1990), pp. 58, fig. 16; 63; 67, n. 2; 68, n. 27.
THERE ARE TWO SURVIVING DRAWINGS OF THE GOOD 1. Not AnB as reported by Dacos (1990, p. 67, n. 2).
Samaritan by the Master of the Egmont Albums. In the 2. Bears watermark similar to Briquet 1345 (Basel, 1579-85;
Museum's example2 and in the other drawing of the sub- variants include Amsterdam, 1586).
ject (Ian Woodner Family collection),3 the artist conflated 3. G. R. Goldner, Master Drawings from the Woodner Collection,
various episodes in the parable to arrive at two different exh. cat. (J. Paul Getty Museum, Malibu, and other institu-
tions, 1983), pp. 120-21, no. 47.
compositional solutions. In contrast to the Woodner
4. The relationship to the engraving, by Cornells Bos, was
drawing, which gives equal weight to the payment of the noted by Goldner (ibid., p. 120, under no. 47).
innkeeper and the stricken Jew transported inside, the 5. F. W. H. Hollstein, Dutch and Flemish Etchings, Engravings
Museum's sheet emphasizes the latter motif, with the and Woodcuts, ca. 1450-1700 (Amsterdam, 1949), vol. 8, nos.
nude based ultimately on a print after Michelangelo's 105 - 8; T. Kerrich, Catalogue of the Prints after Martin Heemskerck
Leda.4 As a whole, the foreground elements have been (Cambridge, 1829), p. 74.
given a highly sculptural treatment and have been com- 6. E. Haverkamp-Begemann and A.-M. Logan, European
bined with a deep vista to the left in which the earlier mo- Drawings and Watercolors in the Yale University Art Gallery 1500-
1900 (New Haven and London, 1970), vol. i, pp. 265-66, un-
ments in the narrative recede into the distance. The artist
der no. 499. For an assessment of the origins of this master's
thus arrived at a solution that is classicizing on various drawing style, see also M. Schapelhouman, Nederlandse Tek-
levels, from the coherent temporal flow of the narrative, eningen Omstreeks 1600: Catalogus van de Nederlandse Tekeningen
to the plasticity of the forms, to the quotation from Mi- in het Rijksprentenkabinet, Rijksmuseum, Amsterdam, vol. 3
chelangelo. Both this sheet and the Woodner drawing (suppl. to vol. 2) (The Hague, 1987), p. 180.
make use of Northern print sources, notably D. V.
Coornhaert's engravings of the Good Samaritan after
234 DUTCH SCHOOL MASTER OF E G M O N T ALBUMS

JAN HARMENSZ. MULLER
1571-1628
loi Embracing Couple (Mercury THIS DRAWING WAS PROBABLY MADE AROUND THE
time of the Baptism of Christ, dated 1590 (Staatliche Gra-
and Lara?) phische Sammlung inv. 1013), and Mars and Venus Pun-
ished by Jupiter (Dresden, Kupferstich-Kabinett inv.
Black chalk, pen and brown ink, brown wash, and white c 888), both of which similarly exhibit thick, luminous
gouache heightening; H: 18.7 cm (73/sin.); W: 21.7 cm applications of white heightening and flowing pen work.
(89/i6 in.) Reznicek noted in particular the influence of Cornelis
86.GG.595 van Haarlem, after whose drawings Muller made en-
gravings (1980, p. 121). The Museum s sheet is especially
MARKS AND INSCRIPTIONS: At bottom, inscribed 145
close stylistically and compositionally to Cornelis's
in light brown ink.
drawing Lot and His Daughters (Staatliche Graphische
PROVENANCE: Antonio Morassi, Milan; private collec- Sammlung inv. 1037), which was in fact formerly attrib-
tion (sale, Christie's, Amsterdam, November 18, 1985, uted to Muller.1 Both the Getty and Munich drawings
lot 10); art market, London. took inspiration from Bartholomeus Spranger, as is in-
dicated by a comparison with Muller's print Lot and His
EXHIBITIONS: None.
Daughters after Spranger (B.64[284Jv.4,3). The muscular
BIBLIOGRAPHY: E. K.J. Reznicek, "Jan Harmensz. female nude in Muller's drawing, and the corpulent male
Midler as Draughtsman: Addenda," Master Drawings 18, with an outstretched leg whom she embraces, echo the
no. 2 (Summer 1980), pp. 120-21, 131, no. 12. figures of Lot and his daughter in the print.
Due to the presence of the helmet in the right cor-
ner, Reznicek tentatively identified the subject of the
drawing as Mars and Venus (1980, p. 131). The various
particulars of the scene, however, conform to the story
of Mercury and the nymph Lara (Ovid, Fasti 2:599),
which Muller engraved (B.io[268]v.4,3). Although the
inventor is not identified on the print, one assumes it was
Muller himself. The pose of Lara in the print is derived
from that of the male figure in the drawing. This, along
with the drawing's dependence on Spranger and Cor-
nelis, lead one to assume that the drawing preceded the
engraving, perhaps serving as a first idea for it.
i. For a summary of past literature, see H. Bevers, Niederln-

dische Zeichnungen des. 16. Jahrhunderts in der Staatlichen Gra-
phischen Sammlung Munchen, exh. cat. (Staatliche Graphische
Sammlung, Munich, 1990), no. 19.
236 DUTCH SCHOOL MULLER

CORNELIS VAN POELENBURCH
1594/95-1667
102 The Arch of Septimius POELENBURCH'S EARLIEST SECURELY ATTRIBUTABLE

drawings consist of a small group of sheets inscribed by
Severus, Rome the artist as having been made in Rome and dated 1620,
1621, and I22.1 The date on the present drawing pro-
Pen and brown ink, brown wash, and black chalk; H: vides documentation that Poelenburch was still living in
29.1 cm (ii 7 /iin.); W: 19.3 cm (75/sin.) Rome in 1623 (Chong 1987, p. 27, no. 16). It is close in
87.00.76 style to his sketch of the Arch of Titus dated 1621 (Rijks-
prentenkabinet inv. A 3724), which similarly shows a
MARKS AND INSCRIPTIONS: (Recto) at bottom, in-
proximate view of an ancient monument isolated from
scribed in Roomen 1623 in brown ink by the artist; on
its surroundings. As in Pail-Mall Players near an Ancient
mount, at bottom, inscribed A. v. Dyck-i62j~in roomen
Ruin of 1622 (Rijksprentenkabinet inv. 1909.24), here
1623 in black chalk by a later hand; (verso) on mount,
Poelenburch juxtaposed broadly washed areas of deep
inscribed Gjoi, de la collection de M. le Comte de Tessin,
shadow with brilliantly illuminated passages articulated
(anteckning av . . . heim Overintendenten Fredenheim I
by the white paper. His unusual choice of an oblique
1748-1803.) in graphite; A. van Dyck, 1623, Titusbogen. I
view of the arch, his attenuation of the columns, and his
Slg. C. G. Tessin, Stockholm-Paris I Slg Fredenheim
omission of the attic inscription, relief carvings, and
(1748-1803), Stockholm I Slg Bokhandl. Hansson, Djar-
archway openings behind the columns allowed him to
sholm / Slg. Costa Stenman, Stockholm, Hansson har pa
treat the structure as dissolving patterns of light and
baksidan av inrammingen / anteknat (<stod skrivet N "32"*,
shadow rather than as a solid, sculptural form. He also
ofra vnsta I hornet med blickpa teckningensframsida troligenx
omitted the medieval tower that had been erected on the
3f ssom Tessin fordrade(?) in blue ink.
north pier (removed in 1636) and appears in earlier rep-
PROVENANCE: Count C. G. Tessin, Paris and Stock- resentations.2 It was observed by Chong (ibid., p. 27, no.
holm; Fredenheim, Stockholm; art market, Djarsholm; 16) that similarly oblique views of triumphal arches ap-
Costa Stenman, Stockholm (sale, Christie's, London, pear in the backgrounds of paintings by Poelenburch in
December 12, 1985, lot 337); art market, Boston. the Staatliche Kunstsammlungen, Kassel, and the Palaz-
zo Pitti.
EXHIBITIONS: None.
BIBLIOGRAPHY: A. Chong, in P. C. Suttonetal., Masters
of i?th-Century Dutch Landscape Painting, exh. cat. (Mu-
1. These include drawings in the Ecole des Beaux-Arts, Paris
seum of Fine Arts, Boston, Rijksmuseum, Amsterdam,
(inv. Masson 368); Bibliothque Nationale, Paris (inv. cc.23,
and Philadelphia Museum of Art, 1987), p. 408, under
fol. i); Rijksprentenkabinet (inv. A 3724, 1909:24); P. and N.
no. 69; A. Chong, "The Drawings of Cornelis van Poe- de Boer collection.
lenburch," Master Drawings 25, no. i (Spring 1987), pp. 2. For example the drawing by Matthijs Bril in the Louvre (inv.
4, 8, 10, 27, no. 16. 20.955)-
238 DUTCH SCHOOL POELENBURCH

R E M B R A N D T V A N RIJN
1606-1669
i oj An Artist in a Studio and London, 1982), p. 211, under no. A 18; P. Bonafoux,
Rembrandt: Self-Portrait (New York, 1985), no pagina-
Pen and brown ink; H: 20.5 cm (8Vio in.); W: 17 cm tion; S. Alpers, Rembrandt's Enterprise: The Studio and the
(6 "Xioin.) Market (Chicago, 1988), p. 59; H. P. Chapman, Rem-
86.GA.75 (SEE PLATE 12) brandt's Self-Portraits: A Study in Seventeenth-Century Iden-
tity (Princeton, 1990), pp. 85; 158, n. 29; E. van der Wet-
MARKS AND INSCRIPTIONS: at bottom left corner, col- ering, "Rembrandt's Manner: Technique in the Service
lection mark of Edward Bouverie (L. 325); at bottom of Illusion," in Rembrandt: The Master and His Workshop.
right corner, inscribed as follows in brown ink:1 Paintings (Altes Museum, Berlin, and other institutions,
#V 1991), p. 29, fig. 39.
PROVENANCE: Edward Bouverie, Delapr Abbey, near HlND (1926) FIRST PUBLISHED THIS DRAWING AS BY
Northampton (sale, Christie's, London, July 20, 1859, Rembrandt and dated it to circa 1627-30. He associated
lot 124); Lewis Huth Walters; Dr. and Mrs. Francis it with the Leiden- period painting of circa 1629, The Art-
Springell, Portinscale, Cumberland (sale, Sotheby's, ist in His Studio (Boston, Museum of Fine Arts), con-
London, June 30, 1986, lot 41). cluding that the drawing, like the painting, contained a
self-portrait of the artist. Benesch, who initially placed
EXHIBITIONS: Old Master Drawings from the Collection of
the drawing circa 1637-39 (1935, p. 28), revised this dat-
Dr. and Mrs. Francis Springell, National Gallery of Scot-
ing to 1632-33. Supporting Benesch is the similarity to
land, Edinburgh, July- September 1965, no. 42 (cata-
drawings of the early to later 16305 (Louvre inv. RF4674;
logue by K. Andrews); Loan Exhibition of Drawings by
Museum Boymans-van Beuningen inv. R 17, R 4; Rijks-
Old Masters from the Collection of Dr. and Mrs. Springell,
museum inv. 1930:22). More recently, E. van de Weter-
P. and D. Colnaghi, London, October-November
ing has connected the drawing and Boston painting to
1959, no. 42; Bij Rembrandt in de Leer, Museum het Rem-
contemporary debates in art theory, arguing that the art-
brandthuis, Amsterdam, October 1984 -January 1985,
ist in the drawing is not a self-portrait but rather Rem-
no. 9 (catalogue by P. Schatborn and E. Ornstein-van
brandt's Leiden colleague Jan Lievens.2
Slooten).
What have yet to be discussed are the conspicuous
BIBLIOGRAPHY: A. M. Hind, "Rembrandt in His Stu- perspective lines in the drawing. Centering on a point
dio," Old Master Drawings i (June 1926), p. 9; O. Be- just beyond the right margin, they were drawn from the
nesch, Rembrandt: WerkundForschung (Vienna, 1935); 2nd top portion of the easel and bottom of the right front leg
ed. (Lucerne, 1970), p. 28; idem, Rembrandt: Selected and extend from multiple positions along the chair,
Drawings (Oxford and London, 1947), p. 21, no. 33; grinding stone, and turpentine canister hanging from the
idem, The Drawings of Rembrandt (London, 1954), vol. 2, painting. These lines, which are certainly autograph,
p. 89, no. 390; W. Sumowski, Bemerkungen zu Otto Be- were made after the objects were delineated in the draw-
neschs Corpus der Rembrandtzeichnungen II (Bad Pyrmont, ing and verify the more or less correct spatial construc-
1961), p. 6; S. Slive, "Rembrandt's 'Self-Portrait in a Stu- tion, which was arrived at intuitively. The pentimenti and
dio,' " Burlington Magazine 106, no. 740 (November reinforcing lines at the bases of the legs of the easel and
1964), p. 485; E. van de Wetering, "Leidse Schilders Ach- chair indicate that some experimentation was required
ter de Ezels," in Geschildert tot Ley den Anno 1626, exh. cat. before the objects were properly situated relative to one
(Stedelijk Museum "De Lakenhal," Leiden, 1976), pp. another. The central feature of this configuration is the
26-31; F. Stampfle, Rubens and Rembrandt in Their Cen- easel with its painting, which was drawn first and which
tury, exh. cat. (Pierpont Morgan Library, New York, generated the vanishing point. It determined not only the
1980), p. loo, under no. 68; J. Bruyn et al., A Corpus of position of solids relative to it but also the greater space
Rembrandt Paintings I 1625-1631 (The Hague, Boston, of the studio, whose soaring height echoes the arched
240 DUTCH SCHOOL REMBRANDT

form of the painting. The spatial construction of the
Boston picture has in common with the Museum's draw-
ing the right-hand vanishing point determined by the ea-
sel and painting as well as the way in which the space of
the studio echoes that of the painting depicted, which in
this case is rectangular. The Boston panel, as noted by the
Rembrandt Research Project (Bruyn et al. 1982, p. 211),
marked a new departure for Rembrandt in the creation
of powerful and evocative spatial effects; he appears to
have continued this early interest in the creation of an in-
tegrated, dynamic spatial continuum in the Getty draw-
ing. Its somewhat diagrammatic character suggests that
he might have studied picture books on perspective such
as Instruction en la science de perspective by Hendrik Hon-
dius (1625).
1. Generally believed to be in a seventeenth-century hand, it

may stand for "Rembrandt" or be the mark of an unknown
collector, as noted by Stampfle (1980), pp. 99-100, under no.
68, andj. Giltay, De Tekeningen van Rembrandt en Zijn School in
het Museum Boymans-van Beuningen (Rotterdam, 1988), pp. 52,
under no. 9, n. i; 300, under no. 170, n. i.
2. According to van de Wetering (1976, pp. 26-31), the draw-
ing shows Lievens's reputed procedure of beginning by making
a rough sketch in paint directly on the canvas and then devel-
oping the salient forms arising from this sketchin other
words basing his methods on chanceand the Boston painting
shows Rembrandt himself viewing his panel from a distance,
forming a mental image of the whole before starting to work.
242 DUTCH SCHOOL REMBRANDT

104 Study of a Man Talking to a IN THIS DRAWING AN ELDERLY BEARDED MAN ASCENDS
a stairway, turning to direct stern remarks to a woman
Woman Seated on the Left who looks up at him plaintively. Although only a brief
sketch, it demonstrates considerable dramatic power.
Pen and brown ink; H: 10 cm (3I5/i6 in.); W: 10 cm Rembrandt most fully worked out the faces of the figures
(3I5/i6in.) and the torso and hands of the man, summarily indicat-
87.GA.2I ing the lower portions of the forms. The man's protrud-
ing knee and the heavy strokes reinforcing his left foot
MARKS AND INSCRIPTIONS: (Verso) collection mark of
suggest his movement up the steps, thereby conveying a
Jacob de Vos Jbzn. (L. 1450).
sense of physical vitality which complements the psy-
PROVENANCE: Jacob de Vos Jbzn., Amsterdam; Ehlers chological energy of the figures. The most convincing
collection, Gttingen (sale, Boerner's, Leipzig, May 9- interpretation of the scene is that it represents an early
10, 1930, lot 342); private collection, New York; art mar- eventinthestory of Samuel (i Samuel 1:14-15) when the
ket, London. high priest Eli scolds Hannah, who prays in distress out-
side the temple (Rotermund 1959). Benesch dated the
EXHIBITIONS: Kate de Rothschild: Exhibition of Old Master
drawing to circa 1638-39 (1954, 1973), butM. Royalton-
Drawings, Alan Jacobs Gallery, London, June-July 1985,
Kisch and P. Schatborn placed it more convincingly circa
no. 35.
1635-36 (AlanJacobs Gallery 1985, no. 35), as suggested
BIBLIOGRAPHY: O. Benesch, Rembrandt: Werk una For- by its similarity to two sheets in the Rijksmuseum, The
schung (Vienna, 1935); 2nd ed. (Lucerne, 1970), pp. 27; Pancake Woman and Studies of the Magdalen and the Virgin
108, n. 3); idem, The Drawings of Rembrandt (London, in Sorrow (inv. A 2424, 1947:213).
1954), vol. i, p. 47, no. 177; H.-M. Rotermund, "Uni-
dentifizierte bzw. misverstandene Zeichnungen Rem-
brandts zu biblischen Szenen," Wallraf-Richartz-Jahrbuch
2i (1959), pp. 179-80; idem, Rembrandts Handzeichnun-
gen un Radierungen zur Bibel (Schwarzwald, 1963); En-
glish ed. (Philadelphia, 1963), pp. 95, 130, no. 92; J.
Nieuwstraten, "Review of Hans-Martin Rotermund,
Rembrandts Handzeichnungen un Radierungen zur Bibel"
Oud Holland 53, no. i (1965), p. 61; O. Benesch, The
Drawings of Rembrandt (London and New York, 1973),
vol. i, p. 49, no. 177.
REMBRANDT DUTCH SCHOOL 243

(no. 104)
PIETER JANSZ. SAENREDAM
1597-1665
105 The Choir and North York, 1989), pp. 78, 112-13, I15'i 259> n- 37> under no.
35-
Ambulatory of the Church of
Saint Bavo, Haarlem THIS DRAWING OF NOVEMBER 1634 DATES FROM THE
beginning of Saenredam's greatest period of activity at
Red chalk, graphite, pen and brown ink, and watercolor, the church of Saint Bavo in Haarlem, which lasted until
incised for transfer (recto); rubbed with black chalk for 1636. Among the most symmetrical and balanced of his
transfer (verso); H: 37.7 cm (i4I3/i6 in.); W: 39.3 cm depictions of church interiors, this nearly square draw-
(i57/ioin.) ing takes in a deep vista stretching from the Brewers'
88.GC.i3i (SEE PLATE 13) chapel on the south side of the church across the side aisles
and nave and terminating in the Christmas chapel, di-
MARKS AND INSCRIPTIONS: Inscribed Dit aldus geteijck- rectly opposite to the north. The left-hand column lead-
ent in November I intjaer 1634, is een gesicht inde I grootte ing into the nave affords a partial view of the fifteenth-
kerck binnen Haerlem I ende is even dus groot geschildert, Dit century great organ of Saint Bavo, which Saenredam
volleijndt ofte ghedaen met schilderen Den 15. October 1635 on included in a number of paintings and drawings. Known
right-hand pillar in brown ink by the artist. as a construction drawinga type of drawing he habit-
PROVENANCE: Jonkheer J. P. Six (sale, Amsterdam, ually producedthis is a perspective rendering based on
Frederik Muller, October 16-18, 1928, lot 448); Frits a study done on the spot in October 1634 (Haarlem, Ge-
Lugt, The Hague; Jonkheer W. Six van Wimmenum, meentearchief inv. Stedelijke Atlas NR. 53-444). The
Laren (sale, Sotheby's, Amsterdam, November, 1988, study bifurcates into a right-hand vista corresponding to
lot 69). the present drawing and a left-hand view extending
across the transept and southern ambulatory to the
EXHIBITIONS: Catalogue Raisonn van de Werken van Pie-
northern wall of the nave. The right-hand portion is
terjansz. Saenredam Uitgegeven ter Gelegenheid van de Ten-
more heavily worked than the left-hand one, indicating
toonstelling Pieter Jansz. Saenredam, Centraal Museum,
that Saenredam might have begun to think of treating the
Utrecht, September-December 1961, no. 37 (catalogue
former as an independent painting while executing the
by H.J. de Smedt); Saenredam 1597-1665: Peintre des
study.
glises, Institut Nerlandais, Paris, January-March 1970,
The Museum's drawing is a prime example of Saen-
no. 10.
redam's meticulous process of transforming a study
BIBLIOGRAPHY: P. T. A. Swillens, "Pieter Saenredam from life into a finely tuned, idealized spatial complex.
as Teekenaar," Elsevier's Geillustreerd Maandschrift 90, no. He appears to have begun with a series of vertical and
45 (1935), p. 380; idem, Pieterjanszoon Saenredam Schilder horizontal ruled graphite lines. Among other things,
van Haarlem 1597-1665 (Amsterdam, 1935); 2nd d. these delineate the inner faces of the foremost side piers;
(Soest, 1970), pp. 37; 91, no. 73; J. Bialostocki and M. regularize relationships among the piers, middle column
Walicki, Europische Malerei in polnischen Sammlungen: capitals, organ, and set of pipes to its right; and establish
1300-1800 (Warsaw, 1957), p. 551, under no. 341; C. van a central vertical axis along which are aligned the points
Hasselt, Rembrandt and His Century: Dutch Drawings of the of the arches of the Brewers' and Christmas chapels and
Seventeenth Century from the Collection of Frits Lugt, Institut the true vanishing point, plainly visible between the
Nerlandais, Paris, exh. cat. (Pierpont Morgan Library, three figures at the bottom. He then elaborately finished
New York, and Institut Nerlandais, Paris, 1978), pp. the sheet in pen and ink, wash, and watercolor. Correc-
147-48, n. 10 under no. 99; R. Ruurs, Saenredam: The tions made during this phase include the removal of two
Art of Perspective (Amsterdam, Philadelphia, and Gron- figures, one from in front of the column beyond the fore-
ingen, 1987), pp. 123, 136, no. 7; G. Schwartz and M.J. most pier on the right and the other from in front of the
Bok, Pieter Saenredam: The Painter and His Time (New column to the left of the visible figures.
SAENREDAM DUTCH SCHOOL 245

Saenredam made his construction drawings for
eventual use in paintings. According to the inscription
on the Museum's sheet, the painting after it (Warsaw,
Muzeum Naradowe) was completed on October 15,
1635. The drawing is blackened on the verso and incised
throughout for direct transfer to the panel, save for the
near side of the right-hand framing pier, which appears
to have been folded back before the transfer took place.
The artist continued to make changes during the transfer,
including the stylus lines raising the height of the central
window, which he then followed in the painting. Further
alterations, including the elimination of the right fram-
ing pier and several centimeters of the vaulting at the top,
occur in the panel itself, which is considerably smaller
than the drawing (34 by 28 centimeters). The end result
transforms the original effect of the drawing from a deep,
spacious vista into an intriguing grid of superimposed,
rather flattened shapes.1
i. As noted by A. Wheelock, in Perspective, Optics and Delft Art-

ists around 1650 (New York, 1977), p. 230.
246 DUTCH SCHOOL SAENREDAM

CORNELIS SAFTLEVEN
1607-1681
106 An Enchanted Cellar with THE SCENE DEPICTED HERE DOES NOT APPEAR TO DRAW
on a specific pictorial precedent but rather represents an
Animals original synthesis of motifs culled from world-upside-
down imagery in which animals perform human actions
Black and red chalk, gray and brown wash, and water- and overrun human habitats. For example the mice
color; H: 25.7 cm (loVsin.); W: 32 cm (i25/sin.) warming their paws resemble a similar motif found in
86.GG.i7 singeries such as Pieter van der Borcht's etching Monkey
Schoolroom,1 while the man who watches the humorous
MARKS AND INSCRIPTIONS: (Recto) at bottom left, col-
performance without the participants' knowledge is a
lection mark of Armand Sigwalt; (verso) inscribed Ten-
stock figure in Netherlandish satirical and moralizing
iers in black chalk.
imagery of the sixteenth and seventeenth centuries. The
PROVENANCE: Sale, Paillet and Delaroche, Paris, April bruegelesque chained ape was treated as an independent
25, 1803, lot 236; Armand Sigwalt, Paris (sale, Htel subject by Saftleven in a drawing in the Louvre (inv.
Drouot, Paris, December 8, 1911, part of lot 54[?]); Eu- 23178) that is signed and dated 1655. Typical of the artist
gne Rodrigues, Paris (sale, Frederik Muller, Amster- are the cooking implements strewn about and the other
dam, May 27-28, 1913, lot 192); private collection (sale, discards as well as the mood of enchantment evoked by
Sotheby's, Amsterdam, November 15, 1983, lot 247); art the shadowy vaulted interior and flying bats.
market, London. One of the largest and most elaborate animal drol-
EXHIBITIONS: None. leries in Safteleven's drawn oeuvre, this sheet was no
doubt made as a finished work of art. Its subject matter
BIBLIOGRAPHY: W. Schulz, Cornells Saftleven (Berlin, compares most closely to a pair of watercolors of owl
1978), p. 147, no. 353. and cat concerts in the Rijksprentenkabinet (inv. 00:348,
347), which appear to copy lost Saftleven originals. The
treatment of the architecture in the Getty drawing calls
to mind studies of farmyards by Saftleven such as those
in the Historisch Museum, Amsterdam (Collection Fo-
dor, inv. A-IO 312), and Muses des Beaux-Arts de Bel-
gique (Collection de Grez, inv. 3148), which also exhibit
softly handled chalk combined with wash applied in
dark, rather flat patches. Like them this drawing should
be dated to the i66os (Schulz 1978, p. 53).
i. A. J. J. Delen, Histoire de la gravure dans les anciens Pays-Bas et

dans les provinces belges (Paris, 1935), vol. 2, pp. 103-4.
248 DUTCH SCHOOL SAFTLEVEN

FRIEDRICH SUSTRIS
CIRCA I54O-I599
w j Angels Bearing the Column of AMONG THE LESS FULLY EXPLORED ASPECTS OF Sus-
tris's role as overseer of the arts at the court of Duke Wil-
the Passion liam V of Bavaria is his activity as a designer of decora-
tive objects. His major known project of this type is a
Pen and dark brown ink and gray wash; H: 16.6 cm (69/i6 series of twenty-five etched glass panels forming the
in.); W: 20.6 cm (8 Va in.) door of a reliquary shrine in the Reichen Kapelle of the
86.GA.8 Munich Residenz. Sustris acted as the designer of the
panels, which were carved by Zacharias Peltzer, proba-
bly during the middle 15905. The present drawing cor-
PROVENANCE: Private collection, Switzerland; art mar- responds to one of six panels showing angels with the
ket, Paris. instruments of the Passion. The composition of the sheet
was altered in the glass intaglio, most significantly in the
EXHIBITIONS: Pamela Gordon Presents Old Master Draw-
deletion of the angels supporting the capital and base of
ings, Bob P. Haboldt, Inc. Gallery, New York, 1985, no.
the column. While a number of drawings for the reli-
24.
quary survive in copies, this is the only autograph ex-
BIBLIOGRAPHY: None. ample to have come to light. The surviving copies in-
clude ones of the present sheet in the Szpmvszeti
Mzeum (inv. 1387) and Kunstmuseum der Stadt Dus-
seldorf, Kupferstichkabinett (inv. F?528o).
250 DUTCH SCHOOL SUSTRIS

GERARDUS VAN VEEN
CIRCA I2O-CIRCA 1683
108 Standing Ruff THE BIRD SHOWN IN THIS DRAWING IS A RUFF (Pm-
lomachus pugnax), a species of sandpiper. The static,
Pen and brown ink, watercolor, and gouache over black rather flat profile view sets off the patterns and textures
chalk; H: 23.3 cm (cVioin.); W: 27.1 cm (lO'Vioin.) of its plumage, which have been meticulously rendered
86.GG.i5 with the point of the brush. It is among the most finely
executed of the artist's rare surviving drawings, most of
MARKS AND INSCRIPTIONS: At bottom left corner, which are studies of birds. It is likely that this study was
signed and dated Gerardus van Veen fee: I Ao i6jj: in made for a wealthy amateur naturalist such as Agnes
brown ink. Block, who probably commissioned similar bird studies
PROVENANCE: Art market, London. by Gerardus now in the Frits Lugt Collection, Institut
Nerlandais (inv. 1407-31, 1407-47, 1407-48) .*
EXHIBITIONS: None.
BIBLIOGRAPHY: None.
i. W. Schulz, "Blumenzeichnungen von Herman Saftleven
d. J.," ZeitschriftjurKunstgeschichte4O, pt. 2 (1977), p. 141, n. 28.
252 DUTCH SCHOOL VAN VEEN

A D R I A E N VAN DE YELDE
1636-1672
log A Cow Grazing AS NOTED BY A. HOUBRAKEN, VAN DE VELDE HABIT-

ually ventured into the country to sketch cattle and land-
scapes.1 No doubt the product of such outings, this
Red chalk; H: 15.2 cm (6'/sin.); W: 14 cm (5'Ain.)
previously unpublished example is among the more
89.06.40
monumental of the artist's numerous studies of cows.
MARKS AND INSCRIPTIONS: (Recto) at bottom left cor- Atypically, he omitted all traces of a natural setting and
ner, signed A. V. Veldefc. in red chalk. depicted the animal from an angle that accentuates its
PROVENANCE: Sale, Christie's, Amsterdam, December blocklike form. Its neck, left shoulder, and head catch the
i, 1986, lot n; art market, London. sun directly, while light rakes across its back, revealing
its muscled forequarters and alternately protruding and
EXHIBITIONS: None. sunken hindquarters. As is the case with many of van de
BIBLIOGRAPHY: None. Velde's animal studies, this one was used in later works,
appearing with some changes in the foreground of the
well-known painting The Migration of Jacob of 1663 (Lon-
don, Wallace Collection).2 The present drawing was re-
versed for use in a second painting, Piping Herdsman, of
1671 (formerly London, Alfred de Rothschild collec-
tion), as noted in the Christie's sale catalogue (1986).
1. De Grote Schouburgh der Nederlantsche Konstschilders en

Schilderessen (The Hague, 1721), vol. 3, p. 90.
2. There are two other preparatory drawings for this painting
(formerly New York, Lester Avnet collection; Amsterdam,
private collection). See W. W. Robinson, "Preparatory Draw-
ings by Adriaen van de Velde," Master Drawings 17, no. i
(Spring 1979), p. 21, nos. D-2, D-2a.
254 D U T C H S C H O O L A. VAN DE V E L D E
no Seated Female Nude THIS DRAWING COMPARES WITH SIGNED FIGURE STUD-
ies by Adriaen van de Velde such as those in the Louvre
Black chalk and white chalk heightening on gray- (inv. 23063), Institut Nerlandais (inv. 4784), and Hes-
brown tinted paper; H: 26.5 cm (io7/i6 in.); W: 19.6 cm sisches Landesmuseum (inv. AE 828). While van de Velde
(7 "/loin.) drew those three examples in red chalk, he employed
86.GB.o4i black chalk in the Museum's sheet and in the stylistically
similar seated female nude formerly in the collection of
MARKS AND INSCRIPTIONS: None. Baron J. Vitta, Paris, and recently on the Paris art mar-
PROVENANCE: C. R. Rudolf, London (sale, Sotheby's, ket.1 The cool coloration of black and white chalk and
Amsterdam, April 18, 1977, lot 66); private collection, gray-toned paper complements the refined and delicate
South Africa; art market, London. modeling of the figure. This contrasts with the broadly
applied chalk strokes that set her off from the back-
EXHIBITIONS: Old Master Drawings from the Collection of ground. The delicately featured model appears in other
Mr. C. R. Rudolf, Arts Council, London, 1962, no. 144 drawings by van de Velde such as the previously men-
(catalogue by P. Pouncey and C. White). tioned example in the Institut Nerlandais. The Mu-
BIBLIOGRAPHY: None. seum's drawing is a life study and does not appear to be
connected to a further work.
i. Dessins anciens des coles du nord, franaises et italiennes, exh. cat.

(Haboldt and Co., Paris, 1991), no. 38.
256 D U T C H S C H O O L A. VAN DE VELDE

WILLEM VAN DE YELDE THE ELDER
CIRCA 1611-1693
in Figures on Board Small BEST KNOWN FOR HIS DEPICTIONS OF SHIPS, WlLLEM
van de Velde was also capable of capturing a sense of the
Merchant Vessels bustling activity of maritime life. The drawing has been
extensively incised for transfer down to fine details, but
Pen and brown ink and blue-gray wash over leadpoint, no further related work is known. While there are other
incised for transfer; H: 21 cm (8'Ain.); W: 32.3 cm (i23/4 comparable shore and harbor scenes drawn by van de
in.) Velde,1 these do not give as much prominence to the hu-
87.00.80 man presence as does the Museum's drawing. In this re-
spect it calls to mind the studies of figure groups in the
National Maritime Museum, Greenwich.2 Robinson
PROVENANCE: Sale, Sotheby's, Amsterdam, November dated the latter to circa 1655; he also considers the Mu-
18, 1985, lot 112; art market, London. seum's drawing to be early, placing it circa 1650 (Sothe-
by's 1985).
EXHIBITIONS: None.
BIBLIOGRAPHY: None.
1. For example M. S. Robinson, Van de Velde Drawings: A Cat-

alogue of Drawings in the National Maritime Museum Made by the
Elder and the Younger Willem van de Velde (Cambridge, 1974),
vol. 2, nos. 777, 819.
2. Ibid., p. 6, nos. 779-816, esp. 792, 796.
258 D U T C H S C H O O L W. VAN DE V E L D E
SIMON DE VLIEGER
CIR 16011653CA
112 Landscape with Haymakers IT IS PROBABLY CORRECT TO TRANSLATE THE DRAW-

ing's inscription identifying the site as referring to the
Black chalk and gray wash, two joined sheets; H: 38.1 flood plain (waerd) in the vicinity of Doornwerth, a town
cm (15 in.); W: 71.3 cm (28 in.) to the west of Arnhem, between it and the Rhine. The
87.00.105 attribution of this sheet to de Vlieger rather than to An-
thonie Waterloo, with whose drawings his are often con-
MARKS AND INSCRIPTIONS: (Recto) at top right corner, fused, is supported by a comparison with a signed sheet
inscribed aen d Doornwaerd in brown ink; at bottom right in the Institut Nerlandais (inv. 4383) that depicts a
corner, inscribed 1026 in black ink. wheatfield similar to that in the present drawing. A num-
PROVENANCE: Kunsthalle, Bremen (stolen during ber of elements found in the Museum's drawingsuch
World War II, recovered and deaccessioned in 1987); art as the field sloping down to the left around which a
market, London. wooded road curves, the stretch of earth eroded into
wavelike mounds, and the snaking river in the dis-
EXHIBITIONS: None. tanceappear in the painting Wooded Landscape with
BIBLIOGRAPHY: None. Sleeping Peasants: Parable of the Sower of 1550-53 (Cleve-
land Museum of Art),1 the period during which the pres-
ent drawing was probably also made.
i. The last digit of the date on the painting is illegible, with a

terminus ante quern of 1653, the year of de Vlieger s death. See P.
Sutton, Masters of ijth-Century Dutch Landscape Painting, exh.
cat. (Museum of Fine Arts, Boston, and other institutions,
1987), pp. 512-13, no. ii2.
200 D U T C H S C H O O L DE V L I E G E R
ALBRECHT ALTDORFER
CIRCA 1482/85-1538
113 Christ Carrying the Cross ALONGSIDE THE SMALL-SCALE, EXQUISITELY FINISHED
drawings on color-grounded paper for which Altdorfer
Pen and black ink, gray wash, and black chalk; diam. 30.4 is best known is a smaller number of freer pen sketches
cm(n I5 /i6n.) and drawings preparatory to further works, including
86.00.465 (SEE PLATE 14) this, his only surviving design for a stained-glass win-
dow. Unknown before its appearance in the sale room in
MARKS AND INSCRIPTIONS: None. 1985, it was subsequently published as by Altdorfer by
PROVENANCE: Gsta Stenman, Stockholm (sale, Chris- the present authors (Goldner and Hendrix 1987). Its
tie's, London, December 12, 1985, lot 341); art market, many parallels with Altdorfer's oeuvre include the mon-
Boston. umental, relieflike concentration of figures, which recalls
the panel of Christ Carrying the Cross from the Saint
EXHIBITIONS: Albrecht Altdorfer: Zeichnungen, Deckfar- Florian Altarpiece of circa 1509-18 (Austria, Augustiner-
benmalerei, Druckgraphik, Kupferstichkabinett, Staatliche Chorherrenstift St. Florian). Among his accepted draw-
Museen Preussischer Kulturbesitz, Berlin, and Museen ings, it is closest overall to Christ Carrying the Cross
der Stadt Regensburg, February-June 1988, no. 97 (cat- (Erlangen, Graphische Sammlung der Universitt inv.
alogue by H. Mielke). B.Sio), which is also a rather free study in pen and black
BIBLIOGRAPHY: G. R. Goldner and L. Hendrix, "A ink and gray wash. As in the present drawing, that in
New Altdorfer Drawing," Burlington Magazine 129, no. Erlangen shows the fallen Christ in a manner unique to
ion (June 1987), pp. 383-87; J. Rowlands with the as- contemporary depictions of the subject, emphasizing his
sistance of G. Bartrum, The Age of Durer and Holbein: bent left leg and the exposed soles of his feet. The excep-
German Drawings 1400-1550 (London, 1988), p. 158; C. tionally varied line work, which is particularly promi-
Andersson, "Berlin and Regensburg. Albrecht Altdor- nent in the figure of Christ, appears in The Lamentation
fer: Works on Paper," Burlington Magazine 130, no. 1023 and Pyramus and Thisbe (both Erlangen, Graphische
(June 1988), p. 487; B. Butts, "Albrecht Altdorfer: Sammlung der Universitt inv. 6.807, B.8o6). It is pos-
Zeichnungen, Deckfarbenmalerei, Druckgraphik, " sible that the present drawing was intended to form part
Master Drawings 26, no. 3 (Autumn 1988), pp. 279-80. of a series of stained-glass designs representing the
Passion.
262 CENTRAL EUROPEAN SCHOOL ALTDORFER

JOST AMMAN
1539-1591
114 An Officer of the Rank of AMMAN MADE THIS, HIS EARLIEST KNOWN DRAWING,
when he was seventeen years old. Copied after a near-
Oberster Feldprofoss in the contemporary engraving by Virgil Solis,1 it conforms, as
was pointed out by O'Dell-Franke (1986, p. 20), to the
Imperial Army then-common practice of young artists learning to draw
by copying prints. Amman himself was to produce a
Pen and black ink, paper toned with black chalk; H: 37.8 book of woodcuts intended for such purposes, Kunst und
cm (i4I5/io in.); W: 24. i cm (9'Ain.) Lehrbchlein (1578).2 At the same time, as a Federkunst-
89.GA.i5 stck, a drawing whose line work imitates that of en-
MARKS AND INSCRIPTIONS: At bottom, signed and graving, this drawing was made as a display of virtuosity
dated IA 1556 with drawing-pen insignia in black ink. and as such transcends its model. Its far larger scale than
the print, which measures n by 8.2 centimeters, and its
PROVENANCE: Hans Schneider, The Hague; Tobias elimination of background landscape monumentalize
Christ, Basel (sale, Sotheby's, London, April 9, 1981, lot the form. The cross-hatching in the engraved figure was
12); private collection (sale, Sotheby's, New York, Jan- replaced in the drawing with dramatic passages of fine
uary 13, 1988, lot 63); art market, Boston. vertical hatching alternating with thick, incisive black
EXHIBITIONS: None. outlines. This change calls attention to the line work's in-
trinsic beauty and imbues it with a vitality lacking in the
BIBLIOGRAPHY: K. Pilz, "DieZeichnungenunddasgra-
engraving. Amman further enhanced this liveliness and
phische Werk des Jost Amman (1539-1591)," Anzeiger
surface sensuousness by preparing the paper with an
jur schweizerische Altertumskunde, n. s. 35 (1933), p. 39;
arching dusting of black chalk.
idem, "Jost Amman 1539-1591," Mitteilungen des Vereins
Jr Geschichte der Stadt Nrnberg 37 (1940), pp. 205; 245,
n. 4; J. C. Smith, Nuremberg: A Renaissance City 1500-
1618, exh. cat. (Archer M. Huntington Art Gallery, Uni- 1. I. O'Dell-Franke, Kupferstiche und Radierungen aus der Werk-
versity of Texas at Austin, 1983), p. 275, n. 5; I. O'Dell- stattdes Virgil Solis (Wiesbaden, 1977), no. fi.
Franke, "Federkunststcke von und nach Jost Amman: 2. A. Andresen, Der deutsche Peintre-Graveur oder die deutschen
Malerals Kupferstecher (Leipzig, 1864), vol. i, no. 237.
Zeichnungen und ihre druckgraphischen Vorlagen,"
Kunst und Antiquitdten 6 (1986), pp. 20; 25, n. 2.
264 CENTRAL EUROPEAN SCHOOL AMMAN

BARTHEL BEHAM
1502-1540
115 Study of Three Skullsr chitectural fantasy of the top portion of a facade, with no
further purpose in mind. There are other instances of
Architectural Studyv German draughtsmen of this period sketching architec-
tural motifs on the versos of highly finished, color-
Pen and black ink, gray wash, and white gouache height- grounded drawings.1
ening on green prepared paper (recto); pen and black ink
(verso); H: 14.9 cm (57/8n.); W: 23.2 cm (cVsin.)
89.GA.24 i. For example, Albrecht Altdorfer's Wild Man Carrying an Up-
rooted Tree (recto)] Architectural Studies (verso) (British Museum
MARKS AND INSCRIPTIONS: At bottom, inscribed AD
inv. 1910-6-11-1).
(false Durer monogram) in gray ink.
PROVENANCE: Private collection, France; art market,
Paris; art market, London.
EXHIBITIONS: None.
BIBLIOGRAPHY: None.
THE LEFT-HAND SKULL, WITH ITS PRETERNATURAL IR-

idescence, harks back to Durer's drawing of a skull of
circa 1521 in the Albertina (inv. 3175 D 147), which may
explain the later addition of the false Durer monogram.
However, the emphasis on graphic expressiveness here,
as opposed to Durer's greater concern with surface de-
scription in the Albertina drawing, is more closely re-
lated to Danube School artists such as Wolf Huber. The
composition as a whole closely resembles, and is in re4-
verse of, the three right-hand skulls in Beham's well-
known engraving Sleeping Child with Four Skulls of circa
1530 (B.28(ra)[95]v.i5,8). With respect to details, the
skulls in the drawing vary considerably from those in the
print, in particular the middle one in the drawing, whose
intricate description of the chaotic pits and crevices of the
skull's underside suggests that it was drawn from life.
The drawing appears to have been preparatory to the
print. The freely sketched architectural study on the
verso, which blends classicizing and Gothic elements,
has a scnographie character that calls to mind designs for
triumphal arches for civic festivities such as that by Georg
Pencz for the entry of Charles V into Nuremberg in 1541
(Bayerisches Staatsarchiv, Reichsstadt Nrnberg inv. si
LI34, NR. 19). Conversely, it may also have been an ar- verso
206 C E N T R A L E U R O P E A N S C H O O L B. BEHAM
recto
SEBALD BEHAM
1500-1550
116 The Circumcision DURING THE EARLY 15205 BEHAM AND HIS SHOP WERE
actively engaged in the production of designs for stained-
Pen and brown ink, red chalk, and gray, red, and brown glass windows, as is indicated by twenty-five or more
wash; diam. 22.8 cm (9 in.) surviving drawings showing scenes from the lives of the
89.00.7 (SEE PLATE 15) Virgin and Christ. All roundels of approximately the
same size, they are of varying character, ranging from
MARKS AND INSCRIPTIONS: Inscribed with color nota- loosely drawn examples in pen and ink alone to highly
tions throughout in red chalk. worked sheets modeled with washes and supplied with
PROVENANCE: Private collection, Switzerland; art mar- color notations and red chalk lines indicating the place-
ket, Boston. ment of glass sections and leading. The present drawing
is among the most finished of the group and as such is
EXHIBITIONS: None. comparable to examples in the Ashmolean Museum
BIBLIOGRAPHY: None. (inv. P. 274, 275), Nationalmuseum, Stockholm (inv.
NM 507/1971, NM 508/1971), and Kupferstichkabinett,
Berlin (inv. Kdz 15098).
Opinion varies as to whether these drawings were
made for one, two, or more series of windows. Accord-
ing to P. Bjurstrm,1 the aforementioned Stockholm
roundels formed part of a Life of the Virgin, which
might have included the present example. The pose of
the Christ child recalls that in the Circumcision from
Drer's woodcut series The Life of the Virgin
(B.86[i32]v.io,7), while the simplified linear style and
homespun piety of the figures recall the woodcut of the
Circumcision by Hans Schufelein (B. 19(250]v. n,7).2
1. Drawings in Swedish Public Collections i: German Drawings

(Stockholm, 1972), under no. n.
2. Another version of the present drawing (formerly E. Ro-
drigues collection) is currently on the art market. See K. T. Par-
ker, Catalogue of the Collection of Drawings in the Ashmolean Mu-
seum (Oxford, 1938), vol. i, p. 117, under no. 274.
208 CENTRAL EUROPEAN SCHOOL S. BEHAM

nj A Young Peasant Holding THE ATTRIBUTION OF THIS PAIR OF DRAWINGS TO SE-
bald Beham was advanced by J. Rosenberg (in Cassirer
ajar and Helbing 1930) and is confirmed by a comparison
with a pen-and-ink study of a peasant stealing cheese in
118 A Peasant Woman Carrying the National Gallery of Art (Rosenwald Collection, inv.
1943.3.1040), which is dated 1520, the approximate date
ajug of the present sheets. The Museum's drawings are close
to peasants appearing in prints by Beham but were not
Pen and brown ink and black chalk; H: 10.7 cm (43/i6 in.); used as models. In particular the peasant man approxi-
W: 5.8cm(2 5 /i6n.) mates a similar figure in the woodcut Peasant Couple with
86.GG.477, 86.00.478 Jugs anda Goose (B. 142-143, v. 15,8), which illustrates Be
MARKS AND INSCRIPTIONS: None. ham's Kunst un Lerebuechlin (1546), while the woman is
reminiscent of a tightly kerchiefed crone carrying a milk
PROVENANCE: Robert P. Roupell, London; Tony Straus-
jug in the fourth of the six-block broadsheet The Country
Negbaur (sale, P. Cassirer and H. Helbing, Berlin, No- Fair at Mogeldorf* Instead of having been made for a spe-
vember 25, 1930, lots 25-26); private collection (sale,
cific print, this pair, which originally could have be-
Christie's, London, December 12, 1978, lot 232); private
longed to a single sheet, might once have formed part of
collection; art market, London. a fund of stock types which Beham employed in differ-
EXHIBITIONS: An Exhibition of Drawings and Watercolours ing combinations and poses in his numerous engravings
from the loth to the 2oth Century, Christian M. Nebehay, and woodcuts of peasants.
Vienna, January 1986, no. i.
BIBLIOGRAPHY: None.
i. M. Geisberg, The German Single-Leaf Woodcut: 1500-1550,
rev. and ed. W. L. Strauss (New York, 1974), vol. i, no. 14.
270 CENTRAL EUROPEAN SCHOOL S. BEHAM

CHRISTOPH BOCKSTORFFER
ACTIVE I 5 I 3 - I 5 5 3
iig Mucius Scaevola Thrusting an attribution later affirmed by W. Hugelshofer.4 In var-

ious publications beginning with that of 1925, Rott as-
His Right Hand into the sembled an oeuvre around Bockstorffer that included a
group of prints monogrammed CB and dated 1524 and
Flames before Lars Porsenna 1531, works that have a stylistic affinity with the Hopfer
workshop in Augsburg. David before Saul (B.I[534]
Pen and black ink, gray and two shades of yellow v.i4,8), dated 1531, is especially close to the present
wash, and red chalk; H: 43.6 cm (i73/i6 in.); W: 32.7 cm drawing in figurai style and ornamental vocabulary.
(i27/sin.) A challenge to Rott's construction of Bockstorffer s
88.GG.6 oeuvre recently posed by B. Konrad5 centers on the lat-
MARKS AND INSCRIPTIONS: Inscribed cemerliny, por- ter's attribution of the altarpiece in the Mnster, Con-
senna, mutins scevolon next to figures in brown ink; stancedated 1524 and, since Rott's publications, re-
xxiiii.C in shield at bottom in brown ink; on mount, at garded as the centerpiece of Bockstorffer's oeuvreto
bottom right corner, collection mark of J. C. Robinson Matthus Gutrecht the Younger. Konrad also removed
(L. 1433). the group of stained-glass designs from Bockstorffer's
oeuvre, intimating that he believed them to be by Gut-
PROVENANCE: J. C. Robinson, London; private collec-
recht, while ascribing the prints by the Monogrammist
tion (sale, Sotheby's, New York, January 16, 1986, lot
"CB" to the virtually unknown Augsburg artist Conrad
15); art market, London.
Bauer. Given the questions left open by this thesis, the
EXHIBITIONS: None. attribution of the Museum's drawing to Bockstorffer is
maintained here.
BIBLIOGRAPHY: H. Geissler, "Zeichnung und Zeichen
im deutschen Sdwesten 1500-1630," in Die Renaissance
im deutschen Sdwesten, exh. cat. (Badisches Landesmu-
seum Karlsruhe, 1986), vol. i, p. 304. 1. The three other known drawings in the series are in the
ffentliche Kunstsammlung, Basel (inv. 1911.164); formerly
THE PRESENT DRAWING IS THE MOST RECENT TO COME
on the art market, Vienna; and currently on the American art
market (formerly in the F. Drey collection, London).
to light in a series of stained-glass designs showing an-
2. J. Schneider, Glasgemalde: Katalog der Sammlung des schweiz-
cient Roman heroes and heroines.1 The drawings are erischen Landesmuseums Zurich (Zurich, 1970), vol. i, p. 174, no.
highly worked in watercolor as well as wash and are dis- 149, fig. 149.
tinguished by their exuberant and fanciful repertoire of 3. See above (note i).
ornamental forms. The present example draws on earlier 4. H. Koegler, "Heinrich Holtzmller, " Allgemeines Lexicon der
depictions of the subject in stained-glass windows, such bildenden Kunstler von derAntike bis zur Gegenwart, begrndet von
as that made in Zurich circa 1519 (Zurich, Schweizer- Ulrich Thieme und Felix Becker (Leipzig, 1924), vol. 17, p. 410,
isches Landesmuseum inv. Dep. 39), which has a large, col. i; H. Rott, "Beitrge zur Geschichte der oberrheinisch-
schwbischen Glasmalerei: Konstanzer Glasmaler und Glas-
heavily ornamented frame with fighting wild men at the
malerei in der ersten Hlfte des 16. Jahrhunderts," Oberrhein-
top and which contains an airy landscape showing the ische Kunst i (1925), p. 29; W. Hugelshofer, Swiss Drawings of
siege of Rome in the distance.2 A number of the orna- theXV. andXVI. Century (London, 1928), p. 38, no. 52.
mental forms, such as the coffered archway and columns 5. "Das Triptychon von 1524 in der Konradi-Kapelle des
set with profiles of kings and emperors, indicate a Munsters zu Konstanz und die Christoph-Bockstorffer-
knowledge of the stained-glass designs of Hans Holbein Frage," Jahrbuch der Staatlichen Kunstsammlungen in Baden-
the Younger. Wurttemberg 55 (1988), pp. 54fF. Brand's article was kindly called
to my attention by C. Mller.
The drawing in this group now in Basel3 was at-
tributed by H. Rott to Bockstorffer, a painter, print-
maker, and designer of stained glass active in Constance,
272 CENTRAL EUROPEAN SCHOOL BOCKSTORFFER

JRG BREU THE ELDER
CIRCA 1475/76-1537
120 Tournament Scene ALTHOUGH DRAWINGS OF TOURNAMENT SCENES HAVE

been associated with Breu,1 this is the first to come to
Pen and black ink and black chalk; diam. 25.5 cm (10 in.) light that can be attributed to him with certainty. While
many drawings by Breu survive only in copies, the orig-
SC.GA.IO
inality of this example is attested to by the exceptional
MARKS AND INSCRIPTIONS: (Verso) collection mark of spontaneity of the pen work and the numerous instances
Rijksprentenkabinet, Amsterdam (L. 2228); inscribed of the pen line departing from the chalk underdrawing.
Bruikleen 100 in graphite. Particularly beautiful in this respect is the flowing drap-
PROVENANCE:]. Hendriks, Oisterwijk, Holland, on ery of the horse's heraldic blanket; such passages of freely
loan to Rijksmuseum, Amsterdam (sale, Sotheby's, Am- rendered drapery are characteristic of Breu, as can be
sterdam, April 25, 1983, lot 2); art market, Munich; art seen, for example, in Bridal Scene (see following entry).
market, Boston. This is one of the few stained-glass designs by Breu
for which the actual window25 centimeters in diam-
EXHIBITIONS: Gemdlde una Zeichnungen 1490-1918, etersurvives (Nuremberg, Germanisches National-
Galerie Arnoldi-Livie, Munich, Summer 1987, no. 2. museum inv. M. M. 62) .2 In terms of subject matter, Breu
BIBLIOGRAPHY: None. followed the tradition of tournament windows showing
jousters, a trio of heralds on horseback, and a jester.
However, while these motifs were generally placed in
separate quatrefoils, he abandoned this Gothic format in
favor of a unified scene embellished with architectural
and genre details.3 Breu may have been inspired to do this
by prints such as The Tournament of 1500 by Master MZ.4
1. Prague, Nrodn Galerie inv. 22.444; Berlin, Kupferstich-

kabinettinv. 15251; Louvre inv. 18.911.
2. H. Schmitz, Die Glasgemlde des Koniglichen Kunstgewerbe-
museums in Berlin (Berlin, 1913), vol. i, pp. 155-56, fig. 256.
H. Schmitz thought the window was made at the Hirschvogel
workshop after a Durer school drawing of circa 1500.
3. Schmitz (note 2), vol. 2, no. 266, pi. 40.
4. M. Lehrs, Geschichte un kritischer Katalog des deutschen, nied-
erldndischen undfranzosischen Kup/erstichs imXV.Jahrhundert (Vi-
enna, 1908-34), vol. 8, pp. 369-71, no. 18.
274 CENTRAL E U R O P E A N S C H O O L B R E U THE ELDER

121 Bridal Scene THIS IS PART OF A SERIES OF STAINED-GLASS DESIGNS
by Breu first published by Schilling (1933, pp. 20-30),
Pen and black ink and brown and orange wash; diam. including examples in his own collection, London, the
19.8 cm (7 I3 /ioin.) Stdelsches Kunstinstitut (inv. 15418), and formerly in
89.00.17 the E. Rodrigues collection, Paris (sold Frederick Muller,
Amsterdam, July 12-13, 1921, lot 9). Modeling in or-
MARKS AND INSCRIPTIONS: (Verso) collection marks ange wash is a distinctive technical feature of the present
of Rudolf P. Goldschmidt (L. 2926), David Felix; in- drawing that also occurs in the example in Frankfurt.1
scribed Jorg Breu in black chalk. The scenes in the various roundels illustrate tale 20, "Of
PROVENANCE: Rudolf P. Goldschmidt, Berlin (sale, Tribulation and Anguish, " from the fourteenth-century
Prestel, Frankfurt-am-Main, October 4, 1917, lot 76); E. Gesta Romanorum, which tells of the rise of a boy who,
Czeczowicska, Vienna (sale, C. G. Boerner and Paul cursed at birth by the emperor, becomes the son-in-law
Graupe, Berlin, May 12, 1930, lot 45); LessingJ. Rosen- of the very ruler who had plotted his demise. The present
wald, Philadelphia; Mr. and Mrs. David Felix, Philadel- drawing conflates two episodes, the youth's arrival at
phia (sale, Christie's, New York, January 12, 1988, lot court and his somewhat uncomfortable presence in the
90); art market, Boston. marriage bed of the emperor's daughter, accompanied
by the empress and her ladies-in-waiting. The drawing
EXHIBITIONS: None. is the most splendid in the series, owing to the extensive
BIBLIOGRAPHY: E. Schilling, "Jrg Breu," Old Master use of orange wash, the ornate character of the bridal
Drawings 8 (September 1933), pp. 29-30; K. T. Parker, chamber and bed, and the three-dimensionality of the
Catalogue of the Collection of Drawings in the Ashmolean space and classicizing character of the architecture. These
Museum (Oxford, 1938), vol. i, p. 120, under no. 280; E. latter features suggest that Breu executed it later in his
Schilling and K. Schwarzweller, Stdelsches Kunstinstitut: career, perhaps after his Italian sojourn of circa 1514. Fur-
Die deutschen Zeichnungen (Munich, 1973), vol. i, p. 22, ther episodes from the story are probably represented in
under no. 45; J. Rowlands, German Drawings from a Pri- a pair of drawings in a European private collection which
vate Collection, exh. cat. (British Museum, London; Na- Schilling (ibid., p. 22, no. 45) regarded as copies.
tional Gallery of Art, Washington, D.C.; and German-
isches Nationalmuseum, Nuremberg, 1984), p. 35,
under no. 31. i. Based on its close similarity to the roundel in Frankfurt, C.
Andersson reconfirmed Breu's authorship of the Museum's
drawing (letter to G. Goldner, January 20, 1988).
276 C E N T R A L E U R O P E A N S C H O O L B R E U THE E L D E R
T H E O D O R DE BRY (attributedto)
1528-1598
122 Designfor a Pendant Jewel THIS CLEVERLY CONCEIVED PENDANT DISPLAYS A DI-
minutive owl perched regally amid jewel-encrusted
I3
Pen and black ink and brown wash; H: 7.2 cm (2 /i4 in.); vines. The drawing combines delicate yet vibrant linear-
W: 5.4cm(i 7 /8in.) ity with a sculptural application of wash. The owl motif
89.GA.2O is reminiscent of some of the bird-frieze engravings of
Virgil Solis1 and ultimately of the famous woodcut by
MARKS AND INSCRIPTIONS: On an old mount (re- Durer or his circle, The Owl Attacked by Four Birds.2 An
moved), inscribed de Bry in brown ink. old mount is inscribed de Bry, an attribution which is
PROVENANCE: Private collection; sale, Christie's, Lon- plausible in light of this artist's many engraved patterns
don, December 12, 1985, lot 173; art market, Boston. for jewelry and metal work, including a dagger handle
decorated with an owl among vines that dates from circa
EXHIBITIONS: None. 1588.3
BIBLIOGRAPHY: None.
1. I. O'Dell-Franke, Kupferstiche un Radierungen ans der Werk-

statt des Virgil Solis (Weisbaden, 1977), nos. g 62, g 65, g 67, g
69, g 73-
2. J. D. Passavant, Le Peintre-graveur (Leipzig, 1862), vol. 3, no.
199.
3. C.-P. Warncke, Die ornamntale Groteske in Deutschland
1500-1650 (Berlin, 1979), vol. 2, no. 535.
278 CENTRAL EUROPEAN S C H O O L DE BRY (ATT RIB.)

LUCAS C R A N A C H THE E L D E R
1472-1553
123 Study of a Lion CRANACH BASED THE LION IN HIS WOODCUT SAINT
Jerome in Penitence (B.63 [284]v. 11,7) of 1509 on this
Pen and brown ink; H: 6.9 cm (2II6 in.); W: 11.9 cm drawing. It is in reverse of the animal in the woodcut,
(4 II /i6in.) from which it differs in many details, such as the dispo-
89.GA.9 sition of the flowing fur of the mane and the smooth
rather than shaggy coat. The drawing, made with a quill
MARKS AND INSCRIPTIONS: None. pen cut to an extremely fine point, comes close in exe-
PROVENANCE: Private collection, New York; art mar- cution to the animals in Cranach's borders for the Prayer-
ket, Boston. book of Emperor Maximilian of 1515 (Munich, Bayer-
ische Staatsbibliothek).
EXHIBITIONS: None.
BIBLIOGRAPHY: None.
LUCAS CRANACH THE ELDER (German, 1472-1553). Saintjerome

in Penitence, 1509 (detail). Woodcut. H: 33.5 cm (13% in.); W:
22.7 cm (815/i6in.). Berlin, StaatlicheMuseenPreussischerKul-
turbesitz, Kupferstichkabinett B. 63. Photo:JorgP. Anders.
28O C E N T R A L E U R O P E A N S C H O O L C R A N A C H THE ELDER

ALBRECHT DURER
1471-1528
124. Designfor an Ornament THIS IS THE ONLY DATED EXAMPLE AMONG A GROUP
of drawings by Durer for small pieces of jewelry, all of
5
Pen and brown ink; H: 5.9 cm (2 /i6 in.); W: 5.5 cm which he probably made around the same time. The cal-
(2 Vain.) ligraphic quality of the present sheet is especially remi-
89.GA.i9 niscent of the marginalia in the Prayerbook of Emperor
Maximilian of 1515 (BayerischeStaatsbibliothek), which
MARKS AND INSCRIPTIONS: (Recto) at top, dated 1516 Durer had recently completed. As is indicated by the
in brown ink by the artist; at bottom right corner, in- trimmed flourish at the top, the design was cut from a
scribed 57 in dark brown ink by a later hand; (verso) in- larger sheet. It bears a coat of arms comprising a demi-
scribed 2013 in graphite. fleur-de-lis at the left and demi-rose at the right, which,
PROVENANCE: H. G. Gutekunst, Auction 48, no. 2013; as noted by Panofsky (1943), might have belonged either
E. von Feder, Karlsruhe; Prince of Liechtenstein, Vi- to Matthaeus Lang von Wellenburg, cardinal of Salz-
enna; Dr. and Mrs. Francis Springell, Portinscale, Cum- burg, or to the Nuremberg humanist and lawyer Lazarus
berland (sale, Sotheby's, June 30, 1986, lot 52); art mar- Spengler. The reversed position of the rose and fleur-de-
ket, Boston. lis from both of the above-mentioned coats of arms led
Winkler (1938) to speculate that the design was made for
EXHIBITIONS: Old Master Drawings from the Collection of an engraving and Panofsky to suggest that it was made
Dr. and Mrs. Francis Springell, National Gallery of Scot- for a signet ring.
land, Edinburgh, July-September 1965, no. 4.
BIBLIOGRAPHY: F. Lippmann, Zeichnungen von Albrecht
Durer (Berlin, 1896), vol. 4, p. 33, no. 436; E. Schilling,
"Beitrag zu Drers Handzeichnungen bersehene und
verschollene Werke," Stddel-Jahrbuch i (1921), p. 126; E.
Flechsig, Albrecht Durer: Sein Leben und seine kunstlerische
Entwicklung (Berlin, 1931), vol. 2, p. 353; H. Tietze and
E. Tietze-Conrat, Kritisches Verzeichnis der Werke Albrecht
Drers (Basel and Leipzig, 1937), vol. 2, p. 165, no. wiO3;
F. Winkler, Die Zeichnungen Albrecht Drers (Berlin,
!938), vol. 3, p. 117, no. 740; E. Panofsky, Albrecht Durer
(Princeton, 1943), vol. 2, pp. 143-44, n- !525;H. Kohl-
haussen, Die Nrnberger Goldschmiedekunst des Mittelalters
und der Durerzeit 1240 bis 1540 (Berlin, 1968), pp. 411, 414;
W. L. Strauss, The Complete Drawings of Albrecht Durer
(New York, 1974), vol. 3, pp. 1590, under no. 1515/62;
1634, under no. 1516/8, no. 1516/9.
282 CENTRAL EUROPEAN SCHOOL DURER

HANS HOFFMANN
CIRCA I 5 3 O - I 5 9 I / 9 2
125 Flowers and Beetles PAULUS VON PRAUN, A NUREMBERG PATRICIAN AND
important patron of Hoffmann, once owned this large
Tempera and black chalk on vellum prepared with a thin vellum sheet (Murr 1797) containing studies of a peony,
layer of white gouache; H: 32.1 cm (i2 5 /8n.); W: 38.7 Irisgraminia, Iris germnica, what is possibly an amaryllis,
cm (i5 I / 4 in.) a may beetle, and a june bug. Hoffmann, who is best
87.00.98 known for his copies and variations on Durer's work,
particularly his nature studies, here reveals a somewhat
MARKS AND INSCRIPTIONS: At top center, signed and different artistic temperament from that of his predeces-
dated Hh. / .1582 in black ink. sor. Although the individual nature studies recall those
PROVENANCE: Paulus von Praun, Nuremberg; by de- of Durer such as the Irises (Bremen, Kunsthalle, Kup-
scent; Johann Jakob Hertel, Nuremberg; Heinrich ferstichkabinett inv. 35), none is based directly on Durer.
L. Petersen, Nuremberg; by descent to Christine Peter- In place of the penetratingly descriptive handling that is
sen, Nuremberg; Amalie Eyselin and Anna S. Rich ter, bound in Durer's work to a profound interest in the
Nuremberg; by descent to Leonard and Sophie Richter, uniqueness of each specimen, one senses that here the
Nuremberg; Dr. Friedrich A. Nagel, Nuremberg; Igo overriding desire was to portray the beauty of the spec-
Levi, Nuremberg and Lucerne; Martin Horlamus, Nu- imens and the ensemble. This is apparent from the overall
remberg; private collection (sale, Christie's, London, delicacy of the forms, their sensitive placement on the
December 8, 1981, lot 96); Helmut Riedl, Nuremberg; page relative to one another, and the lush palette consist-
art market, Boston. ing of tones of blue, green, and red. It is indeed possible
that Hoffmann originally produced this group of studies
EXHIBITIONS: Barock in Nrnberg, Germanisches Na- to be hung as a painting, since it was listed as such in the
tionalmuseum, Nuremberg, June-September 1962, no. Praun collection and remained framed well into the nine-
A2 (catalogue by H. Rttgen et al.). teenth century, according to the catalogue of the Hertel
BIBLIOGRAPHY: C. T. Murr, Description du cabinet de collection (Achilles 1986-87, p. 252, n. 84). As such it
Monsieur Paul de Praun Nuremberg (Nuremberg, 1797), supports Koreny's (1985, p. 144) assessment of Hoff-
p. 17, no. 133; A. vonEye, Katalogdermhmlichstbekannten mann as one of the earliest German practitioners of still
Sammlungen des verstorbenen Assessors des Handels- life painting.
Appelationsgerichts zu Nrnberg, Jakob Hertel (Nurem-
berg, 1864), no. 233; F. T. Schulz, Nrnbergs Brgerhauser
un ihre Ausstattung (Leipzig and Vienna, 1909-33), vol.
i, pt. 2, p. 586; K. Pilz, "Hans Hoffmann: Ein Nrnber-
ger Drer-Nachahmer aus der 2. Halite des 16. Jahrhun-
derts," Mitteilungen des Vereins Jur Geschichte der Stadt
Nrnberg 51 (1962), p. 258, nos. 18, 19; F. Koreny, Al-
brecht Durer un aie Tier- un Pflanzenstudien der Renais-
sance, exh. cat. (Graphische Sammlung Albertina, Vi-
enna, 1985); Englished. (New York, 1989), p. 144, under
no. 47; K. Achilles, "Naturstudien von Hans Hoffmann
in der Kunstsammlung des Nrnberger Kaufmanns Pau-
lus II. Praun, " Jahrbuch der Kunsthistorischen Sammlungen
in Wien 82-83 (1986-87), p. 252, nn. 83-85, no. 6.
284 CENTRAL EUROPEAN SCHOOL HOFFMANN

W O L F G A N G K A T Z H E I M E R T H E E L D E R (attributedto)
ACTIVE 1478-1508
126 View of a Walled City in a THIS DRAWING OF AN AS YET UNIDENTIFIED CITY WAS
unknown before its appearance on the German art mar-
River Landscape ket in 1987, when it was suggested that it should be lo-
calized to the region of the upper Rhine and dated to circa
Pen and brown ink, colored washes, gouache, and black 1490 by H. Geissler and D. Kuhrmann (Galerie Arnoldi-
chalk; H: 7.3 cm (2% in.); W: 13.5 cm (55/i6 in.) Livie 1987). It is closely comparable to, and perhaps even
89.00.12 by the same hand as, Mountain Landscape with Castle
(Leipzig, Museum der Bildenden Knste inv. NI. 5l),1
which like the present drawing shows a complex of
PROVENANCE: Art market, Munich; art market, buildings situated in a hilly river landscape, with the
Boston. scene conceived as a succession of layers rather flatly su-
EXHIBITIONS: Gemdlde und Zeichnungen 1490-1918, perimposed on one another. In both, the architecture has
Galerie Arnoldi-Livie, Munich, Summer 1987, no. i. been handled miniaturistically in gouache, while the
background is more loosely painted in washes. The Mu-
BIBLIOGRAPHY: None. seum's drawing has obviously been cut down and might
once have included a more extensive setting such as that
found in the Leipzig example. Also similar to the Mu-
seum's drawing is the group of watercolor views of
Bamberg in the Kupferstichkabinett, Berlin (inv. Kdz 15
343, Kdz 15 344, Kdz 15 346). These views likewise treat
the architecture as a horizontal expanse parallel to the pic-
ture plane and are made up of alternately highly finished
and unfinished patches. The Berlin drawings are attrib-
utable to the Bamberg painter Wolfgang Katzheimer the
Elder and date from shortly before 1485-circa I5OO.2
Mountain Landscape with Castle has been attributed var-
iously to Katzheimer the Elder and a Nuremberg master
of circa I50O.3
1. This similarity was pointed out by F. Koreny, 1990.

2. F. Anzelewsky, "Ein sptmittelalterliche Malerwerkstatt:
Studien ber die Malerfamilie Katzheimer in Bamberg, " Zeit-
schrift des Deutschen Vereins jur Kunstwissenschaft 19, no. 314
(1965), pp. 139-41; idem, Durer und seine Zeit: Meisterzeichnun-
genausdem Berliner Kupferstichkabinett, exh. cat. (Staatliche Mu-
seen, Berlin, 1967), nos. 12-14.
3. K.-H. Mehnert and S. Ihle, Kataloge der Graphischen Samm-
lung, Museen der Bildenden Knste Leipzig, vol. i, Altdeutsche
Zeichnungen (Leipzig, 1972), no. 34.
286 CENTRAL E U R O P E A N SCHOOL K A T Z H E I M E R THE ELDER (ATTRIB.)

HANS VON KULMBACH
CIRCA 1480-1522
127 The Judgment of Solomon THIS PREVIOUSLY UNPUBLISHED DESIGN

stained-glass window by Kulmbach appeared in a 1987
FOR A
Pen and brown ink and gray wash; diam. 27.6 cm sale in Bern.1 Its technique, consisting of a loose brush
(io7/8n.) drawing in wash reinforced with ink lines, recurs in
89.00.5 Kulmbach's Women's Bath with a Fool (Stadelsches Kunst-
institut inv. 15684), the expressive figurai style of which
MARKS AND INSCRIPTIONS: (Verso) inscribed Martin is also reminiscent of the present example. The figures
Schoen in graphite. with beards and exotic headgear standing to the left and
PROVENANCE: J. F. Lahmann, Dresden; Edmund Schill- right of the king recall similar onlookers in The Martyr-
ing, Frankfurt; private collection, Switzerland (sale, Ga- dom of Saint Sebastian (Bremen, Kunsthalle inv. 371611).
lerie Kornfeld, Bern, June 17, 1987, lot 139); art market, The Museum's drawing appears to be contemporary
Boston. with Woman's Bath with a Fool, which has been dated by
F. Winkler to circa I5IO-I5 2 and by B. Butts to circa
EXHIBITIONS: None. 1511.3
BIBLIOGRAPHY: None.
1. B. Butts will include this sheet in her forthcoming mono-

graph on Kulmbach's drawings (conversation with L. Hendrix,
1989).
2. Die Zeichnungen Hans Suss von Kulmbachs una Hans Leonard
Schdufeleins (Berlin, 1942), nos. 112, 113.
3. "Drerschuler" Hans Sss von Kulmbach, unpub. Ph.D. thesis,
Harvard University, 1985, p. 115.
288 CENTRAL EUROPEAN SCHOOL KULMBACH

128 Nude Woman with a Minor JACOPO DE' BARBARI'S PRINT NUDE WOMAN Hom-
ing a Mirror (Allegory of Vanitas) (B.i2[522Jv.i3,7) of
(Vanitas) circa 1503-4 was the inspiration for the top portion of
the figure in this previously unknown drawing. While
Pen and brown ink; H: 16.9 cm (6llAo in.); W: 10.4 cm the classical fullness of the form presupposes a knowl-
(4I/sin.) edge of Durer's figure studies such as the barbariesque
Sc.GA. Nude Woman with Mirror of circa 1500 (collection of Ma-
jor S. V. Christie-Miller, Clarendon, Wiltshire), the
MARKS AND INSCRIPTIONS: At bottom corner, in-
drawing also departs from Durer's precedent in its lack
scribed AD (false Durer monogram) in brown ink.
of a consistent proportional system and its gothicizing
PROVENANCE: Private collection, Germany; art market, pondration. Pointing to the influence of de' Barbari
Boston. both in terms of subject matter and in the fine hatching
that emphasizes the play of light over the form, B. Butts
EXHIBITIONS: None.
has argued convincingly for the authorship of Hans von
BIBLIOGRAPHY: None. Kulmbach, who reputedly apprenticed with the Venetian
master prior to his association with Durer and whose art
bore the stamp of de' Barbari throughout his career.1 The
facial type shown on the present sheet is found in Amorous
Couples with an Old Woman (Staatliche Graphische
Sammlung inv. 1928:101), while analogously fine, lu-
minous hatching occurs, for example, in Seated Man
Holding a Stool (Coburg, Kunstsammlungen der Veste
inv. z 2321) and the pen-and-ink sketch Saint Florian
(Germanisches Nationalmuseum inv. HZ 82). Overall
the pen work comes closest to Orpheus and Eurydice,
dated 1518 (Ashmolean Museum inv. PI 3 97). Butts2 con-
siders the present example to date from Kulmbach's ma-
ture period, probably around the time of the Oxford
drawing or a bit earlier.
1. Conversation with L. Hendrix, 1989. She will include this

drawing in her forthcoming monograph on Kulmbach's
drawings.
2. Conversation with L. Hendrix, 1989.
29O CENTRAL EUROPEAN SCHOOL KULMBACH

MAIR VON LANDSHUT
CIRCA I450-AFTER 1504
129 Study of an Angel THE ATTRIBUTION OF THIS SHEET TO MAIR VON

Landshut is based on its technical and stylistic similarity
Pen and black ink and white tempera heightening on gray to his work in a variety of media. F. Anzelewsky
prepared paper; H: 11.3 cm (4% in.); W: 9.5 cm (33/4n.) (Thomas Le Claire Kunsthandel 1984) compared it to
89.00.il The Disrobing of Christ (Berlin, Kupferstichkabinett inv.
xdz 1048), which is likewise drawn on gray prepared pa-
MARKS AND INSCRIPTIONS: At top, dated 98 in black per in black ink with white heightening. Despite having
ink by the artist; at bottom left corner, collection marks suffered some surface damage, the present drawing con-
of Jean-Franois Gigoux (L. 1164), Emile-Joseph Rig- tains traces of heightening that once appears to have been
nault (L. 2218); at bottom right, inscribed 475 in gray as extensive as that in the Berlin example and its com-
paint. panion Passion scenes in the Museum der Bildenden
PROVENANCE: Jean-Franois Gigoux, Paris; Emile- Knste (inv. NI. 28-29). The similarity of the angel to
Joseph Rignault, Paris; L. Rosen thai, Bern (sale, Sothe- that in the Annunciation predella, dated 1495, of Mair's
by's, London, July 6, 1967, lot i); L. V. Randall, Mon- Freising Altarpiece (Freising, Cathedral Sacristy) was
treal; art market, Hamburg; art market, Boston. noted by F. Koreny (in Thomas Le Claire Kunsthandel
1984). The stiff, flat folds of the angel's robe and the
EXHIBITIONS: Handzeichnungen und Aquarelle des ij.-iy. heavy hatching of those sections in shadow call to mind
Jahrhunderts, Thomas Le Claire Kunsthandel, Hamburg, the treatment of the drapery in a drawing, Saint John the
November-December 1984, no. i. Evangelist (British Museum inv. 1981-3-28-14), that is
BIBLIOGRAPHY: None. also dated 1498 at the top. Furthermore prints by
Mair such as The Virgin and Child with Saint Anne
(B. 8[366]v. 9,6) frequently contain lively, smiling angels
of the type depicted in the drawing.
The difficulty in interpreting the flying angel's
pointing gesture in the absence of other figures might in-
dicate that the artist excerpted the figure from a larger
composition such as a painting or print.1 The drawing
would appear to have been made as a highly finished
study in the tradition of medieval model books or pos-
sibly as an independent work of art, as has recently been
proposed for the Berlin/Leipzig Passion drawings.2
1. Suggested by P. Parshall in conversation with L. Hendrix,

1989.
2. H. Mielke, Albrecht Altdorfer: Zeichnungen, Deckfarbenmal-
erie, Druckgraphik, exh. cat. (Kupferstichkabinett, Staatliche
Museen Preussicher Kulturbesitz, Berlin, and Museen der
Stadt Regensberg, 1988), p. 326, under no. 211.
292 C E N T R A L E U R O P E A N S C H O O L M A I R VON LANDSHUT

HIERONYMUS LANG
ACTIVE 1541-1582
130 Stained Glass Designfor a LANG WAS ONE OF THE EARLIEST MAJOR GLASS PAINT-
ers active in Schaffhausen. His numerous surviving
Married Couple drawings for stained-glass windows include a high pro-
portion of roundels commemorating married couples.
Pen and black ink and gray, ocher, brown, and orange The relatively restrained use of ornament and naive
washes; H: 24 cm (97/i6 in.); W: 21.8 cm (89/i6 in.) charm of the present drawing accord well with other
89.00.18 drawings by him.1 The lyrical rendering of the forms tes-
tifies to the lingering influence of Niklaus Manuel
MARKS AND INSCRIPTIONS: (Recto) at bottom, in-
Deutsch and Hans Holbein the Younger. This is one of
scribed Bicius Haller una Barbleij fluomman sin hussfraauw
two surviving stained-glass designs commemorating
1553 on banderole in black ink.
Bitzius Haller and Barbara Fluomann. The other, in the
PROVENANCE: Private collection, Zurich; art market, Historisches Museum, Bern (inv. 20036.150), dates from
Boston. 1563 and was drawn by Joseph Gosier, a Bernese glass
painter who was himself influenced by Lang.2 Gosier
EXHIBITIONS: None.
made yet another window for Haller (Bern, Historisches
BIBLIOGRAPHY: None. Museum), who was a member of one of the prominent
families of Bern.3
1. F. Thne, Museum zu Allerheiligen Schaffhausen: Die Zeich-

nungen des 16. un ij. Jahrhundert: Schweizerisches Institut for
Kunstwissenschaft, Zurich: Kataloge schweizerMuseen un Samm-
lungen i (Schafhausen, 1972), nos. i, 2, 6; inv. B 897, B 43, B i.
2. A. Scheidegger, Die berner Glasmalerei von 1540 bis 1580
(Bern, 1947), pp. 48, 118, no. 36, pi. 49.
3. Ibid., no. ii; H. Trler, V. Attinger, and M. Godet,
Historisch-Biographisches Lexikon der Schweiz (Neuenburg,
1927), vol. 4, pp. 58ff.
294 CENTRAL EUROPEAN SCHOOL LANG

HANNS LAUTENSACK
CIRCA I52O-CIRCA 1564/66
131 Mountain Landscape with an THIS PREVIOUSLY UNKNOWN EXAMPLE CAN BE ADDED
to the handful of surviving drawings by Hanns Lauten-
Imaginary City sack. Although comparable in certain respects to the
blue- and red-grounded landscapes associated with the
Pen and black ink and white gouache heightening on red Master of 1544 and the Monogrammist HWG, both of
prepared paper; H: 18.5 cm (75/i6 in.); W: 15.6 cm (6Vs whom were probably active in Nuremberg,1 it is at once
in.) more grandly conceived and less precious, evidencing a
89.00.14 closer affinity with the landscape style of Albrecht Alt-
dorfer and Wolf Huber. Supporting the attribution to
MARKS AND INSCRIPTIONS: (Verso) inscribed Altdorfer
Lautensack, who was also from Nuremberg, is the
in brown ink.
rough, vivacious pen work of the architecture, which
PROVENANCE: Private collection, Belgium; art market, comes close to his drawing of a fantastic city in the Szp-
Boston. mvszeti Mzeum (inv. 224), signed and dated 1550.
The sketch Christ and the Centurion (Stdelsches Kunstin-
EXHIBITIONS: None.
stitut inv. 6932) shares with the present drawing the
BIBLIOGRAPHY: L. Hendrix, "A New Drawing by small, frothy trees interspersed with buildings, the tan-
Hanns Lautensack, " J. Paul Getty Museum Journal 17 gled and dark foreground hatching, and the delicately de-
(1989), pp. 21-28. lineated distant mountains. There are also parallels with
etchings by Lautensack, such as Christ Curses the Fig Tree
of I554,2 which was probably made around the same
time as the drawing. The drawing appears to have been
cut down and thus originally might not have had such a
pronounced vertical format.
1. A. Schmitt, Hanns Lautensack, Nrnberger Forschungen 4

(Nuremberg, 1957), nos. 97-99, 102-3, no, no, 120-23; T.
DaC. Kaufmann, Drawings from the Holy Roman Empire 1540-
1680, exh. cat. (Art Museum, Princeton University, and other
institutions, 1982), p. 42, no. 5.
2. Schmitt (note i), no. 73.
296 CENTRAL EUROPEAN SCHOOL LAUTENSACK

I S A A C MAJOR
I588-AFTER 1642
132 River Landscape with Houses THIS AND ANOTHER EXAMPLE WITH THE SAME PROV-
enance sold at Sotheby's, Amsterdam (November 18,
on a Rocky Island 1985, lots 15, 16), are part of a distinctive group of land-
scape drawings drawn with the brush in blue wash which
Watercolor, squared in black chalk; H: 23.5 cm (9*74 in.); was first attributed to Major byj. Spicer.1 Both drawings
W: 35.8cm(i4y8in.) were executed primarily in blue wash but have touches
88.GA.25 of green, yellow, and reddish watercolor as well. Al-
though the drawings in this group have been associated
MARKS AND INSCRIPTIONS: At bottom center, collec-
with such diverse hands as Jacques and Roelandt Savery,
tion mark of John Thane (L. 1544); at bottom right cor-
Jos de Momper, and Jan Siberechts,2 their attribution to
ner, collection mark of Augustus Frederick, first duke of
Major seems most plausible. It has been further substan-
Sussex, or Sir John Barham (L. 2823).
tiated by the discovery that one of them is a study in re-
PROVENANCE: John Thane, London; Augustus Freder- verse for an etching Major signed as having madeand
ick, first duke of Sussex, or Sir John Barham; sale, Soth- presumably invented.3 The rugged terrain featured in
eby's, Amsterdam, November 18, 1985, lot 16; art mar- these drawings shows his dependence on the work of
ket, London. Roelandt Savery and Pieter Stevens, after which he made
a number of engravings. The present example comes
EXHIBITIONS: None.
closer to Stevens both compositionally and technically,
BIBLIOGRAPHY: None. as can be seen if it is compared to Chapel above a River
(Rijksprentenkabinet inv. 22:12); its painterly handling
and colorism are found in later drawings by Stevens such
as River in a Forest, dated 1614 (Amsterdam, P. and N. de
Boer collection). Its juxtaposition of a low expanse of
horizon with vertical foreground elements occurs in
other landscapes by Major, such as Rocky Landscape with
Waterfall and Hunters (Yale University Art Gallery inv.
1961.62.62), that have been dated to the 16205. The
squaring in this and another of the so-called "indigo"
drawings, Landscape with Fisherman and Duck Hunter
(Yale University Art Gallery inv. 1961.62.63), indicates
that they might have been made as models for a projected
series of prints which was never completed.
1. J. Spicer-Durham, "The Drawings of Roelandt Savery,"

unpub. Ph.D. diss., Yale University, 1979, vols, i, pp. 78, 289,
n. 42b; 2, pp. 688, 723.
2. F. de Nave, Meester Werken nit het Stedelijk Prentenkabinet van
Antwerpen: Tekeningen uit de XVlde en XVIlde Eeuw, exh. cat.
(Stedelijk Prentenkabinet van Antwerpen, Antwerp, 1988),
no. 45.
3. E. Burgerolles with the assistance of D. Guillet, Renaissance
et manirisme dans les coles du nord: Dessins des collections de l'Ecole
des Beaux-Arts, exh. cat. (Ecole des Beaux-Arts, Paris, and
Hamburger Kunsthalle, Hamburg, 1985), p. 244, no. 125;
F. W. H. Hollstein, German Engravings, Etchings, and Woodcuts,
c. 1400-1700 (Amsterdam, 1954-), vol. 24, no. 14.
298 CENTRAL EUROPEAN SCHOOL MAJOR

MASTER OF THE BERLIN ROUNDELS
ACTIVE CIRCA 1515
-ZJ3 A Standard Bearer before in southern Germany, probably Augsburg. Besides the
roundels, he attributed to the master two larger rectan-
a Castle gular drawings, one of which is in the Staatliche Gra-
phische Sammlung (inv. 5632) and depicts two fighting
134 A Flutist and Drummer soldiers. The attribution of the Munich sheet is most
strongly supported by a comparison with the pair of
before a Moated Castle roundels in the Museum's collection. Most recently, K.
Brand has pointed out that the group is probably not by
Pen and black ink; diam. 6.6 cm (25/8n.)
a single hand and has reasserted Bockstorffer's authorship
8y.GA.i46, 8y.GA.i47
of some of the roundels.3
MARKS AND INSCRIPTIONS! None. The Landsknechte (mercenary soldiers) shown in the
Museum's drawings became popular subjects in south
PROVENANCE: F. Ritter von Hauslab; prince of Liech-
German and Swiss art around the time the roundels were
tenstein; private collection (sale, Sotheby's, New York,
made. The pose of the standard bearer, with his left hand
January 16, 1986, lot 18); art market, London.
on his sword hilt and right hand gripping the banner, re-
EXHIBITIONS: None. calls Durer s engraving of the same subject of circa 1502
BIBLIOGRAPHY: W. Hugelshofer, "Der deutsche Zeich- (B.8y[98]v.io,y). The master's depiction of him at a
ner der Rundbltter von 1515," Jahrbuch der Berliner Mu- slight anglerather than frontally as in the Dureradds
seen y, no. 2 (1965), pp. 204, 206, nos. 39, 40; F. Zink, a measure of depth to the figure, enhancing his integral
Kataloge des Germanischen Nationalmuseum Nrnberg: Die relationship with the landscape. The fifer and drummer
deutschen Handzeichnungen, vol. i, Die Handzeichnungen set against a spiraling trail leading to a distant castle dis-
bis zur Mitte des 16. Jahrhunderts (Nuremberg, 1968), p. play an analogous highly developed capacity to evoke
154, under no. 122. three-dimensional space.
THE DISCOVERY OF THE AUTHOR OF THESE AND

thirty-nine other small round drawings has proven elu- I . E . Buchner, "Zwei oberdeutsche Meister der Reformations-
sive. E. Buchner1 believed them to be by the creator of zeit," Zeitschriftjur bildende Kunst 59 (1925-26), pp. 52-54.
the etchings monogrammed CB, whom Rott identified 2. H. Rott, "Beitrge zur Geschichte der oberrheinisch-
as Christoph Bockstorffer, a printmaker, painter, and de- schwbischen Glasmalerei: Konstanzer Glasmaler und Glas-
signer of stained-glass windows who probably trained in malerei in der ersten Hlfte des 16. Jahrhunderts," Oberrhein-
Augsburg and might have been active in Constance.2 ische Kunst i (1925), pp. 29ff.
3. K. Brand, "Das Triptychon von 1524 in der Konradi-Kapelle
Buchner's theory was superseded by that of Hugelshofer
des Munsters zu Konstanz und die Christoph-Bockstorffer-
(1965, pp. i89fF.), who was the first to assemble all of the
Frage," Jahrbuch der Staatlichen Kunstsammlungen in Baden-
known roundels. He proposed that they were drawn IVrttemberg 55 (1988), pp. 65, n. 31; 80-81.
circa 1515, the date on a single example in the Kupfer-
stichkabinett, Berlin (inv. xdz 4yo6), by an artist active
300 CENTRAL EUROPEAN SCHOOL MASTER OF B E R L I N ROUNDELS

M O N O G R A M M I S T A. S
ACTIVE CIRCA 1530
135 The Idolatry of Solomon

Hall with a Fountain of 1506 (Berlin, Kupferstichkabinett
inv. Kdz 85). The pointing gesture of the woman near the
Pen and dark brown ink; H: 21.3 cm (83/s in.); W: 32.5 center and the tall, faceted pedestal with the sculp-
cm (i2 I3 /ioin.) ture silhouetted against a landscape are reminiscent of
S.GA.IO
Master MZ's engraving of the Idolatry of Solomon,
dated 1501 (fi.i[37i]v.9,6). While the flamboyant cos-
MARKS AND INSCRIPTIONS: (Verso) on mount, in- tumes have suggested an association with Saxony (ibid.,
scribed from the Earl of Shrewsbury Coll. a, R. P. R. p. 55), they are consistent with the court dress of south-
(L. 2234) in brown ink, blind stamp of the earl of ern Germany at this time.3 Lending further support to the
Shrewsbury (L. 2688) in brown ink, collection mark of localization of the drawing to Ulm is its Reformatory
R.P. Roupell(L. 2234). subject matter: Solomon, wearing the imperial order of
PROVENANCE: Charles, fifteenth earl of Shrewsbury, the Golden Fleece, worships a Mars-like idol, while sol-
Alton Towers, Staffordshire; R. P. Roupell, London diers proceed along the road in the distance.
(sale, Christie's, London, July 12, 1887, lot 893); Henry
Wagner, London; O. Wagner, London; by descent; pri-
vate collection (sale, Christie's, London, July 6, 1982, lot 1. My thanks to M. Roth of the Ulmer Museum for this in-
108); private collection (sale, Sotheby's, New York, Jan- formation. For further literature on the plate, see Die Renais-
uary 13, 1988, lot 64); art market, Boston. sance im deutschen Sdwesten, exh. cat. (Badischen Museum
Karlsruhe, 1986), vol. 2, no. MIL
EXHIBITIONS: None. 2. H. Geissler, "Zeichnung und Zeichen im deutschen Sd-
BIBLIOGRAPHY: K. T. Parker, "Monogrammist A S, westen, " in Die Renaissance im deutschen Sdwesten (note i), vol.
i, p. 306.
about 1530," Old Master Drawings 6, no. 23 (December
3. Compare the costumes, for example, with those in the
1931), pp. 55-56. drawing Courtly Gathering in a Landscape by Jrg Breu the
Younger (Hessisches Landesmuseum inv. AE 378).
AS POINTED OUT BY PARKER ( l 9 3 I , P. 5 5 ) , THIS
drawing is by the same hand as Lovers in a Landscape,
which is signed AS and dated 1530 (Staatliche Graphische
Sammlung inv. 40553). Parker (ibid., pp. 55-56) also
discovered that a fountain copied from Lovers in a Land-
scape appears on an etched pewter dish showing David
and Bathsheba, monogrammed AS, dated 1529 (Mu-
seum der Stadt Ulm inv. 1927. 5643), and executed in the
same brittle, somewhat naive style as the drawings. The
localization of this dish to Ulm has never been ques-
tioned, and indeed AS is regarded as the earliest named
pewter worker of that city. 1
As noted by H. Geissler,2 little is known of drawings
produced in Ulm during the early sixteenth century. The
scene depicted in the present drawing, with elegantly
dressed courtiers gathered around a piece of sculpture in
an interior affording views of the landscape beyond, re-
calls Erhard Altdorfer's drawing Festive Gathering in a MONOGRAMMIST A. s. (German, active circa 1530). Plate with
Scene of Bathsheba at Her Bath, 1529. Cast and engraved pewter.
Diam. 25 cm (9I3/i6 in.). Museum der Stadt Ulm 1927.5643.
3O2 C E N T R A L E U R O P E A N S C H O O L M O N O G R A M M I S T A. S.
MONOGRAMMIST M. S
ACTIVE 1557
136 A Falconer in a Landscape SCHWERDT (1928) FIRST ASSOCIATED THIS DRAWING

with the style of Augustin Hirschvogel, who was active
Pen and black ink; H: 15 cm(5 I5 /i6n.); W: 21 cm(8I/4in.) in Nuremberg during the 15305 and moved permanently
89.GA.i3 to Vienna during the early 15405. It is particularly close
to two drawings by him, one a rectangular view of a fal-
MARKS AND INSCRIPTIONS: (Recto) at top, inscribed coner luring back his bird and the other a later round,
Im J557 Jar den 30 November. / M. S. in black ink by the more finished version of the same composition with
artist; (verso) under the lining, inscribed Falkenjagd. some changes and in reverse (both Szpmvszeti M-
PROVENANCE: Arnold O. Meyer (sale, C. G. Boerner, zeuminv. 105, 106). The pose of the falconer in the Mu-
Leipzig, March 19-20, 1914, lot 358); Schller collection, seum's drawing also borrows elements from an analo-
Germany (sale, C. G. Boerner, Leipzig, November 11- gous figure in an engraving by Virgil Sous, signed and
12, 1921, lot 25); C. F. G. R. Schwerdt, Hants (sale, Soth- dated 1541.1 Although K. Schwarz dated the Hirschvogel
eby's, London, June 27, 1939, lot 1298); private collec- drawings to the mid-i54OS, J. S. Peters argued convinc-
tion, New England (sale, Sotheby's, London, July 4, ingly for a date of circa 1533.2 All of this suggests that
1988, lot 4); art market, Boston. M. S., for whom no other drawings have been identified,
was not a Viennese artist in the orbit of Hirschvogel but
EXHIBITIONS: One Hundred Master Drawings from New was active instead in Nuremberg.3 The highly finished
England Private Collections, Wadsworth Atheneum, Hart- character of the Getty drawing and its prominent sig-
ford; Hopkins Center Art Galleries, Dartmouth Col- nature and date indicate that it was made as a presentation
lege, Hanover, N. H.; and Museum of Fine Arts, Bos- sheet, just as Hirschvogel's falcon hunt roundel in Bu-
ton, September 1973 -January 1974, no. 4 (catalogue by dapest probably was.
F. W. Robinson).
BIBLIOGRAPHY: C. F. G. R. Schwerdt, Hunting Hawk-
ing Shooting (London, 1928), vol. 3, p. 219. 1. I. O'Dell-Franke, Kupferstiche un Radierungen aus der Werk-
stattdes Virgil Solis (Wiesbaden, 1977), p. 139, no. g 43.
2. K. Schwarz, Augustin Hirschvogel (Berlin, 1917; 2nd ed.
New York, 1971), vol. i, p. 72; J. S. Peters, "Early Drawings
by Augustin Hirschvogel," Master Drawings 17, no. i (Winter
1979), F- 375-
3. G. K. Nagler, in Die Monogrammisten (Munich and Leipzig,
1858-79), vol. 4, no. 2163, lists an M. S. who was active in Nu-
remberg as a Formschneider circa 1545 - 80.
304 C E N T R A L E U R O P E A N S C H O O L M O N O G R A M M I S T M. S.
GEORG PENCZ
CIRCA I500-I55O
137 Allegory of Justice OBERHEIDE (1933) DISCOVERED THAT THIS FIGURE WAS
based on a print once attributed to Marcantonio Rai-
Pen and brown ink and black chalk; H: 19.2 cm (79/i6 in.); mondi and now attributed to Marco Dente da Ravenna
W: 15 cm (5%in.) (B.3o8-i[232Jv.26,4). Pencz, however, transformed the
87.GA.i03 figure from a striding Bacchus holding grapes aloft to a
female nude gripping a scale and a sword, the personi-
MARKS AND INSCRIPTIONS: At upper left corner, in- fication of Justice. Although Pencz's figure is the same
scribed N 115 in graphite; at bottom right corner, signed height as the engraved Bacchus, it exhibits subtle pro-
and dated PG 1533 in brown ink. portional adjustments. For example the hand is higher
PROVENANCE: Sir Robert Witt, London; Dr. and Mrs. over the head and the face longer and more in profile, so
Francis Springell, Portinscale, Cumberland (sale, Soth- that a diagonal bisecting the figure's vertical axis is
eby's, Amsterdam, May 3, 1976, lot 83); art market, Ger- formed by the hand, facial profile, and right nipple.
many; art market, London. Prominent black chalk construction lines indicate that
Pencz regularized the figure's proportions in other re-
EXHIBITIONS: Master urn Albrecht Durer, Germanisches spects as well. The interest in proportion, the lateral view
Nationalmuseum, Nuremberg, July-September 1961, of the figure, and her placement in the heavens suggest
no. 266 (catalogue by H. Rttgen et al.); Between Renais- that Pencz created this image in response to Durer s Nem-
sance and Baroque, City Art Gallery, Manchester, March- esis (The Great Fortune) (B.77[9i]v. 10,7), as was first pro-
April 1965, no. 353 (catalogue by F. G. Grossmann); Old posed by Gmelin (1961, p. 167). He might also have had
Master Drawings from the Collection of Dr. and Mrs. Francis in mind other proportional studies by Durer such as the
Springell, National Gallery of Scotland, Edinburgh, drawing of striding figures in the British Museum (inv.
July-September 1965, no. 12. Sloane 5218/115, recto, verso). As was noticed by An-
BIBLIOGRAPHY: C. Dodgson, "Georg Pencz," in Old zelewsky and Mielke (1984), the scale in the Allegory of
Master Drawings 2, no. 8 (March 1928), p. 64; A. Ober- Justice derives from Drer's engraving Melancholia I
heide, DerEinfluss Marcantonio Raimondis aufdie nordische (B.74[87]v. 10,7). Another probable print source is Hem-
Kunst des 16. Jahrhunderts, unpub. Ph.D. diss., Univer rich Aldegrever's female allegory, Commemoration of the
sitt Hamburg, 1933, p. 66; H. G. Gmelin, Georg Pencz Dead of 1529 (B.i34[4O4Jv.i6,8), which similarly dis-
als Maler, unpub. Ph.D. diss., Universitt Freibourg im plays streaming hair and shows the front of the body
Breisgau, 1961, p. 167; K. Oberhuber, m Recent Acquisi- obliquely, unlike the strict profile view of Drer's Neme-
tions and Promised Gifts: Sculpture, Drawings, Prints, Na- sis. The sculptural quality of Pencz's hatching within the
tional Gallery of Art, Washington, 1974, p. 42, under no. form is somewhat militated by his careful positioning of
7; D. Landau, Georg Pencz: Catalogo completo dell'opera the feet flush with the picture plane and the unbroken sil-
grfica (Milan, 1978), pp. 30-32; F. Anzelewsky and H. houette of the form against a blank ground. It is possible
Mielke, Albrecht Durer: Kritischer Katalog der Zeichnungen, that he made this design for an unexecuted print.
Staatliche Museen Preussischer Kulturbesitz (Berlin, 1984),
p. 85, under no. 82.
3O6 CENTRAL EUROPEAN SCHOOL PENCZ

E R H A R D SCHON
CIRCA 1491-1542
138 A Turkish Procession SLEYMAN THE MAGNIFICENT INVADED EUROPE IN

1532 and met with defeat largely because of the successful
Pen and brown ink; H: 23.6 cm (95/i6 in.); W: 37 cm Christian defense of Guns in Austria. Probably in the
(i49/i6 in.) same year, a large three-block woodcut was issued after
89.GA.8 Schn's design with the superscript Ein klag zu Gott I uber
die grausamliche manigfaltigen wterey I dess Blutdirstigen
MARKS AND INSCRIPTIONS! None. Trcken umbgnedige hilff.1 The present drawing is a design
PROVENANCE: Sale, Gutekunst and Klipstein, Bern, for the middle block showing the sultan in procession;
November 22, 1956, lot 284; private collection (sale, Ga- the left-hand block depicts a throng of European captives
lerie Kornfeld, Bern, June 15, 1988, lot 215); art market, led by Turkish soldiers, and that on the right shows the
Boston. city of Guns. The drawing is about the same size as the
middle section of the print and in the same direction. Al-
EXHIBITIONS: None. though extremely close to the woodcut, the fact that it is
BIBLIOGRAPHY: A. Stewart, "New Drawings by Erhard not a copy is indicated by numerous subtle differences be-
Schn and His Circle," Master Drawings 26, no. 3 (Au- tween the two, including the spatial construction, which
tumn 1988), pp. 235; 237, n. 17; 238. is more friezelike in the .drawing and tipped upward in
the print. The ornamental trappings of the sultan's
throne and canopy are also more extensively worked out
in the woodcut. The drawing for the left-hand block,
which recently appeared at auction (Christie's, London,
January 12, 1988, lot 91, as Circle of Virgil Solis), is also
in the same direction as the print and contains similar de-
viations from it. These are the only known surviving de-
signs for the numerous broadsheets produced by Schn.
i. M. Geisberg, The German Single-Leaf Woodcut: 1500-1550,

rev. and ed. W. L. Strauss (New York, 1974), vol. 4, no.
0.1251-1253.
308 CENTRAL EUROPEAN SCHOOL SCHN

K A R E L SKRETA
IIO-I74
139 Figure Studiesr>v THE RECTO AND VERSO OF THIS DRAWING CONTAIN
various studies of the Virgin and child adored by saints.
Red chalk (recto); red chalk and pen and brown ink The Virgin and child in Skrta's painting The Mystic Mar-
(verso); H: 32.5 cm (i2I3/iin.); W: 39.4 cm (15 % in.) riage of Saint Catherine of circa 1660 (Nrodn Galerie) are
88.GB.52 quite close to the studies on the top left of the recto. A
drawing, The Annunciation (Berlin, Kupferstichkabinett
MARKS AND INSCRIPTIONS: (Verso) inscribed Beschlos- inv. KDZ 26388), contains a figure analogous to God the
sen(?) hundert gulden zugeben in brown ink; illegible in- Father on the top right of the verso, while types recalling
scriptions and calculations in red chalk. the figurai group on the bottom right of the verso appear
PROVENANCE: Private collection, United States (sale, in Saint Joseph with the Patron Saints of Bohemia, Saints
Sotheby's, New York, January 16, 1986, lot 77); art mar- Francis and Catherine (Nrodn Galerie inv. K 1641/1901).
ket, London. Among the closest works overall to the present example
is Studies of Saint Felix ofCantalitio and Other Saints (Ber-
EXHIBITIONS: None. lin, Kupferstichkabinett inv. xdz 26392), a series of in-
BIBLIOGRAPHY: None. terconnected figurai studies energetically sketched in
chalk with selected passages gone over in pen and ink.
The present drawing appears to date from circa 1660.
The mention of payment under the right-hand compo-
sition on the verso indicates that at least this portion of
the drawing was probably made in preparation for a
painting.1
i. The authors are grateful to E. Fuckov for assistance in de-

ciphering the inscription.
310 CENTRAL EUROPEAN SCHOOL KRT A

recto
verso
V I R G I L SOLIS
1514-1562
140 Designfor a Frieze of NO PRINT HAS AS YET BEEN CONNECTED WITH THIS
highly refined drawing. While indebted to the vine-
Grapevines frieze engravings of the 15205 and '305 by Heinrich Al-
degrever,1 it is most comparable to Solis's engravings of
Pen and black ink, horizontal incised lines above and be- vine friezes emanating from a central urn, which have
low the design and running its entire length; H: 11.9 cm been dated to the I54OS.2 It shares with these a greater lin-
(43/i6 in.); W: 32.4 cm (i2 3 / 4 in.) earity and interest in detail, which contrasts with the
89.GA.2I more sculptural effect of Aldegrever's engravings. Other
drawings by Solis dated 1537 include examples in the
MARKS AND INSCRIPTIONS: At bottom, dated 1537 in
Kunsthalle, Hamburg (inv. 1917/142), and Kupferstich-
black ink by the artist.
Kabinett, Dresden (inv. 2271).
PROVENANCE: Private collection (sale, Christie's, Lon-
don, December 13, 1984, lot 94); art market, Boston.
EXHIBITIONS: Ornamental Prints and Drawings, Museum 1. R. Berliner and G. Egger, Ornamntale Vorlagebltter des 15.
of Fine Arts, Boston, 1986. bis 19. Jahrhunderts (Munich, 1981), vol. 2, nos. 124-30.
2. I. O'Dell-Franke, Kupferstiche una Radierungen aus der Werk-
BIBLIOGRAPHY: None. statt des Virgil Solis (Wiesbaden, 1977), pp. 62-63, nos. i 33-
136.
312 CENTRAL E U R O P E A N SCHOOL SOLIS

141 Designfor an Ex Libris or a THE HARP ON THE SHIELD OF THIS COAT OF ARMS IN-
dicates that the elderly king with flowing locks and beard
GlassEtching atop the helmet is David. The abbreviation O.H.L.
might refer to a family name or a motto. Among the var-
Pen and black ink, gray wash, and black chalk; diarn. 5.8 ious forms of monogram that Solis employed, the one
cm (25/ioin.) used here comes closest to that appearing on an engrav-
89.00.22 ing of 1553.1 The design resembles Solis's engravings for
bookplates that also take the form of a coat of arms
MARKS AND INSCRIPTIONS: At top, inscribed O.H.L.
within a circular wreath.2 The exceptional liveliness and
by the artist; monogrammed V. S. in black ink; at bot-
expressiveness of the pen work here is in the tradition of
tom, collection mark of Sir Peter Lely (L. 2092).
earlier coats of arms drawn by artists such as Hans Bal-
PROVENANCE: Sir Peter Lely, London; private collection dung Grien.
(sale, Christie's, London, December n, 1985, lot 174); art
market, Boston.
EXHIBITIONS: None. 1. I. O'Dell-Franke, Kupferstiche un Radierungen ans der Werk-
stattdes Virgil Solis (Weisbaden, 1977), p. 30, no. i 25.
BIBLIOGRAPHY: None.
2. Ibid., nos. 13-15.
314 C E N T R A L E U R O P E A N SCHOOL SOLIS

SWISS ( B E R N E S E ? ) MASTER
SIXTEENTH CENTURY
142 Portrait of a Young Man THIS LARGE, HIGHLY FINISHED DRAWING FIRST AP-
peared in a 1985 Christie s sale catalogue, where it is cor-
Black chalk; H: 38.2 cm (15 in.); W: 28.7 cm (ii 5 /i6 in.) rectly identified as Swiss based on its Bern watermark1
87.06.30 and its similarity, as pointed out by J. Byam Shaw, to the
portrait of Jakob von Roverea monogrammed HF and
MARKS AND INSCRIPTIONS! At top, dated .1.5.21 in dated 1523 (Bern, Kunstmuseum inv. 623). Like the
black chalk by the artist; inscribed AD (false Durer painting but even more strongly, the present drawing
monogram) in black chalk by a later hand. shows the influence of Ambrosius Holbein and Hans
PROVENANCE: Private collection, Canada (since before Holbein the Younger. The placement of the hat, treat-
World War II); private collection, Montreal (sale, Chris- ment of the hair, free rendering of the clothing, and bust-
tie's, London, December 12, 1985, lot 382); art market, length pose find parallels in Portrait of a Young Man in an
London. Orange Hat, attributed to Holbein the Younger (National
Gallery of Art inv. Ki892), which is considered to have
EXHIBITIONS: None. been painted circa 1520. The steady horizontal gaze of the
BIBLIOGRAPHY: None. young man in the drawing also calls to mind the Portrait
ofBonifadus Amerbach of 1519 (Offentliche Kunstsamm-
lung inv. 314). Comparable Swiss drawings of this pe-
riod include Portrait of a Young Man (Staatliche Gra-
phische Sammlung inv. 71), a large-scale black chalk
study similarly showing the sitter in profile that was
probably made by a Bernese artist circa 1525. Contrary
to Holbein, however, is the flat treatment of the form
in the manner of Niklaus Manuel. The meandering,
stringy quality of the line in the chin strap and waistcoat,
which calls to mind the line work of Manuel and Urs
Graf, is combined with fine hatching and stumping
through the face and hat, elements suggesting that this
artist knew Durer s large portrait drawings in charcoal
such as Smiling Young Man Facing Right of 1521 (British
Museum, Sloane Collection, inv. 5218/54). Like Durer s
portrait charcoals, the present example seems to have
been intended as a finished work of art.
i. J. Lindt, The Paper-Mills of Berne and Their Watermarks:

1465-1859 (Hilversum, 1964), close to no. 18.
3l6 CENTRAL EUROPEAN SCHOOL SWISS MASTER

THOMAS GAINSBOROUGH
1727-1788
143 Study of a Seated Woman* BIBLIOGRAPHY: J. Hayes, The Drawings of Thomas

Gainsborough (New Haven and London, 1971), vols, i,
pp. 43, 44, 97; 118 under no. 31; 118-19, nos. 32, 33; 119
Study of a Small Girl Seated under no. 34; 125 under no. 56; 2, pis. 98, 100.
onaBankv GAINSBOROUGH DREW THIS FIGURE FROM A LIVE
Black and white chalk, stumped, on blue paper (recto); model or from a doll (Hayes 1960-61). The emphasis on
black chalk (verso); H: 31.8 cm (12% in.); W: 23.8 cm the rich, diaphanous folds of the dress freely and sen-
(93/s in.) suously rendered in black and white chalk, as well as the
86.GB.20
silhouetting of the form in black chalk, recur in a number
of other studies of female figures which he made during
MARKS AND INSCRIPTIONS: None. the middle to later 17605. Unusual for this period, how-
PROVENANCE: Mrs. Thomas Gainsborough, London; ever, are the small head, exceptionally thin, elongated
by descent to their daughter, Margaret Gainsborough; proportions, and demure, frontal, seated pose with
by descent to Sophia Lane; by descent to Richard Lane crossed legs, which hark back to the figurai style of early
(sale, Christie's, London, February 25, 1831, lot 100); works such as Robert Andrews and His Wife Frances of circa
Crompton collection; art market, London; Dr. and Mrs. 1748-49 (National Gallery). In the lower portion of the
Francis Springell, Portinscale, Cumberland (sale, Sothe- form, the dual points of relief created by the crossed
by's, London, June 30, 1986, lot 103). knees and protruding left corner of the chair accentuate
the shimmer of light over the expanse of the skirt. The
EXHIBITIONS: Drawings by Old Masters, Royal Academy diagonal shading in the lap following the contour of the
of Arts, London, August-October 1953, no. 448 (cata- legs, coupled with the integral relationship of the feet to
logue by J. Byam Shaw and K. T. Parker); Loan Exhibi- the raised fold of the skirt from which they emerge, re-
tion of Drawings by Old Masters from the Collection of Dr. fute Hayes's suggestion that the feet were an afterthought
and Mrs. Francis Springell, P. and D. Colnaghi and Co. (1980-81).
Ltd., London, and Hatton Gallery, Newcastle upon This is one of a group of Gainsborough's finest fig-
Tyne, October-December 1959, no. 61 (catalogue by J. ure drawings which descended in the family and were en-
Byam Shaw); Gainsborough Drawings, York City Art graved by the artist's great-nephew, Richard Lane, in
Gallery and other institutions, November 1960-April Studies of Figures by Gainsborough (1825). As noted by
1961, no. 65 (catalogue by J. Hayes); Old Master Drawings Hayes (1971, vol. i, no. 33), the pose of the girl on the
from the Collection of Dr. and Mrs. Francis Springell, Na- verso recalls the artist's portraits of children of the early
tional Gallery of Scotland, Edinburgh, July-September 17705, such as Robert and Susannah Charlton (Richmond,
1965, no. 85 (catalogue by K. Andrews); The French Taste Museum of Fine Arts).
in English Painting during the First Half of the i8th Century,
Kenwood House, London, Summer 1968, no. 76 (cata-
logue by E. Einberg); Thomas Gainsborough, Tate Gal-
lery, London, October I98o-January 1981, no. 20 (cat-
alogue by J. Hayes); Gainsborough 1727-1788, Grand
Palais, Paris, February-April 1981, no. 92 (catalogue by
J. Hayes); Gainsborough Drawings, National Gallery of
Art, Washington, D.C.; Kimbell Art Museum, Fort
Worth; and Yale Center for British Art, New Haven,
1983, no. 43 (catalogue byj. Hayes and L. Stainton).
3l8 BRITISH SCHOOL GAINSBOROUGH

recto
verso (no. 143)
JOSEPH MALLORD WILLIAM TURNER
1775-1851
144 Long Ship's Lighthouse, Joli); Bicentenary Exhibition, Royal Academy of Arts,
London, December 1968-March 1969, no. 557 (cata-
Land's End logue by St. John Gore); La peinture romantique anglaise et
les Prraphalites, Petit Palais, Paris, January-April 1972,
Watercolor and gouache, scraped by the artist; H: 28.5 no. 304 (catalogue by M. Kitson et al.); J. M. W Turner:
cm (nViin.); W: 43.9 cm (lyVioin.) Der Maler des Lichts, Nationalgalerie, Staatliche Museen
88.GC.55 (SEE PLATE 16) Preussischer Kulturbesitz, Berlin, September-
November, 1972, no. 93 (catalogue by H. Bock, U.
Prinz, and A. Wilton); Turner 1775-1851, Royal Acad-
PROVENANCE: Frederick Craven of Bakewell, Derby- emy of Arts, London, November 1974-March 1975,
shire (sale, Christie's, London, May 18, 1895, lot 38); no. 431 (catalogueby M. Butlin, A. Wilton, andj. Gage);
John Edward Taylor (sale, Christie's, London, July 5, Turner's Picturesque Views in England and Wales, Thomas
1912, lot 42); C. Morland Agnew; Gerald Agnew, Agnew and Sons, Ltd., London, 1979, no. 73.
Henley-on-Thames; Vice-Admiral Sir William Agnew,
BIBLIOGRAPHY: Sir F. Wedmore, Turner and Ruskin: An
Henley-on-Thames, and then to his widow; Charles C.
Exposition of the Work of Turner from the Writings of Ruskin
Cunningham, Jr., Williamstown, Mass.; art market,
(London, 1900), vol. 2, opp. p. 200; Sir W. Armstrong,
London.
Turner (1902), vol. i, p. 261; E. T Cook and A. Wed-
EXHIBITIONS: International Exhibition, Exhibition Build- derburn, The Works of John Ruskin (London, 1903), vol.
ing, South Kensington, London, 1862, no. 1015; Na- 3, pp. liv; 298, n. 2; 401, 403-4, 534; 5^3, n. i; 566-7,
tional Exhibition of Works of Art, Museum of Ornamental pi. 10; W. G. Rawlinson, The Engraved Work ofj. M. W
Art, Leeds, 1868, no. 2195; Royal Jubilee Exhibition, Man- Turner, R.A. (London, 1908; 1913), vols, i, pp. xcv,
chester, 1887, no. 1763; Winter Exhibition, Royal Acad- 161-62; 2, p. 195; L. Binyon, English Watercolours (Lon-
emy of Arts, London, 1891, no. 83; Loan Collection of Pic- don, 1933), p. 131; rev. ed. (London, 1944), p. 115; W. G.
tures and Drawings by J.M. W Turner, R.A., and of a Constable and C. Johnson, eds., Commemorative Cata-
Selection of Pictures by Some of His Contemporaries, Cor- logue of the Exhibition of British Art (London, 1935), pp.
poration of London Art Gallery, Guildhall, April-July 184-85, no. 774; M. Hardie, Water-Colour Painting in
1899, no. 144 (descriptive and biographical notes by Britain, vol. 2: The Romantic Period (London, 1967), pp.
A. G. Temple); The British Empire Exhibition, Palace of 28, 36;E. Shanes, Turner's Picturesque Views in England and
Arts, Wembley, 1924, no. 13; British Art, Royal Academy Wales (London, 1979), pp. 45, no. 73; 155,157; A. Wilton,
of Arts, London, January-March 1934, no. 893; Cente- J. M. W Turner: His Art and Life (Secaucus, N. J., 1979),
nary Loan Exhibition of Water-Colour Drawings byj. M. W. pp. 179; 401, no. 864; idem, Turner and the Sublime (Chi-
Turner, R. A., Thomas Agnew and Sons, Ltd., London, cago, 1980), p. 150, n. i, under nos. 63-65; D. Birch,
1951, no. 72; L'aquarelle anglaise 1750-1850, Muse Rath, Ruskin on Turner (London, 1990), pp. 30-32; E. Shanes,
Geneva, and Cabinet des Estampes de l'Ecole Polytech- Turner's Human Landscapes (London, 1990), pp. 190, 291.
nique Fdrale, Zurich, October 1955-March 1956, no.
124 (catalogue by P. Opp); Masters of British Painting IN 1825 TURNER AGREED WITH THE PUBLISHER
1800-1950, Museum of Modern Art, New York; City Charles Heath to produce the watercolors for a series of
Art Museum, Saint Louis; and California Palace of the line engravings entitled Picturesque Views in England
Legion of Honor, San Francisco, October 1956-May and Wales. Ninety-six engravings appeared between
1957, no. in (catalogue by A. C. Ritchie); Exhibition of 1827 and 1838, when the project went bankrupt (Shanes
Watercolours by J. M. W Turner, King's Lynn, July- !979> PP- 1015). Made rather late in the series, circa
August 1957, no. 21; Agnew's i$oth Anniversary Loan Ex- 1834-35, the present watercolor was engraved by W. R.
hibition of Paintings and Watercolours by J. M. W Turner, Smith and published in 1836 (Rawlinson 1908; 1913,
R.A., Thomas Agnew and Sons, Ltd., London, No- vols. i-2, no. 288). H. E. Lloyd's notes to the engraving
vember-December 1967, no. 66 (introduction by E. point out that several miles at sea beyond Land's End in
TURNER BRITISH SCHOOL 321

Cornwall, the westernmost point of England, rise the
jagged rocks called Long Ships; a lighthouse was erected
on the largest of these in 1797.* Turner's drawing of the
site in the sketchbook (British Museum inv. ADD CXXVA,
p. 27) of Cornwall and Devon made circa 1811 served as
the starting point for the watercolor (Shanes 1979, p.
155).
In contrast to the emphasis on human drama in
other watercolors of shipwrecks from the England and
Wales series, Long Ship's Lighthouse depicts that point in
the English topography where nature reigns supreme,
obliterating human presence. In the foreground, waves
dash to pieces a hapless ship, beyond the reach of human
intervention, which is indicated by the remote flicker-
ings of the lighthouse and warning fires on the coastal
rocks. John Ruskin was especially impressed by the por-
trayal of the element of water in Long Ship's Lighthouse,
in which he perceived that Turner had captured "the
whole surface of the sea . . . undirected, bounding,
and crashing, and coiling in an anarchy of enormous
power. "2
1. Picturesque Views in England and Wales, from Drawings by

J. M. W. Turner, Engraved under the Superintendence of Mr. Charles
Heath. With Descriptive and Historic Illustrations by H. E. Lloyd
(London, 1838), vol. 2, no pagination.
2. Modern Painters, vol. i, pt. 2 (London, 1903), pp. 566-67.
322 BRITISH SCHOOL TURNER

ARTISTS' BIOGRAPHIES
DENYS VAN ALSLOOT he produced his most important surviving painting, the
Mechelen isyo-Brussels 1628 altarpiece with scenes from the Passion of Christ and the
The son of a Brussels tapestry maker of the same name, life of Saint Sebastian for the Augustinian monastery of
Alsloot became a member of the Brussels guild of Saint Saint Florian, outside Linz. During this same period Alt-
Luke in 1599. In 1606 he received the title of painter to dorfer received patronage from Emperor Maximilan I,
Archduke Albert and the Infanta Isabella (Serenissemorem producing woodcuts for The Triumphal Procession and
archiducum pictor), for whom he produced landscape The Triumphal Arch of Maximilian I as well as border dec-
paintings, depictions of court festivities, and designs for orations for the Prayerbook of Emperor Maximilian
at least one set of tapestries. Early paintings such as Land- (Besanon, Bibliothque). In 1517 he was elected to the
scape with Cephalus and Procris of 1608 (Vienna, Kunsthis- magistrate of Regensburg, becoming city architect in
torisches Museum) reflect the precedent of the sylvan 1526. Between 1517 and 1522 Altdorfer executed dynam-
landscapes of Gillis van Coninxloo while displaying Al- ically conceived etchings and watercolors of mountain
sloot's refined handling of foliage and tendency to show scenes, among the earliest independent landscapes in
views of picturesque buildings located in the forest of German art. The major paintings of his later career in-
Soignes near Brussels, in this case the abbey of Groenen- clude the Battle of Alexander of 1529 (Alte Pinakothek),
dael. The figures were added by Hendrick de Clerck, made for Duke William IV of Bavaria. Circa 1532 he car-
with whom Alsloot regularly collaborated. His most fa- ried out illusionistic wall paintings for the imperial bath
mous paintings (Victoria and Albert Museum; Madrid, at the bishop's palace at Regensburg (Museum der Stadt
Museo del Prado) record the so-called Ommegang, a court Regensburg; Szpmvseti Mzeum).
procession through Brussels that took place on May 31,
1615. Alsloot initiated the Brussels school of landscape JOST A M M A N
painters, whose younger members included Jacques Zurich 1539-Nuremberg 1591
dArthois and Lodewijk de Vadder. His surviving work Amman was the son of a professor at the Collegium Car-
is rare, comprising some thirty-odd paintings and a olinum in Zurich, where he was educated. His artistic
handful of drawings. training took place in Zurich, Basel, and Schafihausen,
where he is documented in 1559 and where he probably
ALBRECHT ALTDORFER had contact with the glass painter Hieronymus Lang and
Regensburg circa 1482/85-1538 the graphic artist Tobias Stimmer. Settling in Nurem-
Altdorfer was probably born in Regensburg and trained berg in 1561, Amman became the city's leading designer
in a manuscript illuminator's atelier. He is first recorded of book illustrations after the death of Virgil Solis in
in a document of 1505, in which he is described as a 1562. His principal client was the Frankfurt publishing
painter and citizen of that city. The Allegory of Pax and firm of Feyerabend, for which he provided the illustra-
Minerva of 1506 (Berlin, Kupferstichkabinett) is among tions for at least fifty books, beginning with 133 wood-
the earliest of his many rnmiaturistic drawings on color- cuts for the Neuwe biblische Figuren des alten un neuiven
grounded paper made as finished works of art. It and Testaments (1564). He was also active as a portrait painter
other drawings and prints from this period evidence a and designer of stained glass and jewelry. In 1578 Fey-
knowledge of Mantegna's work which was gained either erabend published Amman's profusely illustrated Kunst
by studying prints or by ajourney to Italy circa 1506. His und Lehrbchlein, an influential instruction manual for
earliest dated painting, The Nativity of 1507 (Bremen, artists. Various commissions during his later career took
Kunsthalle), shows the influence of Michael Pacher in its him to Frankfurt, Venice, Zurich, Augsburg (1578),
dramatic architectural perspective as well as Altdorfer s Heidelberg (1583), Wrzburg (1586-87), and Altdorf
own emphasis on luminous effects and his predilection (1590). Amman was an erudite artist with wide contacts
for working on a small scale. Between circa 1509 and 1518 among other European humanists.
ARTISTS BIOGRAPHIES 325

A N D R E A DEL SARTO including Italy, returning permanently to Leiden circa
Florence 1486-1530 1613. During the 1620 s in particular, he appears to have
Andrea del Sarto was among the leading painters of the been in demand for his miniaturistic portrait drawings,
High Renaissance in Florence. Although he was strongly which are stylistically continuous with earlier works in
influenced by his older contemporaries, especially Leo- this genre by Hendrick Goltzius and Jacques de Gheyn
nardo, Fra Bartolommeo, and Michelangelo, he rapidly II. His large-scale portrait paintings only became nu-
developed a distinctive style characterized by rich effects merous after 1630. Examples such as Christian Rosen-
of tone and color and subtly poetic expressive meaning. krantz, signed and dated 1641 (Hillerd, Nationalhisto-
Sarto was responsible for numerous major paintings and riske Museum paa Frederiksborg), show the sitter in a
frescoes in Florence, including the cycle of the life of the domestic interior surrounded by objects that reveal his
Baptist in the Chiostro dello Scalzo and the Miracles of San interests and proclivities, a format Bailly derived from
Filippo Benizzi and Birth of the Virgin in SS. Annunziata. the Amsterdam portraitist Thomas de Keyser. He was
In 1518/19 he resided in France at the invitation of Francis also an early exponent of the vanitas still life, a genre that
I, but he soon returned to Florence, where his wife had flourished in Leiden, especially in the works of Bailly's
remained. Sarto was highly influential on the next gen- most prominent pupil, Jan Davidsz. de Heem.
eration of Florentine painters, especially his pupils Pon-
tormo and Rosso Fiorentino. J A C O P O B A S S A N O (Jacopo da Ponte)
Bassano del Grappa circa 1510-1592
B A C I C C I O (Giovanni Battista Gaulli) Jacopo Bassano was the son of a minor painter from the
Genoa 163 9-Rome 1709 small town of Bassano, near Venice. While his date of
Little is known about Baciccio's artistic training. He birth is uncertain, his activity as an artist began circa 1535.
moved from Genoa to Rome circa 1657. In Rome he be- Although he spent most of his life in Bassano, he was
came the protg of Gianlorenzo Bernini, who had a de- closely allied with the Venetian tradition and became one
cisive impact on his career. Initially, Baciccio painted of the most important painters of the Vneto during the
portraits. His first public commission was an altarpiece, sixteenth century, along with Titian, Tintoretto, and Ve-
The Madonna and Child with Saints Roch and Anthony Ab- ronese. Bassano employed Mannerist conventions in his
bot, of circa 1663-66 (Rome, San Rocco a Ripetta). Circa early paintings such as the Martyrdom of Saint Catherine
1666, at Bernini's recommendation, he was given the of circa 1535 (Bassano, Museo Civico). One of his ma-
commission to paint four pendentives for the church of ture masterpieces is the sumptuously colored Flight into
Sant'Agnese, Rome. In 1669 Baciccio visited Modena Egypt of 1542-43 (Pasadena, Norton Simon Museum),
and then Parma, where he saw Correggio's ceiling fres- which contains the pastoral element that became his
coes in the Duomo and San Giovanni Evangelista. Bacic- trademark. With his three sons Bassano formed a work-
cio worked in the Cappella Altieri in San Francesco a shop whose output was prolific. Paintings such as The
Ripa, Rome, painting an altarpiece, The Virgin and Child Adoration of the Shepherds of circa 1550 (Bassano, Museo
with Saint Anne, circa 1675 to accompany a sculpture by Civico) were executed in multiple versions by him and
Bernini. His most important commission, again given at his workshop.
Bernini's suggestion, was for the nine frescoes he com-
pleted between 1672 and 1685 for the church of II Gesu, BARTHEL BEHAM
Rome. The Triumph of the Name of Jesus of 1676-79 in Nuremberg i5O2-Italy 1540
the vault set the standard for High Baroque illusionism. Barthel may have been taught by his elder brother, Se-
bald Beham, as well as by Durer, whose style shaped his
DAVID BAILLY early work. During the 15205 Barthel was especially ac-
Leiden 1584-1657 tive as an engraver, producing small-scale technical mas-
The son of Pieter Bailly, a writing and fencing master, terpieces such as Putto Riding on a Sphere through the Air.
David first studied in Leiden with Adriaen van der Together with Sebald and Georg Pencz, he was expelled
Burgh. Around this time he must have had contact with from Nuremberg for atheism in 1525. He left the city per-
the latter s brother-in-law, Jacques de Gheyn II, who manently in 1527 and went to Munich, where he entered
profoundly influenced his style. Later he received in- the service of the dukes of Bavaria, Ludwig X and, later,
struction in Amsterdam from Cornelis van der Voort, William IV. During this period he distinguished himself
probably in the art of still life painting as well as in por- as one of Germany's principal portrait painters with
traiture. In 1608 Bailly began a lengthy tour of Europe,
326 ARTISTS' BIOGRAPHIES

works such as Portrait of Duke Ludwig X of Bavaria (Alte BARTOLOMEO BISCAINO
Pinakothek). In 1536 he traveled to Italy, where he died. Genoa circa 1632-1657
The short-lived Biscaino is best known for his drawings
SEBALD BEHAM and a few engravings. Little is known about his life. He
Nuremberg i5OO-Frankfurt-am-Main 1550 first studied painting with his father, Giovanni Andrea
The elder brother of Barthel Beharn, Sebald might have Biscaino, before entering the workshop of the successful
trained with Durer, whose influence is apparent in early Genoese painter Valerio Castello. Biscaino's early paint-
engravings such as Man of Sorrows of 1520 and drawings ings, such as the Triumph of David of circa 1650 (Genoa,
such as Naked Man with a Club of around the same private collection), are strongly reminiscent of Castello's
date (Berlin, Kupferstichkabinett). The influence of the style. Among the few securely attributed paintings by
Durer shop is also evident in his production of stained- Biscaino are Saint Ferrando Imploring the Virgin of circa
glass designs early in his career. Together with his brother 1655 (Genoa, Palazzo Bianco) and the Flagellation ofMar-
Barthel and Georg Pencz, Sebald was banished from Nu- syas of 1657 (location unknown). The latter shows the in-
remberg in 1525 for sedition against the church. After a fluence of Giovanni Benedetto Castiglione, with whom
subsequent expulsion in 1528 for plagiarizing from Du- Biscaino probably had little personal contact but whose
rer's unpublished work, he fled to Ingolstadt; he returned Genoese works were undoubtedly known to him. There
to Nuremberg in 1529 and visited Munich in 1530. In the is no evidence that Biscaino ever left Genoa. He died at
following year he entered the service of Cardinal Al- the age of twenty-five during an outbreak of the plague.
brecht of Brandenburg, archbishop of Mainz, for whom
he illuminated a prayer book (Aschaffenburg, Hofbi- JAN DE BISSCHOP
bliothek). From 1532 until his death, Sebald resided in Amsterdam i628-The Hague 1671
Frankfurt-am-Main, where his varied activities included After studying law in Leiden between 1649 and 1652, de
the production of prints and book illustrations. He is par- Bisschop set up practice in the Hague in 1652/53. There
ticularly appreciated for his small, finely worked engrav- he was part of an elite circle of intellectuals that included
ings and for his depictions of peasants, as in the large Constantijn Huygens. From 1648 on de Bisschop distin-
woodcut Large Church Festival of 1535. guished himself as a draughtsman and engraver whose
level of achievement and influence far exceeded his am-
GIAN LORENZO B E R N I N I ateur status. His early landscape drawings of circa 1648-
Naples 1598-Rome 1680 50 such as The Hague Forest (Amsterdam, collection of
Bernini, one of the most important artists of seven- the heirs of I. Q. van Regieren Altena) imitate the style
teenth-century Italy, worked as a sculptor, architect, of Bartholomeus Breenbergh in their evocation of Ital-
painter, and scnographie designer. His father, the sculp- ianate sunlight and use of rusty brown ink wash. De
tor Pietro Bernini, moved the family from Naples to Bisschop later made many drawings after older and con-
Rome in 1605. Works of Gian Lorenzo's early maturity, temporary paintings and sculpture, particularly antique
including Apollo and Daphne of 1621-22 and David of statues and works by sixteenth- and seventeenth-century
1623 (both Rome, Galleria Borghese), reveal the young Italian masters. Considerable doubt has been cast on an
artist's fascination with the realistic rendering of forms Italian journey, and it is now generally believed that he
and emotional expressions. For the basilica of Saint Peter depicted material available to him in collections in the
he undertook a series of projects which included the bal- north Netherlands. De Bisschop became a leading dis-
dacchino (1624-33) an dthe design for the piazza (begun seminator of the classical style in Holland through his
1656). In addition he realized numerous monumental publications Signorum veterum icones (2 vols. [1668 69]),
commissions that transformed the appearance of Rome, which reproduces antique and contemporary sculpture,
including the Fountain of the Four Rivers (1648-51) in the and Paradigmata graphices variorum artificum: Voor-Beelden
Piazza Navona and the church of Sant'Andrea al Quiri- der Tekenkonst van Verscheyde Meesters (1671), a model
nale ( 165 8 - 70). His greatest works are those in which he book for draughtsmen.
created an illusionistic, theatrical ensemble including
painting, sculpture, and architecture, as can be seen in ABRAHAM BLOEMAERT
the Cappella Cornaro (1645-52) in Santa Maria della Gorinchem 1564-Utrecht 1651
Vittoria. Bloemaert received his earliest training in Utrecht, first
under his father, Cornelis, and later under Jos de Beer.
Between 15 80 and 1583 he lived in Paris, where he studied
with Hieronymus Francken. In 1583 Bloemaert returned

to Utrecht; he remained there until his death, save for a surviving dated paintings by him. His first major com-
stay in Amsterdam in 1591-93. At this time he came un- mission, Governors of the Amsterdam Leper Asylum of 1649
der the influence of the Haarlem Mannerists, in partic- (Amsterdam Historisch Museum), exhibits the linger-
ular Hendrick Goltzius, and, through him, the work of ing influence of Rembrandt. Among the most important
Bartholomeus Spranger. Bloemaert's later works, such works of the following decade is Pyrrhus and Fabricius of
as the Adoration of the Magi of 1624 (Centraal Museum 1656, painted for the new Amsterdam town hall and still
Utrecht), show the influence of the caravaggist painter in situ, which exhibits the characteristic classicism of
of Utrecht as well as Rubens. Bloemaert painted pri- Bol's later style. He was active as a portraitist and also
marily religious and mythological scenes, often with received a large number of official commissions, espe-
landscape backgrounds. His influence as a draughtsman cially during the i66os. In 1669 he married his second
continued due to his Artis Apelles liber . . . (circa 1650), wife, the wealthy Ann van Erckel, after which he vir-
a collection of engravings after his drawings published tually ceased to paint. His drawing style, as is especially
by his son Frederick. evident in his many surviving studies of religious scenes,
is heavily dependent upon that of Rembrandt.
CHRISTOPH BOCKSTORFFER
Active Constance I5i3-Mulhausen 1553 SEBASTIEN BOURDON
Probably originally from Memmingen, Christoph was Montpellier i6i6-Paris 1671
the son of a painter, Thomas Bockstorffer. His name Bourdon studied with the painter Jean Barthlmy in
appears in the Constance records with some regularity Paris from 1623 to 1630. He traveled to Italy in 1634, stay-
between 1513 and 1543. A document of 1518 refers to a ing first in Rome, then in Venice. In Italy he gained a rep-
competition between him and Matthus Gutrecht the utation for his bambocdate paintings. He returned to Paris
Younger for the commission to paint the organ of the in 1637. The influence of Poussin is apparent in Bour-
Constance Mnster, which Gutrecht won. In 1522 Bock- don's works after 1640, following the former's stay in
storffer is recorded as having completed what was per- Paris. In 1643 Bourdon painted the Martyrdom of Saint Pe-
haps his major work, an elaborate high altarpiece for the ter for the church of Notre-Dame. He was one of the
Mnster of Saint Gall, which has not survived. His sole founding members of the Acadmie in 1648. From 1652
surviving signed and dated painting is the Death of the to 1654 Bourdon was in Sweden as court painter to
Virgin of 1523 (Lucerne, private collection). The most Queen Christina. On the death of Eustache Le Sueur in
important painting attributed to him is the altarpiece of 1655, ne took over the design of a large tapestry cartoon
Hugo von Hohenlandenberg in the Constance Mnster, intended for the church of Saint-Gervais, Paris. Bourdon
dated 1524. In addition to painting, BockstorfTer pro- lived in his native city of Montpellier for several years
duced stained-glass designs for the Constance glass beginning in the late 16505 before returning to Paris for
painter Caspar Stillhart. It has been proposed that he was the remainder of his life. During the last phase of his ca-
identical with the printmaker who signed his work C. B. reer he focused on landscape painting and the decoration
with a pine cone, the emblem of the city of Augsburg, of the Htel de Bretonvilliers, Paris (destroyed).
and whose figurai style is closely related to that of the
Hopfer shop of Augsburg. BockstorfFer moved to Col- JRG BREU THE ELDER
mar in 1543 and, later, to Mlhausen, where he is re- Augsburg circa 1475/76-1537
corded as having executed painted decorations for the During his years as a journeyman in Austria from 1498
city hall in 1552, the year before his death. to 1502, Breu produced major altarpieces at Zwettl
(1500), Aggsbach (1501; Herzogenburg, Augustiner-
FERDINAND BOL chorherrenstift; Germanisches Nationalmuseum), and
Dordrecht i6i6-Amsterdam 1680 Melk (1502). These are among the earliest works asso-
The son of a prosperous surgeon, Bol might have re- ciated with the Danube School, which is characterized by
ceived his earliest training from Jacob Gerritsz. Cuyp in dynamic, nature-centered imagery. In 1502 Breu settled
Dordrecht. This theory is supported by Vertumnus of in Augsburg. Under the influence of Hans Burgkmair
circa 1635 (London, DaanCevat collection), probably his and the Durer school, his figurai style became more
earliest surviving painting. Apparently during the later sculptural; Italianate ornament and chiaroscuro effects be-
16305, Bol went to Amsterdam, where he entered Rem- came increasingly apparent in his art after trips to Italy
brandt's studio for further training, remaining there until circa 1508 and circa 1514. Among the principal commis-
the early 16405. From 1642 to 1669 there are numerous sions of his later years are the border decorations in the

Prayerbook of Emperor Maximilian of 1515 (Besanon, latter contained portraits of many of the humanist lu-
Bibliothque), frescoes for the Augsburg town hall (de- minaries of the era. In 1597, one year before his death, he
stroyed), and organ shutters depicting the ascensions of issued an engraved self-portrait that is inscribed with the
Christ and the Virgin for the Fugger chapel in the church year of his birth.
of Saint Anne, Augsburg, made during the 15205. From
1504 on, Breu was a prolific designer of woodcuts. He DOMENICO CAMPAGNOLA
also made many drawings for cycles of stained-glass Padua 1500-1564
windows, usually with secular themes. In 1524 he be- Campagnola took his name from his artistic mentor,
came a proponent of the Reformation, after which his Giulio Campagnola, to whom he was apprenticed circa
production decreased. His son Jrg the Younger even- 1510. He is known best as a follower of Titian, although
tually took over his shop. he probably never formally studied with the master.
Campagnola's earliest known works, from 1517, are en-
AGNOLO BRONZINO gravings. The influence of Titian is apparent in paintings
Monticelli 1503-Florence 1572 such as the Meeting of Joachim and Anna of 1525 (Padua,
Bronzino, one of the most important of the Florentine Scuola del Carmine). In 1531 Campagnola was commis-
Mannerists, received his earliest training from Raffael- sioned to paint the ceiling of the oratory of the Confra-
lino del Garbo. However, his work atjacopo Pontormo's ternity of Santa Maria del Parto, Padua, with an elaborate
side had a much stronger effect on the development of program (destroyed). Also in 1531 he painted ceiling
his style. During the 15205 he assisted Pontormo with tondi of the prophets (Accademia) for the church of
several commissions, including those at the Certosa of Santa Maria de' Servi, Padua. His last important work is
Galluzzo and at Santa Felicita, Florence. Bronzino be- the Christ Enthroned with the Podest Cavalli of 1562
came a favorite artist of the Medici court. A chapel in the (Padua, Santa Giustina). Domenico's drawings are rec-
Palazzo Vecchio, painted by him in the 15405 for the wife ognizable by a characteristic vigorous cross-hatching,
of Cosimo I de' Medici, is one of his many medicean which closely follow the pen style of Titian's drawings.
commissions. Bronzino also painted allegorical and
mythological pictures, including the celebrated Allegory C A N A L E T T O (Giovanni Antonio Canal)
of Venus and Cupid of circa 1545 (National Gallery). Some Venice 1697-1768
of his best-known paintings are his portraits of the Italian Canaletto learned the rudiments of painting from his fa-
aristocracy, such as Portrait of Ludovico Capponi of circa ther, a painter of theatrical scenery, with whom he trav-
1550-55 (Frick Collection), in which he combined an eled to Rome briefly in 1719. In Venice Canaletto was in-
acute sense of observation with a cool, detached ap- fluenced by the paintings of Luca Carlevaris. He became,
proach. One of Bronzino's final paintings is a large along with Francesco Guardi, one of the most important
fresco, the Martyrdom of Saint Lawrence, in the church of view painters of the eighteenth century. One of Cana-
San Lorenzo, Florence, which he completed three years letto's earliest view paintings is Piazza San Marco of circa
before his death. 1723 (Lugano, Thyssen-Bornemisza Foundation). The
majority of his works painted in Venice during the 17305
THEODOR DE BRY were purchased by Englishmen by way of his patron and
Lige i528-Frankfurt-am-Main 1598 agent, Joseph Smith. Among these is a celebrated paint-
Born into a wealthy Protestant family, de Bry fled the ing, The Stonemason's Yard of circa 1730 (National Gal-
Netherlands circa 1570 due to religious persecution. He lery). From 1746 until circa 1756, Canaletto lived in Lon-
moved to Frankfurt, where he opened a publishing busi- don, where he continued to produce view paintings for
ness, which his sons, Johan Israel and Johan Theodor, his British clientele. Masterpieces from his London so-
later joined. Like many Netherlandish expatriates of the journ include The Thames and the City of London and Lon-
period, de Bry had contacts in England, which he visited don: Whitehall and the Privy Garden from Richmond House,
in 1587. Besides book illustrations, he produced a large both of 1747 (both Duke of Richmond and Gordon col-
number of prints, in particular designs for goldsmith lection, Goodwood), painted for the duke of Richmond.
work. His major publications include Collectiones pere- Back in Venice, he was elected to the Accademia in 1763,
grinationum emblemata saecularia (begun 1590), the deco- five years before his death.
rated alphabet entitled Nova alphati effictio (1595), and
Jean-Jacques Boissard's Icones quinquaginta virorum illus- VITTORE CARPACCIO
trium, published in four parts between 1597 and 1599; the Venice circa 1460/65-1525/26
Little is known about the life and artistic training of Car-

paccio, one of the most important of the early Venetian imals and still life elements, as in Noah Entering the Ark
painters of the Renaissance. Probably born in Venice in of before 1632 (Palazzo Pitti). A prolific and imaginative
the early 14605, Carpaccio's earliest paintings date from draughtsman, Castiglione developed the techniques of
the early 14805. By 1490 he was certainly an established brush drawing in oil and monotype. He admired the
master, as in that year he signed and dated the first scene etchings of Rembrandt, whose influence is evidentin his
of a major cycle of paintings of the life of Saint Ursula own graphic art, such as the print PastoralJourney of 1638
done for the Scuola di Sant'Orsola, Venice. The series of (B.28[25]v.46,2i). While living in Rome between 1630
nine canvases (Accademia) was completed circa 1495. and 1635 and again from 1647 to 1651, he frequented the
Soon thereafter, circa 1502-8, he painted another cycle circle of Poussin. This contact resulted in the introduc-
for a different Venetian confraternity, the Scuola di San tion of romantic mythological subjects to his repertoire,
Giorgio degli Schiavoni (in situ). Carpaccio worked for as can be seen, for example, in the brush drawing Saving
other confraternities and completed many independent of Pyrrhus (Windsor Castle). Castiglione traveled to Na-
paintings, altarpieces, and portraits during his successful ples, Venice, andlaterGenoa; from 1651 on he re-
career. Among the latter are the Meditation on Christ's Pas- sided in Mantua as court painter to the Gonzaga family.
sion of circa 1502-8 (Metropolitan Museum of Art) and His paintings were popular among eighteenth-century
Saint Thomas in Glory between Saints Mark and Louis of artists, who admired their picturesque quality.
Toulouse of 1507 (Stuttgart, Staatsgalerie). The inspira-
tion of Giovanni Bellini is apparent in works such as the C E S A R E DA SESTO
Presentation in the Temple, dated 1510 (Accademia) and Sesto Calende 1477-Milan 1523
painted for San Giobbe. Little is known about Cesares education. He is best
known as a follower of Leonardo, whose works he knew
AGOSTINO CARRACCI in Milan. By circa 1505 Cesare was in Rome, working
Bologna 1557-Parma 1602 with Baldassare Peruzzi. He returned to Milan by way of
Agostino was a student of Prospero Fontana. One of his Florence circa 1510-12. Many of Cesare's paintings,
earliest commissions, undertaken with his younger such as Salome of circa 1512 (Vienna, Kunsthistoriches
brother Annibale and their cousin Ludovico, was the Museum), exhibit a synthesis of the styles of Leonardo
fresco decoration of the Palazzo Fava, Bologna, begun and Raphael. In 1514 Cesare left Milan and traveled
circa 1583. The three Carracci established an influential south, settling in Naples and Messina for several years
art academy in Bologna in the 15805. Agostino traveled and returning to Milan circa 1520. An important painting
to Venice in 1582 and to Parma in 1586; there he was im- from his Neapolitan period is the Adoration of the Magi of
pressed by the works of Tintoretto, Veronese, Correg- circa 1518 (Naples, Capodimonte). Cesares last major
gio, and others and made engravings after their paint- work was a polyptych, the Madonna in Glory of 1523
ings. Agostino's masterpiece is the Last Communion of (Milan, Castello Sforzesco), painted for the church of
Saint Jerome of circa 1589 (Bologna, Pinacoteca Nazio- San Rocco, Milan.
nale). He collaborated with Annibale and Ludovico on
the decoration of the Palazzo Magnani, Bologna, in MICHEL CORNEILLE THE
1590-91. Circa 1598 Agostino moved to Rome, where YOUNGER
he and Annibale designed the elaborate program for the Paris 1641-1708
decoration of the grand gallery of the Palazzo Farnese. Corneille received his earliest artistic training from his fa-
Agostino painted two sections of the ceiling with the ther, Michel Corneille the Elder. He also studied with
stories of Cephalus and of Aurora and Galatea. In 1600 Charles Le Brun and Pierre Mignard. In 1659 he received
he went to Parma and began work on a hall in the Palazzo the Prix de Rome, which allowed him to study in Rome
del Giardino, but he died before finishing the project. from 1659 to 1663; there he became familiar with the
works of the Carracci. Corneille was admitted to the
GIOVANNI BENEDETTO Acadmie in 1663, becoming a professor in 1673. He
CASTIGLIONE worked for Louis XIV decorating rooms at Versailles,
Genoa circa 161 o-Mantua 1663/65 Fontainebleau, and other royal residences in addition to
Castiglione trained in Genoa with Giovanni Battista receiving many commissions for religious paintings for
Paggi and Sinibaldo Scorza and may have studied there French churches. Among the latter is The Calling of Saints
with Anthony van Dyck between 1621 and 1627. He spe- Peter and Andrew of 1672 (Louvre), originally painted for
cialized in biblical or pastoral themes populated with an- Notre-Dame, Paris. As most of his paintings have been
330 ARTISTS BIOGRAPHIES

destroyed, he is known today chiefly through his many ANTOINE COYPEL
drawings and engravings. Paris 1661-1722
Coypel was the son of the painter Nol Coypel. He lived
C O R R E G G I O (Antonio Allegri) at the French Academy in Rome from 1673 until 1676
Correggio 1489/94-1534 with his father, who was the academy's director. In Paris
Antonio Allegri, known as Correggio after the provin- Coypel attained prominence quickly, becoming an Aca-
cial town of his birth, became one of the leading artists demician at the age of twenty and a professor at the Aca-
of sixteenth-century Italy. He may have worked in Man- dmie at twenty-two. His reception piece for member-
tua circa 1510-14; this would account for the influence of ship was a modern history painting, Louis XIV Resting
Mantegna's art on his own early development, as can be after the Peace ofNimgue of 1681 (Muse Fabre). His first
seen in his undated Nativity (Brera) and Madonna of Saint royal commissions were given in 1682, and he soon be-
Francis of 1514-15 (Berlin, Staatliche Museen Preus- came a protg of the Orlans family. Coypel decorated
sicher Kulturbesitz, Gemldegalerie). Circa 1518 Cor- portions of several of the royal residences, including
reggio's style assumed a new monumentality and classi- rooms (destroyed) at Choisy and Versailles. Some of his
cal beauty, suggesting that he made a visit during the paintings, including Democritus of 1692 (Louvre), indi-
teens to Rome, where he saw the art of Raphael and Mi- cate the influence of Rubens. Coypel's most important
chelangelo. Characteristically, he emphasized the poetic works date from the first decade of the eighteenth cen-
features of the High Renaissance style. Correggio cre- tury, including the painting of the vault in the Palais
ated his greatest fresco projects in Parma. His cupola dec- Royal (destroyed 1781). In 1709 he painted the vault of
orations, the Vision of Saint John on Patmos of 1520-24 in the chapel at Versailles with illusionistic scenes. Coypel
San Giovanni Evangelista and the Assumption of 1526- was made director of the Acadmie in 1714 and was
30 for the Duomo, which are populated with animated named first painter to the king in 1716.
figures in heavenly celebration, established an important
precedent for the Baroque era. The artist returned to LUCAS CRANACH THE ELDER
Correggio in 1530. Among his last works is a series Kronach 1472-Weimar 1553
depicting the loves of Jupiter which includes the sen- Cranach, who was born in Upper Franconia, is generally
suous Jupiter and lo of 1531 (Vienna, Kunsthistorisches thought to have trained with his father, Hans. Circa 1501
Museum). he traveled to Vienna, where he produced his earliest
known works, such as Christ on the Cross of 1503 (Alte
L O R E N Z O COSTA Pinakothek). In their expressiveness and emphasis on the
Ferrara circa 1459/60-Mantua 1535 power and dynamism of nature, these compositions are
Little is known about Costa's life and artistic training. early expressions of the stylistic movement known as the
Early in his career he seems to have been influenced by Danube School. In 1504 Cranach was called to Witten-
Cosimo Tura and Ercole de' Roberti. By 1483 Costa had berg by Frederick the Wise of Saxony, staying on to serve
settled in Bologna, where he lived for the most part until his two successors. In Wittenberg the artist specialized in
1506, except for a brief interlude in Ferrara. Trips to Tus- paintings and murals of courtly subjects, including por-
cany and Umbria are also probable. In the 14805 Costa traits, mythological themes, trophies, and hunts. His
worked in the Bolognese church of San Giacomo Magg- large workshop included his sons Hans (circa 1513-1537)
iore. An altarpiece, the Madonna and Child with Saints of and Lucas (1515-1586). From 1519 to 1545 Cranach
1492 (Bologna, San Petronio), is one of his few securely served on the Wittenberg city council; he was burgo-
dated works. Some of his paintings, including the Cor- master on three occasions. He was also a close friend of
onation of the Virgin of circa 1500 (Bologna, San Giovanni Martin Luther. Circa 1550 Cranach went to Augsburg to
in Monte), indicate the influence of Perugino on him. join his then-patron, Elector John Frederick of Saxony,
Circa 1507 he moved to Mantua as court painter to the whom he accompanied in 1552 to Weimar, where he died
Gonzaga family and successor of Mantegna. That he had the following year.
already begun painting for the court while in Bologna is
evidenced by An Allegory of 1504-6 (Louvre), done for AELBERT CUYP
Isabella d'Este's studiolo. Costa painted portraits while in Dordrecht 1620-1691
Mantua, including one of the physician Battista Fiera of Cuyp trained in Dordrecht with his father, Jacob Ger-
circa 1508 (National Gallery). ritsz. Cuyp, later collaborating with him on works such
as Family Portrait in a Landscape of 1641 (Jerusalem, Israel

Museum), in which he painted the landscape and the el- color theory and inspired paintings such as The Woman
der Cuyp the figures. Cuyp's early style is reminiscent of of Algiers of 1834 (Louvre). He exhibited his works reg-
Jan van Goyen and Salomon van Ruysdael. During the ularly at the Salon and showed at the Exposition Univer-
16405 he must have spent time in Utrecht, where he was selle in 1855. Throughout his career he completed
influenced by the radiantly sunlit landscape paintings of commissions from the State for decorative schemes, in-
Jan Both, who had recently returned from Italy. In 1651- cluding the painting of rooms in the Palais Bourbon
52 Cuyp traveled through Arnhem, Nijmegen, and (1833, !^44, 1847) and Palais du Luxembourg (1845-47),
Cleves, making sketches he used in later paintings such the Galerie d'Apollon in the Louvre (1849), and the Salon
as River Landscape with Horsemen of circa 1655 (Rijks- de la Paix of the Htel de Ville (1852).
museum). In 1652 Cuyp's father died, leaving him the
shop and with it the patronage of the Dordrecht patri- DESIDERIO DA SETTIGNANO
ciate. Cuyp went on to produce some of his most mon- Settignano circa 143 o-Florence 1464
umental works, such as Landscape with a Rider and Peasants Desiderio was one of the most important Florentine
(National Gallery). After marrying the wealthy widow sculptors of the Renaissance. He was the son of a stone-
Cornelia Boschman in 1658, he ceased painting. A pro- mason; his two brothers were also sculptors. Desiderio
lific draughtsman, he produced studies of figures, ani- was probably a pupil of Bernardo Rossellino as well as a
mals, and plants and a large number of landscapes, some follower of Donatello, adopting the latter's technique of
of which are delicately tinted in water color. rilievo schiacciato (flattened relief). By the time Desiderio
matriculated into the stone and woodworkers' guild in
HONORE DAUMIER 1453 he was certainly a well-established master. His most
Marseille 1808-Paris 1879 important work is the tomb monument for the humanist
In 1814 Daumier and his family moved to Paris, where Carlo Marsuppini (Florence, Santa Maria Novella). The
he began working at a young age. He first studied with monument was probably begun soon after Marsuppini s
the painter and archeologist Alexandre Lenoir before en- death in 1453 as a pendant to the Bruni tomb by Bernardo
rolling in the Acadmie in 1828. Daumier s oeuvre con- Rossellino for the same church. Another key work is the
sists of drawings, prints, watercolors, paintings, and Altar of the Sacrament of the 14605 (Florence, San Loren-
sculpture. In 1830 he began publishing his lithographs in zo), composed of marble reliefs and statuettes centered
the satiric journals Silhouette, Caricature, and Charivari. around a sculpted tabernacle. Desiderio is also known for
His Gargantua print of 1832, aimed at King Louis Phi- his marble reliefs of the Madonna and child and for his
lippe, cost him a fine and prison sentence. Daumier fo- portrait busts. He died prematurely at the age of thirty-
cused on painting from circa 1848 until the early 18705, four.
when progressive blindness forced him to give up the
medium. As with his drawings and lithographs, he ALBRECHT DURER
shrewdly observed the modern world in paintings such Nuremberg 1471-1528
as The Washerwoman of 1863 (Metropolitan Museum of Durer was trained in Nuremberg as a goldsmith by his
Art) and Third Class Carriage of circa 1865 (National Gal- father between 1485 and 1486 and as a painter by Michael
lery of Canada). Wolgemut from 1486 until 1489. Between 1490 and 1494
he traveled.to Basel, Colmar, and Strasbourg as a jour-
EUGENE DELACROIX neyman. A trip to Venice in 1494-95 inspired a lasting
Charenton-Saint-Maurice 1798-Paris 1863 interest in Italian theories of proportion and perspective.
In 1815 Delacroix was admitted to Pierre Guerin's studio, During the years following his return to Nuremberg,
where he delighted in copying the old masters. In 1816 Durer published some of his greatest prints, including
he entered the Ecole des Beaux-Arts and worked along- the Apocalypse woodcuts of 1498 and the engraving
side Thodore Gericault and others. Delacroix debuted Adam and Eve of 1504. He took a second trip to Venice in
at the Salon with Dante and Virgil of 1822 (Louvre), the 1505-7 and while there painted the Feast of the Rose Gar-
first of his many Romantic paintings. His imagination lands (Nrodn Galerie) for the local community of Ger-
was stirred by a great variety of painters, poets, and man merchants. In 1511 he published the woodcuts of the
events. His masterpieces include The Massacre ofScio of Large and Small Passion and the Life of the Virgin. Be-
1824, inspired by the Greek war of independence, and ginning in 1512 Durer undertook a number of projects
The Death of Sardanapalos of 1827 (both Louvre). A trip for Emperor Maximilian I, who granted him a yearly
to North Africa in 1832 prompted Delacroix's interest in pension in 1515. In 1520/21 the artist traveled to the Neth-

erlands. His later support of Luther is expressed in works GOVAERT FLINCK
such as the Four Apostles of 1526 (Alte Pinakothek). His Cleves 1615-Amsterdam 1660
Vier Bcher von menschlicher Proportion was published Circa 1630 Flinck and his colleague Jacob Backer studied
posthumously in 1528. with Lambert Jacobsz. in Leeuwarden. Circa 1633-36 he
studied with Rembrandt in Amsterdam. His paintings of
CORNELIS ENGEBRECHTSZ. this decade such as Landscape with Obelisk of 1638 (Bos-
Leiden circa 1465-1527 ton, Isabella Stewart Gardner Museum) closely follow
Engebrechtsz. was the first major painter of Leiden. It is Rembrandt's manner. During the 16405 he established
not known with whom he studied. He is first docu- himself as one of Amsterdam's leading portrait painters.
mented in that city in 1487 and remained there for his en- Portrait of a Lady and a Gentleman of 1646 (Karlsruhe,
tire career. His major surviving works are the Lamenta- Staatliche Kunsthalle) exemplifies his elegant, aristo-
tion and Crucifixion triptychs (Stedelijk Museum "De cratic style, reflecting the influence of van Dyck. Flinck
Lakenhal"), both commissioned for the Augustinian became one of the most successful Dutch painters of his
convent of Marinpoel, outside Leiden. Made circa time. His reputation as a history painter in the grand
1508, the Lamentation triptych demonstrates the influ- manner led to prestigious commissions such as Allegory
ence of Flemish artists such as Colijn de Coter, suggest- on the Memory of Frederick Hendrik, Prince of Orange, with
ing that Engebrechtsz. may have traveled to Brussels and the Portrait of His Widow Amalia van Solms of 1654 (Rijks-
elsewhere in the southern Netherlands circa 1500-05. museum). The greatest opportunity of his career mate-
The impact of Antwerp Mannerists such as Jan de Beer rialized in 1659, when he was asked to design twelve large
is visible in the Crucifixion triptych, which probably paintings for the Amsterdam town hall, but he died be-
dates to circa 1517/22. Engebrechtsz.'s studio included his fore any of these could be completed. As a draughtsman
sons Pieter Cornelisz. Kunst, who specialized in glass Flinck primarily produced figure studies and, to a lesser
painting, Lucas Cornelisz. De Kock, and Cornelis Cor- extent, landscapes.
nelisz. as well as Aertgen van Ley den and Lucas van Ley-
den. After circa 1520 the Engebrechtsz. shop was over- THOMAS GAINSBOROUGH
shadowed by that of Lucas van Ley den. Sudbury, Suffolk 1727-London 1788
At age thirteen Gainsborough went to London to be-
JAMES ENSOR come an artist. He studied with Hubert Gravelot and
Ostende 1860-1949 possibly Francis Hayman and was also influenced by
The son of an English father and Belgian mother, Ensor seventeenth-century Dutch landscape painting. During
was artistically inclined from an early age. His formal his early career he produced landscapes and worked as a
training consisted of three years at the Acadmie des restorer for art dealers. With his new wife he returned to
Beaux-Arts, Brussels (1877-80), his only lengthy so- Sudbury in 1748, moving to Ipswich circa 1752 and to
journ outside his native Ostende. On his return Ensor Bath in 1759. There he achieved success as a portraitist of
allied himself with a succession of Belgian avant-garde the local gentry with paintings such as Blue Boy (San
exhibition societies of considerable influence on the Con- Marino, Hunting ton Art Gallery) and continued to pro-
tinent: La Chrysalide (in 1881), L'Essor (in 1882), and Les duce landscapes such as Harvest Wagon (Birmingham,
XX (Les Vingt) (1883-93). With them he exhibited Barber Institute). Shortly after his move to London in
most of his important drawings, prints, and paintings 1774, Gainsborough rose to become the leading portrait-
(with the notable exception of Christ's Entry into Brussels ist in England, rivaled only by Sir Joshua Reynolds. In
in 1889 \]. Paul Getty Museum]) despite frequent severe 1777 he received the first of a long series of commissions
criticism of his style and subject matter. His art reached from the royal family. His later portraits, especially of
its peak in the years 1885-95 with such masterworks as women, are romanticized and ethereal, with a great em-
the Haloes of Christ drawings, The Temptation of Saint An- phasis on bravura handling of paint. Success as a por-
thony (New York, Museum of Modern Art), Christ's En- traitist eventually left him free to pursue the genre of
try into Brussels in 1889, and the etching The Cathedral of landscape, which he always considered his true vocation.
1886. With the growing public appreciation of his work Important late pictures include The Mall of 1783 (Frick
during the late 18905 came a decline in creativity and Collection).
technical experimentation. Ensor was knighted by the
Belgian government in 1903 and created a baron in 1929.

THEODORE GERICAULT in the north Netherlands. The most innovative part of
Rouen I79i-Paris 1824 his oeuvre consists of his drawings, which treat a range
Gericault studied informally with the painter Carl Vernet of themes, from fanciful scenes with witches or gypsies,
from 1808 until 1810 and then briefly with Pierre Gurin. to natural history studies, to sketches of domestic life
The young Gericault spent much time in the galleries of foreshadowing those of Rembrandt.
the Louvre, making copies after old master pictures. He
received a gold medal from the Salon in 1812 for the G I U L I O R O M A N O (Giulio Pippi)
Charging Chasseur (Louvre). In 1814 he followed that Rome circa 1499-Mantua 1546
work with Wounded Cuirassier (Louvre), which was un- Giulio trained as an assistant in Raphael's workshop and
favorably reviewed at the Salon. In 1816, after being dis- later collaborated with the master on several projects, in-
qualified for competition in the Prix de Rome, Gericault cluding the Stanza dell'Incendio in the Vatican, which
traveled to Italy using his own funds. On his return to was finished in 1519, and the Loggia di Psiche of 1518-
Paris in 1817, he started making lithographs of contem- 19 in the Villa Farnesina. In 1524 he moved to Mantua to
porary subjects. In 1818 he began preliminary studies for work for the court of Federico II Gonzaga. There the art-
his masterpiece, the Raft of the Medusa (1819; Louvre), ist created his most celebrated works, including the con-
which, when exhibited at the Salon of 1819, created a fu- struction and decoration of the pleasure palace of the
ror and earned him another gold medal. Unable to sell Mantuan court, the Palazzo del Te, between 1524 and
the painting, he took it to London and exhibited it to the 1536. The bizarre narrative decorations, such as those in
public. He returned to France in late 1821 and began the Sala dei Giganti, are prime examples of Mannerist art
working on the Monomaniacs series of portraits, which in Italy. In 1536 Giulio began the reconstruction and dec-
included Portrait of an Insane Woman of circa 1822 (Lyons, oration of portions of the Palazzo Ducale, including the
Muse des Beaux-Arts). Gericault suffered from ill Sala di Troia and Sala dei Cavalli. The construction of his
health, and this, coupled with several falls from horses, own palace (1544) was one of the last projects he com-
caused his death at the age of thirty-two. pleted before his death.
JACQUES DE GHEYN II HENDRICK GOLTZIUS

Antwerp 1565-The Hague 1629 Mhlbracht 15 5 8-Haarlem 1617
Jacques de Gheyn II was first trained by his father, a glass Goltzius was trained by his father and in 1575 became an
painter and printmaker. After the elder de Gheyn s death apprentice to the engraver Dirk Volkertsz. Coornhert in
in 1581, Jacques II moved to the north Netherlands, Xanten. In 1576/77 he moved to Haarlem, where, during
where he entered the workshop of Hendrick Goltzius in the 15805, he may have begun an informal academy to
Haarlem circa 1585. Early engravings such as An Infantry foster the practice of figure drawing. Goltzius's work of
Captain of 1589 exhibit the minute technique de Gheyn the later 15805 was greatly influenced by Bartholomeus
learned from Goltzius. During this period he made en- Spranger, whose style he disseminated through engrav-
gravings after works by a number of Mannerist artists. ings after Spranger's drawings, such as the Marriage of
By 1591 he had established himself in Amsterdam as an Amor and Psyche of 1587. During 1590/91 Goltzius trav-
independent printmaker, receiving his first official com- eled to Venice, Bologna, Florence, Naples, and Rome,
mission from the Amsterdam burgomasters in 1593 for studying antique sculpture and the works of Raphael,
the engraving The Siege of Geertruidenberg. De Gheyn Titian, and other Renaissance masters. After his return
married the wealthy Eva Stalpaert van der Wiele in 1595 to Haarlem he turned away from Mannerism toward a
and soon moved to Leiden. There his friends included the more classical style. He was productive as a draughtsman
intelligentsia associated with the university, such as the and printmaker during the 15905, but after 1600 he vir-
botanist Carolus Clusius, whom he portrayed in an en- tually gave up engraving for history painting. His fame
graving of 1600. By 1603 de Gheyn had moved perma- rests on his work as a printmaker and draughtsman. Of
nently to the Hague. Among the most important prints particular importance for the later development of
he produced around this time was the series entitled The Dutch art were his drawings of the dunes around Haar-
Exercise of Armes for Galwres Muskettes and Pikes . . . of lem of circa 1600, among the earliest depictions of the
1607, commissioned by Count Jan van Nassau-Siegen, Dutch landscape.
nephew of the stadtholder, Prince Maurits. De Gheyn
took up painting circa 1600 and was especially noted for
his floral still lifes, which are among the earliest produced

FRANCESCO GUARDI moved to Munich, where he entered the employ of Duke
Venice 1712-1793 William V of Bavaria. In 1585 he was named court
Guardi, the most prominent member of a family of art- painter by Emperor Rudolf II and took up residence in
ists, most likely received his earliest artistic training from Prague, the seat of the imperial court. Among his prin-
his older brother, Giovanni Antonio. Documentation re- cipal surviving works made for the emperor is Hare
garding the family is scarce. However, it is known that among Grasses and Wildflowers in a Glade of 1589 (private
Francesco joined the painters' guild of Venice in 1761. By collection), which is also his only surviving panel paint-
that date he was already securely established as a suc- ing. Several years later Hoffmann died, presumably in
cessful painter. Guardi's paintings of religious subjects, Prague. He was the major representative of the "Durer
such as the Miracle of Saint Gonzalo of Amarante of 1763 Renaissance," in which the continued veneration of the
(Vienna, Kunsthistoriches Museum), indicate the influ- master by artists and collectors alike led to the production
ence of Alessandro Magnasco. Guardi is best known for of works of art copied after him or inspired by his paint-
his paintings of vedute (views) of Venice, such as Piazza ings, drawings, and prints.
San Marco of circa 1755 (National Gallery), in which he
carried on the tradition of view painting popularized by JE A N - A U G U S T E - D O M I N I Q U E
Luca Carlevaris and Canaletto. Guardi also painted INGRES
imaginary landscapes and capricci (architectual fantasies). Montauban 1780-Paris 1867
From the 17705 until his death, he recorded contempo- Ingres studied art first with his father and then, in 1791,
rary Venetian events in a number of paintings and draw- at the Acadmie des Beaux-Arts, Toulouse. He entered
ings. These include the visits of dignitaries to Venice David's Parisian studio in 1797 and won the Prix de Rome
(1782), the city's first balloon ascent (1784), and the in- in 1801, though he did not leave for Italy until 1806.
auguration of the La Fenice theater (1792). Ingres earned a living painting portraits such as Made-
moiselle Rivire of 1805 (Louvre), in which his sensuous
G U E R C I N O (Giovanni Francesco Barbieri) line and extraordinary ability to describe the sitter's in-
Cento I59i-Bologna 1666 dividual features are fully evident. The narrative paint-
Guercino was for the most part a self-taught artist. As a ings he created in Italy to be sent to France, including Oe-
youth he admired the work of Ludovico Carracci, dipus and the Sphinx of 1808 (Louvre), elicited severe
whose paintings could be seen in Cento and nearby Bo- criticism for their realism, and he remained in Italy for
logna. In 1617 Guercino moved to Bologna, where he another sixteen years. He settled in Florence in 1820 and
painted several important works for Cardinal Alessan- in the same year received a commission from the cathe-
dro Ludovisi, later Pope Gregory XV; these included the dral of Montauban for the Vow of Saint Louis XIII of
Raising of Tabitha of 1617 (Palazzo Pitti). Between 1617 1820-24, his first great success at the Salon. Ingres re-
and 1621 Guercino produced a series of powerful Ba- turned to Paris in 1824 and was elected to the Acadmie
roque altarpieces, including his early masterpiece Saint in 1825, achieving recognition as a champion of Classi-
William of Aquitaine Receiving the Habit of 1620 (Bologna, cism against the Romantic movement. He was in Rome
Pinacoteca). From 1621 on, Guercino worked for Pope again from 1835 to 1841 as the director of the Acadmie.
Gregory XV in Rome. There he began a number of proj- During his last years in Paris, he continued to produce
ects, including the lyrical, illusionistic ceiling painting of works of great beauty, including The Turkish Bath of
Aurora in the Palazzo Ludovisi. He returned to Cento in 1859-60 (Louvre).
1623 to head an active studio and, following the death of
Guido Reni in 1642, moved to Bologna to assume a pre- JACOB JORDAENS
eminent artistic position in that city. Antwerp 1593 -1678
Jordaens is recorded in the Antwerp guild of Saint Luke
HANS HOFFMANN in 1607 as a pupil of Adam van Noort and became a mas-
Nuremberg(?) circa i53O-Prague(?) 1591/21 ter in the guild in 1615. In the following year he married
Little is known of Hoffmann's training. He probably vis- Catharina van Noort, the daughter of his teacher. In 1635
ited the Netherlands before settling in Nuremberg in he participated in the decoration of Antwerp for the
1557, at which time he is first documented there. From triumphal entry of the Cardinal Infant Ferdinand, and in
the early 15705 on he made a specialty of producing wa- 1636-37 he helped execute paintings for the Torre de la
tercolor and gouache nature studies, many of which Parada after designs by Rubens. During his later career
were copied after or inspired by works by Durer that he Jordaens received commissions from King Charles I,
had seen in Nuremberg collections. In 1584 Hoffmann

Queen Christina of Sweden, and Amalia van Solms, alism, often supplementing the main scene with ancillary
widow of the Dutch stadtholder, for whom he executed views filled with genrelike detail. His shop was contin-
The Triumph of Frederik Hendrik of 1652, to be hung in ued by his son, Wolfgang Katzheimer the Younger.
Huis ten Bosch outside the Hague. In addition to reli-
gious and historical scenes, Jordaens produced portraits HANS VON KULMBACH
and exuberant genre scenes, such as As the Old Sing, So Kulmbach(?) circa 1480-Nuremberg 1522
the Young Twitter of 1638 (Koninklijk Museum voor Kulmbach probably studied with the Venetian artist Ja-
Schone Kunsten), and became the leading painter in Ant- copo de' Barbari at some point between 1500 and 1505
werp after Rubens's death. and subsequently entered the atelier of Durer in Nurem-
berg, becoming a citizen of that city in 1511. He was the
FILIPPO JUVARRA most important painter to emerge from the Durer shop.
Messina 1678-Madrid 1736 His surviving oeuvre, in which there are dated examples
Juvarra was the son of a silversmith. He received his ear- from between 1508 and 1520, includes many altarpieces,
liest artistic training as an architect in the studio of Carlo some with sculpture for which he was also probably re-
Fontana in Rome, where Juvarra lived from circa 1703 to sponsible. Among his major paintings is The Adoration
1714. In that city he worked for Cardinal Ottoboni and of the Magi Altarpiece of 1511 (panels in Berlin-Dahlem,
became known for his designs for sets for theatrical per- Gemldegalerie; Cracow, Monastery of Saint Paul; Cra-
formances and ceremonial occasions. Juvarra had a gifted cow, Muzeum Narodowe), one of several commissions
imagination and immense talent as a draughtsman. issuing from Cracow, which Kulmbach may have visited
Drawings by him exist not only for his stage designs and circa 15 lo/i i. His masterpiece is the Tucherepitaph of 1513
architectural projects but also for numerous varied en- (Nuremberg, Pfarrkirche Sankt Sebald), the central
terprises, including funeral decorations, coats of arms, panel of which shows the Madonna and child with saints.
and book illustrations. In 1714 Juvarra was named first He appears to have returned to Cracow to execute the
architect to the king and moved to Turin. There he re- Saint Catherine Altarpiece of 1515 (Cracow, Church of
ceived many important architectural commissions, in- Our Lady) and the Saint John Altarpiece of 1516 (Cracow,
cluding projects for the Palazzo Madama (1718-21), the Church of Saint Florian; destroyed in World War II ex-
royal hunting lodge at Stupinigi (1729-33), and the cept for the predella [Muzeum Narodowe]). Among
church and monastery of the Superga, east of Turin (be- Kulmbach's many masterful portraits is Casimir von Bran-
gun 1717). Juvarra enjoyed an international reputation as denburg of 1511 (Alte Pinakothek). Kulmbach was also a
an architect and traveled throughout Europe. major designer of stained glass, as is evidenced by the
various windows by him in the Pfarrkirche Sankt Sebald,
WOLFGANG KATZHEIMER THE Nuremberg.
ELDER
Katzheim bei Burglengenfeld-Bamberg, active HIERONYMUS LANG
1478-1508 Active 1541-1582
A painter, workshop head, and designer of stained-glass Little is known of Lang's life and training before he be-
windows and woodcuts, Katzheimer is the only late came a citizen of Schaffhausen and a member of the guild
fifteenth-century Bamberg painter with whom docu- in 1541. Lang was the first glass painter in that city to sign
mented works cannot be connected. The starting point his works. He not only produced windows but also drew
for an analysis of his art are the woodcuts for an illus- his own designs. One of the most sizable groups of his
trated book, Halsgerichtsordnung (1507), the designs for drawings for stained glass is in the Museum zu Allerhei-
which he delivered, according to a record of payment of ligen, Schaffhausen. The father of a dynasty of glass
1506/7 in the accounts of the Bamberg archbishopric. painters which included his son Daniel and grandson
Stylistic comparison with these woodcuts supports the Hans Caspar, Lang also instructed Tobias Stimmer and
attribution of a number of paintings to him and his Daniel Lindtmayer. His influence as a glass painter was
workshop. The most important of these are Passion felt throughout Switzerland.
scenes, including The Crowning with Thorns (Bayer-
isches Nationalmuseum) and The Hersbruck Altarpiece JEROME-MARTIN LANGLOIS
(Hersbruck Pfarrkirche). Displaying the influence of Paris 1779-1838
Martin Schongauer and Hans Pleydenwurff, he painted Langlois, a successful painter of portraits and historical
figures of highly charged, almost caricatured emotion- subjects, was the son of a miniature painter of the same

name. He trained with Jacques-Louis David, becoming the Parisian church of Saint-Merri, completed in 1844
one of the master's favorite students and assisting on sev- and 1866. He became a member of the Acadmie in 1864
eral of his works. Langlois placed second in the Prix de andin 1875a professor at the Ecole des Beaux-Arts,
Rome of 1805, then won first prize in 1809. He was in where he taught Pissaro and Seurat, among others.
Rome from 1810 to 1815. Langlois showed his works Throughout his career Lehmann remained an ardent
regularly at the Salon, taking a second prize in 1817 for classicist in the style he learned from Ingres.
Cassandra Imploring the Vengeance of Minerva (Louvre)
and first prize in 1819 for Alexander Ceding Campaspe to LEONARDO DA VINCI
Apelles (Muse des Augustins). Langlois's historical and Vinci 1452-Amboise 1519
mythological paintings such as Diana and Endymion of Leonardo's career embraced the arts of painting, sculp-
1822 (Louvre) are strongly neoclassical in style. In 1824 ture, architecture, and music. His interests also included
he went to Brussels to paint the portrait of the exiled Da- a variety of sciences, as is evidenced in his notebooks. He
vid (1825; Louvre), who died soon thereafter. Langlois was apprenticed to Andrea del Verrocchio, one of the
was made a member of the Acadmie shortly before his leading painters and sculptors of the fifteenth century.
own death. Leonardo's youthful Florentine paintings include the
portrait of Ginevra de' Benci of circa 1474 (National Gal-
HANNS LAUTENSACK lery of Art) and the unfinished Adoration of the Kings of
Bamberg circa 15 20-Vienna circa 1564/66 1481-82 (Uffizi). In 1481 or 1482 he moved to Milan to
The son of a painter and musician, Lautensack moved work at the court of Duke Ludovico Sforza. There he
with his family to Nuremberg in 1527. He is likely to painted the Virgin of the Rocks of circa 1482-83 (Louvre)
have trained with a goldsmith and also studied the and the fresco of the Last Supper in Santa Maria delle
graphic work of Altdorfer, as is evidenced by his two ear- Grazie (circa 1495-96). Leonardo left Milan in 1499 and
liest landscape etchings of 1554. Among the highpoints visited Mantua and Venice. Returning to Florence in
of his early career are the multiplate etchings of Nurem- 1500, he painted the Mona Lisa of circa 1503 and began
berg viewed from the east and west (1522). During this work on the Virgin and Saint Anne (circa 1508-10; both
period he also began to produce portrait prints of Nu- Louvre). In 1506 he was invited to work for the French
remberg patricians into which he incorporated delicately Crown in Milan. There he stayed through 1513, save for
rendered landscape backgrounds. In 1554 Emperor a visit to Florence between the autumn of 1507 and that
Ferdinand I summoned him to Vienna to publish the of 1508. Leonardo visited Rome in 1513 and in 1516 ac-
imperial coin collection. Lautensack's later cycles of cepted the invitation of Francis I to live in France, where
landscape etchings, dated 1554-55 and 1558-59, are pan- he spent the last years of his life.
oramic in scope and frequently incorporate figurai staf-
fage. Although some documents refer to him as a painter, MAIR VON LANDSHUT
there are no surviving paintings by him. Freising(?) circa i45O-Landshut(?) after 1504
His probable birth in Freising is indicated by the earliest
H E N R I L E H M A N N (Karl Ernest Rodolphe documentary mention of him, in the Munich tax records
Heinrich Salem Lehmann) of 1490, where he is called "Mair Maler von Freising"
Kiel 1814-Paris 1882 (Mair, painter of Freising). In Munich he appears to have
The son of a painter, Lehmann moved from Germany to been an assistant to the painter Jan Polack, as is evidenced
Paris in 1831 and entered the studio of Ingres, where he by several panels attributed to him that were made as part
became one of his master's favorite pupils. Lehmann of Polack's altarpiece (circa 1490) for the church of Saint
made his Salon debut in 1835 with Departure of the Young Peter (Peter Healing a Madman [Bayerisches National-
Tobias of 1834 (Hamburg, Kunsthalle) and several por- museum]; Saint Peter in Prison [Munich, Church of Saint
traits. In late 1838 he joined Ingres in Rome, where he Peter]). Later paintings include Scenes from the Passion of
stayed until early 1840. He returned to Paris to show two 1495 in the sacristy of Freising cathedral. During his sub-
history paintings and a portrait in the Salon of 1840. After sequent career Mair appears to have been active in Land-
a second brief trip to Italy, Lehmann settled in Paris in shut. He is principally appreciated for his graphic oeuvre
1841 and began to exhibit regularly at the Salon. He be- consisting of twenty engravings, three woodcuts, and
came famous for his extremely refined portraits, such as over a score of drawings, many of which are signed and
Comtesse d'Agoult of 1843 (Paris, Muse Carnavalet). dated. He anticipated the chiaroscuro woodblock tech-
Among his other works are two decorative schemes for nique of Hans Burgkmair and Lucas Cranach the Elder

by printing on colored paper and adding white height- figure style of Hendrick Goltzius and Cornelis van Haar-
ening by hand. lem. Although it is often assumed that Muller studied in
Haarlem, he could have mastered their styles by copying,
ISAAC MAJOR as in the drawing Tityus of 1588 (Muses Royaux des
Frankfurt-am-Main 1588-Vienna after 1642 Beaux-Arts de Belgique, Collection de Grez),which is
The son of a goldsmith who emigrated to Frankfurt from based on a work by Cornelis van Haarlem. During the
the south Netherlands, Major was baptized in that city early 15905 Muller made engravings after the Prague
in 1588. His life and work remain largely unresearched. Mannerists Adriaen de Vries, Bartholomeus Spranger,
During the first decade of the 1600s he was in Prague, and Hans van Aachen. He also made prints after his own
where he probably trained with Aegidius Sadeler and/or inventions, such as The Adoration of the Magi of 1598,
Roelandt Savery. In 1614 he was in Vienna and in 1615 in which is typical in its innovative effects of illumination.
Prague again; he visited Poznan in 1618 and appears to Between 1594 and 1602 Muller visited Rome and Naples,
have settled permanently in Vienna during the 16205; he after which he spent the remainder of his career at the
is still recorded there in 1642. Major's twenty-one etch- prosperous family publishing firm in Amsterdam.
ings of the Turkish war (1591-1606) containing topo-
graphically accurate views of Hungary indicate that he GIOVANNI BATTISTA N A L D I N I
made a trip there at some point; he is known to have re- Fiesole circa i53y-Florence 1591
turned to Frankfurt in 1633. Major produced landscape Naldini joined Jacopo Pontormo's studio at the age of
prints after Savery and Pieter Stevens as well as prints of twelve and remained there until 1557. He is documented
his own invention. His drawings include a signed series in Rome in 1560-61. He was back in Florence by 1564,
of twenty-five pen-and-ink landscapes (Albertina) as when he entered the Accademia delle Arti del Disegno.
well as landscapes drawn with the brush and colored From 1565 to 1569 he worked in the Salone dei Cinque-
washes after the fashion of Savery and Stevens. Major cento in the Palazzo Vecchio, under the direction of Gior-
appears to have been active exclusively as a graphic artist, gio Vasari. In the early 15705 Naldini contributed two
as there are no known paintings by him. paintings, The Allegory of Dreams and The Gathering of
Ambergris, to the studiolo of Francesco I de' Medici (Flor-
M O R A Z Z O N E (Pier Francesco Mazzuchelli) ence, Palazzo Vecchio). In the late 15705 he was again in
Morazzone 1573-Piacenza 1626 Rome, working at the church of San Giovanni Decol-
At a young age Morazzone moved from the Lombard late. On his return to Florence, Naldini painted four al-
town of that name to Rome. There he studied with the tarpieces for the churches of Santa Maria Novella and
Sienese painter Ventura Salimbeni and perhaps with the Santa Croce as part of Vasari's renovation plans, includ-
Cavalire dArpino. By 1598 Morazzone had returned to ing a Deposition of 1583 (Santa Croce). One of his late
Lombardy, where he spent the remainder of his career. works is the Calling of Saint Matthew of 1584-88 (Flor-
He worked throughout Lombardy and Piedmont, paint- ence, San Marco), painted for the Cappella Salviati.
ing frescoes and altarpieces for churches and other reli-
gious organizations in Vrese, Orta, and Como in addi- NICOLO DELL'ABATE
tion to rhany other places. The Road to Calvary frescoes Modena 15 09/12 (?)-Fontainebleau or Paris 1571
of circa 1605 for a chapel in Sacro Monte, Varallo, com- As a youth Nicol trained with the sculptor Antonio Be-
prise one of his early commissions. Circa 1612 Moraz- garelli in Modena. One of the most notable works Ni-
zone completed four paintings devoted to the Life of the col completed as an independent master in Modena was
Virgin for the Cappella dlia Cintura, SantAgostino, the decoration in 1546 of the Sala del Fuoco in the Palazzo
Como. One of his most famous paintings is a Pentecost dei Conservatori. Circa 1548 he moved to Bologna and
of circa 1615 (Castello Sforzesco), originally painted for soon thereafter received commissions for decorative
the Sala dlie Congregazioni, Milan. schemes in the Palazzo Torfanini (circa 1548-50) and Pal-
azzo Poggi (circa 1550-52). The primary influences on
JAN HARMENSZ. MULLER Nicole's early painting style were Dosso Dossi, Porden-
Amsterdam 1571-1628 one, Correggio, and Parmigianino. In 1552 Nicol ar-
Jan Muller was the son of Harmenjansz. Muller, a prom- rived in France to work at the court of Henry II on the
inent Amsterdam publisher, printmaker, and art dealer. recommendation of Francesco Primaticcio, whose assis-
He received his earliest training from his father. His tant he became. There he worked on numerous projects,
youthful engravings and drawings exhibit the Mannerist most notably the Salle de Bal (1554) and Galerie d'Ulysse

(after 1556) at Fontainebleau and the chapel of the Htel BERNARDO PARENTING
du Guise in Paris. His elegant Mannerist style influenced Parenzo 1437-Vicenza 1531
French artists of the following generation. The long-lived Parentino is best known as a follower of
Francesco Squarcione and Andrea Mantegna. Few de-
JEAN-BAPTISTE OUDRY tails are known concerning Parentino's life. He seems to
Paris i686-Beauvais 1755 have been active as a painter chiefly in Padua, although
Oudry received his earliest artistic training from his fa- he also worked in Verona and Mantua. Among his early
ther. He then served as apprentice to the portraitist Ni- paintings is an Adoration of the Magi (Louvre) and a Con-
colas de Largillierre from circa 1707 to 1712 and took version of Saint Paul (Verona, Museo del Castelvecchio),
courses at the Acadmie de Saint-Luc. His talent as a his- both dated to the 14705. During the early 14905 Parentino
tory and genre painter and portraitist is evident in Abun- was engaged in the fresco decoration of the convent of
dance with Her Attributes (Muse Nationale du Chteau de Santa Giustina, Padua, with scenes from the life of Saint
Versailles), his reception piece for the Acadmie in 1719. Benedict. Parentino's style also indicates the influence of
Beginning in 1722 he concentrated on still lifes and hunt Ferrarese artists such as Cosimo Tura and Ercole de' Ro-
scenes, such as the large Stag Hunt of 1723 (Stockholm, berti, as is evidenced by Christ with Saints Jerome and Au-
Nationalmuseum). Oudry was presented to Louis XV gustine of circa 1500 (Modena, Galleria Estnse). The
by one of his patrons and soon received commissions many drawings attributed to Parentino are typically
from the king, including one for a painting, Roe Hunt, of mantegnesque in style and often incorporate motifs from
1725 (Rouen, Muse des Beaux-Arts) for the chateau at classical antiquity.
Chantilly. Oudry's fame was secured with Louis XV
Hunting a Stag in the Forest of Saint-Germain of 1730 (Mu- PIERRE-ADRIEN PARIS
se des Augustins), a painting much admired by the king, Besanon 1745-1819
who then commissioned the artist to design a tapestry se- The son of an architect, Paris lived near Basel as a youth.
ries on the royal hunt. In addition to Louis XV, the kings In 1760 he moved to Paris to further his architectural
of Sweden and Denmark were Oudry's patrons. He studies under the direction of Franois Trouard. Between
showed regularly at the Salon from 173 7 until 1753, when 1769 and 1774 Paris stayed at the French Academy in
illness forced him to give up painting. Rome. On his return to France he organized royal cere-
monial occasions as dessinateur to the king. In 1780 he was
FRA P A O L I N O (Paolo del Signoraccio) accepted as a member of the Acadmie. In 1783 he made
Pistoia circa 1490-1547 a second trip to Italy to further study the excavations at
Fra Paolino is best known as a follower of Fra Bartolom- Pompeii and Herculaneum. Back in Paris, he worked for
meo, whose serene classicism was the dominant influ- Louis XVI on an architectural project for Versailles that
ence on the younger artist. Paolo received his earliest ar- was never realized. Paris became director of the French
tistic training from his father, a minor painter in Pistoia. Academy in Rome in 1806 and there supervised the ex-
On moving to Florence, he joined the Dominican order cavations at the Colosseum. In 1817 he returned to his
at the monastery of San Marco, where he became Fra native city, where he died two years later. Pris's oeuvre
Bartolommeo's pupil and assistant. Circa 1509-13 Fra consists mainly of drawings for architectural projects
Paolino probably also worked under the direction of and of antique ruins and artifacts, many of which were
Mariotto Albertinelli, Fra Bartolommeo's sometime col- engraved. He also collected the works of other artists,
laborator in the school of San Marco. Fra Paolino inher- including Jean-Honor Fragonard and Hubert Robert.
ited a large corpus of Fra Bartolommeo's drawings on
the latter's death in 1517 and thereby continued to draw P A R M I G I A N I N O (Francesco Mazzola)
inspiration from his master. Fra Paolino's Piet of 1519 Parma 1503-Casalmaggiore 1540
(Florence, Museo di San Marco) is strongly reminiscent Parmigianino worked as a painter, draughtsman, and
of Fra Bartolommeo's depiction of the same subject of etcher. His uncles Pier Ilario and Michle Mazzola pro-
circa 1511-12 (Palazzo Pitti). Fra Paolino painted tradi- vided his early training, but the example of Correggio
tional altarpieces, such as the Madonna and Child with was the major stimulus to his early development. Be-
Saints of circa 1530 (San Gimignano, Sant'Agostino), for tween 1522 and 1524 Parmigianino worked on the dec-
various churches in Tuscany throughout the 15205 and orations for several chapels in San Giovanni Evangelista,
'305. His drawing style is, understandably enough, close Parma. In 1524 he traveled to Rome, carrying with him
to that of Fra Bartolommeo, exhibiting a similar interest the unique, undated Self-Portrait in a Convex Mirror (Vi-
in sfumato effects.

enna, Kunsthistorisches Museum), which he presented as The Fair at Bezons of 1733 (Metropolitan Museum of
to an appreciative Pope Clement VII, thereby securing Art) are strongly reminiscent of Watteau, employing
work at the papal court. In Rome the influence of Ra- compositions, settings, and costumes similar to those in
phael and of antique sculpture reinforced Parmigianino's his paintings. Likewise Pater's drawing style was based
attention to plastic values and refined elegance, as can be on his master's. In the eighteenth century his fame ap-
seen in the Vision of Saint Jerome of 1527 (National Gal- proached that of Watteau himself.
lery). In 1527 he moved to Bologna, where his major
works included the undated Madonna of Saint Zachary GEORG PENCZ
(Uffizi) and the Madonna of Saint Margaret of 1528-29 Wroclaw(?) circa 1500-Leipzig 1550
(Bologna, Pinacoteca). Among the artist's last great Pencz was active in Durer s workshop as early as 1521,
works are the Madonna of the Long Neck, commissioned becoming a citizen of Nuremberg in 1523. In January
in 1534 (Uffizi), and the unfinished fresco decorations 1525 he and the artists Barthel and Sebald Beham were
(1530-39) for Santa Maria della Steccata, Parma. briefly expelled from the city for atheism. Little is known
of Pencz's artistic activities in the 15205. It has been pro-
BARTOLOMEO PASSAROTTI posed that he was identical with the Master I. B., a Nu-
Bologna 1529-1592 remberg printmaker active during this decade, but this is
Although the beginnings of his career are unclear, Pas- doubtful. Pencz is recorded in Nuremberg in 1530 and
sarotti is first documented in Rome in 1551, working was made the official city painter in 1532. In 1534 he ex-
with the architect Jacopo Vignola, andlaterwith ecuted an illusionistic ceiling painting there, The Fall of
Taddeo Zuccaro, making etchings after Zuccaro's draw- Phaeton (Stadtmuseum Fembohaus), which indicates
ings. By circa 1560 he was back in Bologna, where he that he had studied Giulio Romano's frescoes in the Pal-
lived almost continuously thereafter. Passarottis early azzo del Te, Mantua, probably on a trip to northern Italy
works, such as the Madonna and Child with Saints of 1565 circa 1529. Pencz's prints and drawings of the early 15305
(Bologna, San Giacomo Maggiore), reveal a knowledge reflect the influence of the Italian engraver Marcantonio
of Emilian artists, most notably Correggio. In certain Raimondi. Circa 1539/40 he returned to Italy, this time
mature paintings, including an Ecce Homo of circa 1575 visiting Rome, where he made drawings after Michel-
(Bologna, Santa Maria del Borgo), Passarotti employed angelo's frescoes The Deluge and The LastJudgment in the
typical Mannerist conventions, yet he was also a keen ob- Cappella Sistina. Pencz returned to Nuremberg in 1540.
server of nature, as is evidenced by his portraits, still lifes, His reputation as a portraitist led to his appointment as
and genre paintings. The naturalism of his genre scenes court painter to Duke Albert I of Saxony at Knigsberg
from the 15705 and '80s such as the Butcher Shop or Fish in 1550. However, he died in Leipzig the same year en
Vendors (both Rome, Galleria Nazionale) inspired An- route to his new post.
nibale Carracci, among others. One of Passarottis last
dated works is the Presentation of the Virgin of 1583 (Bo- P E R I N O DEL V A G A (Piero Buonacorsi)
logna, Pinacoteca). In his drawings he employed a dis- Florence circa 1500-Rome 1547
tinctive cross-hatching reminiscent of Michelangelo and Perino del Vaga received his early training in Florence in
Baccio Bandinelli. Passarotti established an influential art the workshop of Ridolfo Ghirlandaio. Circa 1516 he
academy in Bologna that his four sons and Agostino Car- traveled to Rome with a painter called Vaga, from whom
racci attended. he took his name. By 1518 Perino was working in the
Vatican Logge with Raphael's workshop. His first inde-
J E A N - B A P T I S T E PATER pendent Roman work is probably a frescoed Piet of
Valenciennes 1695-Paris 1736 circa 1519 (Rome, San Stefano del Caceo). Perino, to-
The son of a sculptor, Pater studied painting in 1713 with gether with Giovanni da Udine, decorated the Sala dei
his father's friend Antoine Watteau, also a native of Va- Pontefici in the Vatican in 1521. In 1522 Perino was living
lenciennes. He again studied with Watteau in 1721, in Florence, but he was back in Rome by 1524, when he
shortly before the master's death. Throughout his rather painted frescoes for the Cappella Pucci in SS. Trinit dei
brief career, Pater painted Jetes galantes in the style of Monti. Perino worked in Genoa from 1528 to 1535/36;
Watteau, albeit in a slightly less poetic manner. Pater be- his chief patron there was Andrea Doria. The Fall of the
came a member of the Acadmie in 1728 with a Fte Giants of circa 1531-33 (Genoa, Palazzo Doria) is a key
Champtre (Louvre) as his reception piece. Paintings such work from this period. Among Perino's Genoese reli-

gious works is the Pala Basadonne of 1534 (National Gal- G I O V A N N I BATTISTA P I R A N E S I
lery of Art), originally painted for the church of Santa Venice 1720-Rome 1778
Maria della Consolazione, Genoa. On his return to Piranesi learned the art of drawing from his uncle, an ar-
Rome Ferino worked at SS. Trinit, Castel Sant' Angelo, chitect in Venice. During his early years he focused on
and in the Sala Regia of the Vatican. studies of perspective and stage designs. In 1740 he
moved to Rome and began a systematic study of the
BALDASSARE PERUZZI city's antiquities. While there he learned to make etchings
Siena I48i-Rome 1536 from Giuseppe Vasi. In 1742 Piranesi began the plates for
Peruzzi's career began in Siena. In 1502/3 he moved to his first series of views of Rome, published in 1743,
Rome, where he rapidly attained success as an architect called Prima parte. Circa 1744 a series of fantastic imagi-
and painter. He was inspired by the traditions of classical nary scenes, called the Carceri d'invenzione, was issued, to
antiquity and the art of his contemporary Raphael. From be re-etched by the artist in 1760-61. Piranesi returned
1509 to 1516 he was engaged as the architect and designer to Venice briefly and was back in Rome in 1747. Among
of the Villa Farnesina. In 1516 he decorated the Cappella his other series of etchings are Vedute di Roma, first pub-
Ponzetti in Santa Maria della Pace and completed the lished in 1748. His study of the ruins of Rome ultimately
fresco representing the Presentation of the Virgin for the led to the publication in 1756 of Le Antichit romane,
same church. Peruzzi was appointed architect of Saint which was an immediate success. His drawings and etch-
Peter's, and in 1520-23 he painted the oval frescoes illus- ings are notable for their dramatic spatial illusionism.
trating scenes from Ovid's Metamorphoses in the Villa
Madama. He also traveled to Bologna. Returning to
Rome, he designed Pope Adrian VI's tomb in Santa CORNELIS VAN POELENBURCH
Maria della Anima. Peruzzi returned to work in Siena in Utrecht 1594/95-1667
1527 as architect of the Sienese republic, but in 1535 he Poelenburch was a pupil of Abraham Bloemaert, ac-
was again in Rome. In the same year he began construc- cording to Joachim Sandrart, and is documented in
tion of the Palazzo Massimo all Colonne. His designs Rome in 1617 and between 1619 and 1623. Sometime be-
for architectural and scnographie projects had a great in- fore 1621, Poelenburch worked at the Medici court in
fluence on Sebastiano Serlio, who used them as the basis Florence, where he was influenced by the work of
for his treatise on architecture. Jacques Callot. Early Roman paintings such as Landscape
with Orpheus of circa 1620 (Louvre) demonstrate the in-
G I O V A N N I BATTISTA PIAZZETTA fluence of Paulus Bril. Some of the paintings from this
Venice 1683-1754 period are difficult to distinguish from those of Filippo
Piazzetta was the son of a sculptor. After studying with Napoletano. After 1620 he developed an innovative ap-
Antonio Molinari in Venice, he lived in Bologna for proach to the depiction of the Roman landscape charac-
about a year, studying with Giuseppe Maria Crespi. He terized by low horizons and strongly contrasting sun-
returned to Venice circa 1710, remaining for the rest of light and shadow, as can be seen in his three paintings of
his life. Piazzetta's early works reflect the tenebrism of the Campo Vaccino in the Louvre. His drawings of
Crespi, as is evidenced in Virgin Appearing to Saint Philip this period influenced Bartholomeus Breenbergh, with
Neri of 1725-27 (Venice, Santa Maria della Fava). Circa whom Poelenburch might have sketched circa 1623 -24.
1725 he worked in the Venetian church of SS. Giovanni After returning to Utrecht circa 1625, he was highly suc-
e Paolo, painting the Glory of Saint Dominic for the ceil- cessful, gaining commissions from the House of Orange
ing. Piazzetta's later works, such as the Fortune Teller of and also working for the court of Charles I in England
1740 (Accademia), reveal a lighter, more Rococo palette. between 1637 and 1641. In 1649 and 1650 Poelenburch
He also specialized in paintings and drawings of half- was an officer of the Utrecht painting guild, of which he
length figures or heads, known as teste di carattere. He was dean in 1657, 1658, and 1664.
achieved great success as an artist and teacher and was
named director of the Accademia in Venice on its found-
ing in 1750.
ARTISTS BIOGRAPHIES 34!

P O N T O R M O (Jacopo Carucci) have been trained in his native city. In 1740 Portail was
Pontormo (Empoli) 1494-Florence 1557 given a royal appointment at Versailles, and in 1741 he
Circa 1506 Pontormo, who was orphaned as a youth, was made overseer of the Salon exhibitions. He was
moved to Florence, where he trained in the studios of elected to the Acadmie in 1746 as a flower painter. Al-
Leonardo da Vinci, Piero di Cosimo, Mariotto Alberti- though best known as a draughtsman, Portail was also a
nelli, and Andrea del Sarto. Youthful works including painter of portraits, landscapes, and still lifes as well as an
the Visitation of 1514-16 (Florence, SS. Annunziata) re- engraver. Among his paintings is View of the Park at Ver-
flect the High Renaissance classicism of Sarto and Fra sailles of circa 1750 (Muse Nationale du Chteau de Ver-
Bartolommeo. As early as 1518, in the Madonna and Child sailles). Portail's drawing style derived ultimately from
with Saints in San Michle Visdomini, Florence, Pontor- Watteau, while the somewhat contemplative side of his
mo s art became increasingly complex and disturbing in art reflects the influence of Chardin.
form and feeling, signaling the beginning of the Man-
nerist style in Italy. His study of Michelangelo and the NICOLAS POUSSIN
prints of Durer further influenced his development of a Les Andelys 15 94-Rome 1665
highly personal, idiosyncratic style. The ambiguous Poussin was first encouraged to paint by the Mannerist
composition and elongated, restless figures of the De- Quentin Varin. He moved to Paris to become a profes-
position of 1526-28 in Santa Felicita, Florence, represent sional painter in 1612 and made a visit to Italy circa 1621.
the culmination of this development. Pontormo re- In 1624 he moved to Rome, where he discovered classical
ceived Medici patronage throughout his career, includ- antiquity and studied the art of Raphael, Titian, and Do-
ing a commission for the early fresco decorations (1520) menichino, all of whom influenced his development.
of the family's country villa at Poggio a Caiano. Between His patrons included Cardinal Francesco Barberini and
1546 and 1556 he painted the biblical scenes in the choir the antiquarian Cassiano del Pozzo, for whom he painted
of the Medici parish church of San Lorenzo in Florence a series of the Seven Sacraments (1636-40; National Gal-
(destroyed). lery of Art; Belvoir Castle). Circa 1629 or 1630 Poussin's
repertoire of subjects shifted focus to classical and myth-
P O R D E N O N E (Giovanni Antonio de' Sacchis) ological themes. In 1640 he journeyed to France to work
Pordenone 1483/84-1539 at the court of Louis XIII. He returned to Rome per-
Pordenone's early works reflect the artistic traditions of manently in 1642 and began producing geometrically or-
his upbringing in a small town in the province of Friuli. dered landscapes, of which the two Phocion landscapes
He worked and traveled throughout central and north- (1648; Shropshire, Oakley Park, earl of Plymouth; Liv-
ern Italy, absorbing a variety of artistic trends. His works erpool,, Walker Art Gallery) are prime examples. Poussin
done prior to 1518 indicate his familiarity with contem- approached painting with a cerebral classicism that be-
porary styles in both Venice and Rome. The frescoes came an ideal for future generations of French artists.
Pordenone painted in 1520 for the Cappella Malchiostro
intheDuomo, Treviso (destroyed), indicate the influence FRANCESCO PRIMATICCIO
of Titian, Michelangelo, and north Italian illusionism. Bologna 1504-Paris 1570
From 1520 to 1522 he painted several frescoes for the ca- Primaticcio's early development remains unclear. It
thedral of Cremona, including a large Crucifixion (1520- seems that his earliest formal training commenced in
21) and a Piet (1522). In Venice he completed frescoes 1525/26 with his move to Mantua, where he became a
for San Rocco (1528-29) and at the Palazzo Ducale pupil of Giulio Romano at the Palazzo del Te. There he
(1535-38), all of which have since been destroyed. Be- worked as a painter, decorator, sculptor, and architect.
tween 1530 and 1535 Pordenone worked intermittently He was invited to France in 1532 by Francis I to partici-
on three chapels and the dome of the church of the Ma- pate in the decoration of the royal chateau of Fontaine-
donna di Campagna, Piacenza. His late paintings, such bleau, where he collaborated with Rosso Fiorentino in
as the Annunciation of 1537 (Murano, Santa Maria degli several of the major rooms, including the Chambre du
Angeli), reflect the currents of Roman Mannerism. Roi (1531-35). Following Rosso's death in 1540, Prima-
ticcio assumed the position of chief designer. He made
JACQUES-ANDRE PORTAIL several journeys to Italy on behalf of Francis I during the
Brest 1695-Versailles 1759 15405. With his compatriot Nicol delTAbate he contin-
Portail was the son of an architect of the same name. Lit- ued to work on the decorations at Fontainebleau, which
tle is known about his early education, but he seems to included the Galerie d'Ulysse and the Salle de Bal. Since

little of his fresco and stucco work at Fontainebleau sur- R E M B R A N D T VAN RIJN
vives, our knowledge of Primaticcio's lively and sophis- Leiden 1606-Amsterdam 1669
ticated style derives mainly from his surviving drawings The son of a miller, Harmen Gerritsz. van Rijn, Rem-
and paintings such as Ulysses and Penelope (Toledo Mu- brandt attended Latin school and was enrolled at the uni-
seum of Art). versity of Leiden in 1620. In 1621 he was apprenticed to
the Leiden history painter Jacob Isaacsz. van Swanen-
GIULIO CESARE PROCACCINI burgh, and circa 1623/24 he studied in Amsterdam with
Bologna 15 74-Milan 1625 Pieter Lastman and Jacob Pynas. Circa 1625 Rembrandt
Procaccini, whose father and brothers were painters, returned as an independent master to Leiden, where he
moved with his family to Milan in the mid-15805. Orig- worked closely with Jan Lievens and took his first pupil,
inally, he trained as a sculptor, but, following a trip to Gerard Dou. By 1632 he had moved to Amsterdam and
Parma circa 1600-1602, he turned to painting. His ear- completed The Anatomy Lesson of Doctor Tulp (The
liest pictures, including the Martyrdom ofSS. Nazaro and Hague, Mauritshuis). During the 16305 he was a sought-
Celso of 1606 (Milan, Santa Maria presso San Celso) and after portrait painter and produced a series of Passion pic-
the series of ten paintings for the Tribunale di Provisione tures for the stadtholder, Prince Frederick Henry. Rem-
commissioned in 1605 (Castello Sforzesco), reflect a brandt married Saskia van Uylenburgh in 1634. During
knowledge of Parmigianino and Correggio and the in- the 16305 and '405 he had many students, including Go-
fluence of Procaccini's Lombard contemporaries Cerano vaert Flinck, Ferdinand Bol, Carel Fabritius, and Ger-
and Morazzone. Between 1603 and 1613 Procaccini pro- brandt van den Eeckhout. The birth of his son Titus in
duced a large number of devotional paintings, including 1641 was followed by Saskia's death in 1642, which was
representations of the miracles of San Carlo Borromeo also the year the artist completed The Night Watch (Rijks-
for the Duomo, the Mystic Marriage of Saint Catherine museum). During the late 16405 Hendrickje S to Sels
(Brera), and the Madonna with Saints (Saronno, Sanctu- came to live with him as a housekeeper. Financial diffi-
ario dei Miracoli). He worked in Modena from 1613 to culties set in, culminating in bankruptcy in 1656 and the
1616 and in 1618 was living in Genoa. He returned to auctioning of Rembrandt's possessions in 1657 and 1658.
Milan in 1619. Some of his greatest portraits date to his later years, in-
cluding the Group Portrait of the Cloth Samplers (The Synd-
R A P H A E L (Raffaello Sanzio) ics) of 1662 (Rijksmuseum).
Urbino 1483 -Rome 1520
Raphael was the son of the painter Giovanni Santi. He GUIDO RE
entered the Perugian workshop of Pietro Perugino circa Bologna 1575-1642
1495, quickly assimilating and surpassing his master's Reni was first apprenticed to the Flemish artist Denys
style. While working in Florence between 1504 and 1508, Calvaert; in 1594 he joined the Carracci academy. Be-
Raphael enthusiastically embraced the examples of Leo- tween 1595 and 1599 he painted numerous altarpieces for
nardo and Michelangelo, as can be seen in the Portrait of local churches, including the Madonna of the Rosary of
Maddalena Doni of 1506 (Palazzo Pitti) and the Entomb- 1596-98 (Bologna, Basilica di San Luca). Circa 1600 he
ment of 1507 (Gallera Borghese). In 1508 or 1509 he moved to Rome, where the powerful naturalism and dra-
moved to Rome, where the artistic and intellectual cli- matic lighting of Caravaggio briefly attracted him, as can
mate offered new inspiration. Pope Julius II employed be seen in the Crucifixion of Saint Peter of 1605-06 (Vat-
him to decorate the Vatican Stanze, including the Stanza ican, Pinacoteca). A more enduring influence was the
della Segnatura (1509-11). Raphael continued to work at ideal monumental classicism of Raphael's art, as can be
the Vatican under Leo X in addition to accepting nu- seen in Reni's Aurora fresco of 1614 (Casino Rospigliosi
merous private commissions. Notable masterpieces in- Pallavicini). Reni returned to Bologna in 1614 and soon
clude the Galatea fresco of 1514 (Villa Farnesina) and the became the city's leading artist. Among his most impor-
Portrait ofBaldassare Castiglione of 1515 (Louvre). He be- tant works are the Piet dei Mendicanti of 1613 -16 and the
came increasingly occupied with architectural projects Pala delle Peste of 1631 (both Bologna, Pinacoteca Na-
and in 1514 succeeded Bramante as architect of the new zionale). His late style is broader and looser, as can be seen
Saint Peter's. Raphael's last great altarpiece, the Transfig- in Saint Jerome and the Angel of 1640-42 (Detroit Institute
uration of circa 1518 (Vatican, Pinacoteca), was made in of Arts).
direct competition with Sebastiano del Piombo.
ARTISTS B I O G R A P H I E S 343
MARCO RICCI P E T E R PAUL R U B E N S
Belluno 1676-Venice 1729 Siegen 15 77-Antwerp 1640
Marco Ricci was the nephew of the painter Sebastiano The son of an Antwerp magistrate, Rubens spent the first
Ricci, from whom he probably received his earliest ar- ten years of his life in Siegen and Cologne. After his fa-
tistic training in Venice. He was reportedly forced to ther's death in 1587, he returned to Antwerp, where he
leave Venice after murdering a gondolier. He then trained studied with Tobias Verhaeght, Adam van Noort, and
with the painter Antonio Francesco Peruzzini in Ancona. Otto van Veen, becoming a master in the Antwerp guild
Marco worked in Rome, Florence, and Venice, chiefly as of Saint Luke in 1598. Rubens left for Italy in 1600 and
a landscape painter but also as an etcher. He went twice entered an eight-year period of service with Vincenzo
to England, the first time prior to 1710 and then with Se- Gonzaga in Mantua which was interrupted by a diplo-
bastiano Ricci from 1712 to 1716. Marco settled in Venice matic mission to Spain. In 1608 the artist returned to Ant-
in 1716 except for a trip to Rome circa 1720. He special- werp, where he was made court painter to Archduke Al-
ized in landscape paintings that often have a luminous bert and Archduchess Isabella in 1609. He went on to
quality, as can be seen in Landscape with the Archangel Ra- execute numerous commissions in that city during the
phael and Tobias of circa 1708 (Sarasota, John and Mabel next decade, including the Raising of the Cross of 1610
Ringling Museum of Art). Marco often used gouache (Onze Lieve Vrouw). Between 1622 and 1627 Rubens
for his landscapes, sometimes on kidskin, as in Landscape visited Paris several times in connection with a cycle of
with Approaching Storm of the 17205 (Wellesley, Jewett paintings glorifying the reigns of Marie de Mdicis and
Arts Center). He collaborated with his uncle on several her husband, King Henry IV (Louvre). In 1628 he went
paintings, including Epitaph for Admiral Shovel of circa to Madrid to promote a peace plan between the Neth-
1726 (National Gallery of Art). Marco also made nu- erlands and Spain and was appointed privy council sec-
merous drawings and etchings and influenced the next retary of the Netherlands by King Philip IV. In 1629-30
generation of landscape painters, including Canaletto the painter was sent on a diplomatic mission to England,
and Francesco Guardi. where he was knighted by King Charles I and received a
commission to execute the ceiling paintings in the ban-
HYACINTHE RIGAUD queting hall at Whitehall in London. In 1630 he returned
Perpignan 165 9-Paris 1743 to Antwerp and married Helena Fourment. He designed
The grandson and nephew of painters, Hyacinthe Ri- decorations for the triumphal entry into Antwerp of
gaud s first formal artistic training occurred during the Cardinal Infant Ferdinand in 1634-35. In 1635 Rubens
period 1671-77, when he studied in Montpellier with purchased the chateau of Steen, the countryside around
two provincial masters. He then served an apprentice- which inspired some of his finest landscapes. He exe-
ship in Lyons before moving to Paris in 1681. In 1682 he cuted designs for a series of paintings to decorate the
won the Prix de Rome but, at Charles Le Brun's advice, Torre de la Parada, Philip IV s hunting lodge near Ma-
did not travel to Rome, as he immediately began receiv- drid, in 1636-38.
ing commissions in Paris. Rigaud became a member of
the Acadmie in 1700. He is best known for his portraits PIETERJANSZ. SAENREDAM
of the Parisian bourgeoisie, clergy, and aristocracy. His Assendelft 1597-1665 Haarlem
first royal commission dates from 1688. He painted Louis The son of the engraver Jan Saenredam, Pieter moved
XIV on several occasionsincluding in 1701, when he with his mother from Assendelft to Haarlem in 1609 after
executed the famous Portrait of Louis XIV in His Coro- the death of his father. In 1612 he was apprenticed to
nation Robes (Louvre)and also painted several portraits Frans Pieter de Grebber and in 1623 enrolled in the guild
of Louis XV. Many of his portraits, such as that of Jean of Saint Luke at Haarlem, where he was to spend his en-
Le Juge, his wife, and their daughter, of 1699 (National tire career. From 1628 on he specialized in architectural
Gallery of Canada), indicate the influence of Dutch and painting and, in particular, church interiors. Transept of
Flemish painting. Rigaud received many honors during the SintBavokerk, Haarlem, North to South of 1628 (J. Paul
his career and managed a large studio, training the paint- Getty Museum) evidences his particular fascination with
ers Joseph Parrocel, Jean-Marc Nattier, and Franois Haarlem's principal church, which figures in his works
Desportes, among others. more frequently than any other building. From the
beginning he employed a characteristically deliberate
method of preparing paintings, which were preceded by

a sketch from life followed by a full-scale perspective ren- portant examples of Florentine Mannerism, was the
dering. Throughout this process he made numerous fresco decoration of the Sala dell'Udienza in the Palazzo
subtle adjustments to spatial relationships and architec- Vecchio, painted for Cosimo de'Medici. The highly or-
tural details, resulting in delicately calibrated effects of se- namental and complex Triumph of Camillus of 1543-45
renity and balance. Saenredam's output of paintings and is a major scene from this cycle. Salviati returned to
drawings is very small, with much of it signed and dated, Rome in 1548 and worked primarily for the Farnese car-
often to the day. On sketching trips to 's-Hertogenbosch dinals and their circle, completing fresco cycles in the Pal-
in 1632 and to Assendelft in 1633 and '34, he gathered ma- azzo Farnese in the early 15505 and in the Palazzo Ricci-
terial for paintings such as Crossing and Nave of the Sint Sacchetti circa 1555. He took a brief trip to France circa
Odulphuskerk, Assendelft of 1649 (Rijksmuseum). He vis- 1556. An inveterate draughtsman, Salviati made designs
ited Alkmaar in 1634 and 1661, Utrecht in 1636, Am- for engravings and tapestries throughout his career. His
sterdam in 1641, and Rhenen in 1644. Resultant paintings final commission, never realized, was for a portion of the
include View through the Transept of the Sint Cunerakerk, Sala Regia in the Vatican.
Rhenen of 1655 (Mauritshuis) and The Old Town Hall of
Amsterdam of 1657 (Rijksmuseum). S A N T I DI TITO
San Sepolcro 1536-Florence 1603
CORNELIS SAFTLEVEN In Florence by 1550, Santi di Tito trained with a follower
Gorinchem 1607-Rotterdam 1681 of Raffaellino del Garbo before entering Agnolo Bron-
Saftleven was the son and pupil of the painter Herman zino's studio. In 1558 Santi left Florence for a six-year stay
Saftleven and the brother of the landscape painter Her- in Rome, where he painted frescoes in the Palazzo Sal-
man Saftleven the Younger. Soon after Cornelis's birth, viati, Casino Pio, and Vatican Belvedere. He returned to
the family moved to Rotterdam. His earliest dated paint- Florence in 1564 and participated in the production of the
ings show fanciful animal allegories and scenes of hell. temporary decorations for Michelangelo's funeral. Santi
Circa 1632/34 he traveled to Antwerp, where Anthony synthesized High Renaissance and Mannerist conven-
van Dyck made a portrait drawing of him. By 1634 Saft- tions during the 15605 and '705, as is apparent in the Sacra
leven was in Utrecht, where his brother, Herman, was Conversazione of circa 1565 (Florence, Ognissanti). An
living, and the two began to paint stable interiors, a sub- ornamental fresco for the Cappella di San Lea, SS. An-
ject new to peasant genre painting. By 1637 Saftleven had nunziata, and the two paintings he contributed to the stu-
returned to Rotterdam. Paintings of the following de- diolo of Francesco I in the Palazzo Vecchio are his most
cades include landscapes with shepherds and cows and important works from the 15705. Santi painted several
animal satires such as Allegory of the Condemnation ofOld- altarpieces for the churches of Santa Croce and Santa
enbarnevelt of 1663 (Rijksmuseum). As a draughtsman Maria Novella. Among these The Resurrection of circa
Saftleven is best known for his black chalk drawings of 1572-73 (Florence, Santa Croce), with its relatively clear
single figures, usually young men, and his studies of an- narrative approach, is an important example of his ma-
imals, which show the influence of Roelandt Savery. ture style. Sand's late works, such as The Crucifixion of
Saftleven remained in Rotterdam until his death. 1588 (Santa Croce), are rather sober and devout, as he in-
creasingly worked toward a reform of Florentine Man-
F R A N C E S C O S A L V I A T I (Francesco dei nerism as demanded by the Counter-Reformation.
Rossi)
Florence circa isio-Rome 1563 GIOVANNI G I R O L A M O SAVOLDO
Salviati studied with several artists in Florence before he Brescia circa 1480-Venice or Brescia 1548
entered Andrea del S arto 's workshop in 1529. After the Savoldo was among the leading masters of the Veneto-
latter's death in 1530, Salviati went to Rome. A fresco of Lombard school that included Moretto da Brescia and
the Visitation of 1538 (Rome, San Giovanni Decollate) is Girolamo Romanino. He matriculated into the Floren-
one of the few identifiable works from his first Roman tine painters' guild in 1508, although no works by him
sojourn. From 1539 to 1543 Salviati traveled between can be connected with this period. Savoldo had returned
Florence, Bologna, Venice, and Rome. From 1543 to to Brescia by 1514, dividing his career between his native
1548 he was in Florence, where he painted portraits and city and Venice, where he moved in 1521. He probably
altarpieces in a typically sophisticated Mannerist style. worked in Milan sometime between 1530 and 1532,
Salviati's principal commission, and one of the most im- when he enjoyed the patronage of Duke Francesco II

Sforza. His work from these years reflects the descriptive S O D O M A (Giovanni Antonio Bazzi)
realism characteristic of Lombard painting, especially in Vercelli 1477-Siena 1549
the rendering of landscape and light effects, as can be seen Sodoma learned the rudiments of painting in his native
in Prophet Elijah (National Gallery of Art). Single-figure city in the Piedmont region as a student of Giovanni
paintings like Shepherd with a Flute of circa 1525 (J. Paul Spanzotti. He traveled to Siena and probably to Milan,
Getty Museum) and the Magdalen of after 1540 (National where he was influenced by Leonardo da Vinci. He went
Gallery) recall the visual poetry of Giorgione and con- to Rome in 1508 to work for Agostino Chigi and Julius
tinue the Venetian tradition of vivid chromatic and tex- II. For the latter Sodoma painted the ceiling of the Stanza
tural effects. Savoldo's penetrating naturalistic portrayal della Segnatura in the Vatican in a style reminiscent of
of figures attracted artists of later generations including Pinturicchio. That Sodoma also knew Florentine art is
Caravaggio. evident in his Crucifixion of circa 1510 (Siena, Pinaco-
teca), based on Florentine examples. In 1516 Sodoma was
E R H A R D SCHN back in Rome, working for Chigi in the Villa Farnese,
Nuremberg circa 1491-1542 where he painted the raphaelesque Marriage of Alexander
Schn was one of the most prolific woodblock designers and Roxanne of 1516-17 and Alexander and the Family of
of his day, specializing in book illustrations and broad- Darius of 1518. He returned to Siena after 1520 and was
sheets. Little is known of his life. Early in his career he in Florence in 1528. His works of the 15305, such as the
moved in Durer s orbit, designing woodcuts with the Ordination of Saint Alfonso of 1530 (Siena, Santo Spirito),
master's pupil Hans Springinklee for the Hortulus animae indicate the influence of the Florentine Mannerists and of
(1516). When Nuremberg adopted Lutheranism in 1525, Beccafumi. A late work is the Sacra Conversazione of 1542
Schn became active in the production of anti-Catholic (Pisa, Museo Nazionale di San Matteo).
broadsheets as well as those treating more broadly satir-
ical themes. His broadsheets often include texts by the V I R G I L SOLIS
Nuremberg poet Hans Sachs. Schn is the author of a 1514-Nuremberg 1562
few paintings and a number of signed drawings, with During his lifetime Solis was the most prolific graphic
many more attributed to him on the basis of style. His artist in Germany, specializing in book illustration and
drawings await systematic study. ornamental design. His father, the painter Hans Sollis,
gained Nuremberg citizenship in 1525, and Virgil be-
K A R E L SKRTA came a master there in 1539. His earliest print dates from
Prague 1610-1674 1540, and his productivity reached its highest level after
Skrta may have trained with the printmaker Aegidius the death of Sebald Beham in 1550. From that time on
Sadeler, who was court artist to Emperor Rudolf II until Solis became Nuremberg's leading designer of book il-
the latter's death in 1612. As Protestants, Skrta and his lustrations, including one of his finest efforts, Biblische
family were forced to leave Prague in 1627. Circa 1630 Figuren des alter und neuwen Testaments (1562). During his
he traveled to Italy, visiting Venice, Florence, Bologna, later career the members of his large workshop increas-
and Rome. While in Rome, he joined the group of north- ingly participated in the production of prints bearing his
ern European artists known as the Schildersbent (Birds of initials, resulting in an output of widely varying quality.
a Feather) and also came under the influence of other The surviving prints from Solis and his workshop num-
painters such as Poussin, Pietro da Cortona, the Car- ber more than two thousand.
racci, and Guido Reni. Having converted to Catholi-
cism, Skrta returned to Prague in 1638 and soon became FRANOIS STELLA
the city's leading painter. His large body of religious pic- Mechelen 1563 -Lyons 1605
tures and cycles of saints' lives includes works such as the Franois was the son of the Flemish painter Jean Stella,
monumental lunette Saint Charles Borromeus Healing of with whom he most likely trained. Little is known about
1647 (Nrodn Galerie). Skrta is most appreciated for his life and education. In 1586 he traveled to Italy with a
his portraits, an outstanding example of which is The Jesuit priest, Etienne de Martellange; the two made
Stonecutter Dionysius Miseroni and His Family of 1653 (N- drawings in Tivoli and Rome. By 1591 Stella had settled
rodn Galerie). He was a printmaker and also produced in Lyons, where he painted many altarpieces and fres-
a large body of drawings. Skrta has rightly been called coes. Among these are The Holy Family of circa 1600
the father of Bohemian Baroque painting. (Orlans, Muse des Beaux-Arts) and the lost frescoes of
circa 1600 depicting the Seven Sorrows of the Virgin for

the church of the Cordeliers. He is also known to have JOSEPH-BENOIT SUVE
painted landscapes, portraits, and historical subjects, Bruges 1743-Rome 1807
many of which have been lost. In 1602 Stella was named Suve received his early artistic training at the Acadmie
master of the painters' guild of Lyons. Two of his sons, in Bruges, which was modeled upon the French Aca-
Jacques and Franois the Younger, became artists. dmie. He moved to Paris in 1763 and entered the atelier
of Jean-Jacques Bachelier. He competed in the Prix de
JACQUES STELLA Rome competition three times, winning in 1771 with
Lyons 15 96-Paris 1657 Combat of Minerva and Mars (Lille, Muse des Beaux-
Jacques was the son of Franois Stella, a painter of Flem- Arts) . Before leaving for Rome, Suve painted several re-
ish origin. He was in Florence, along with Jacques Cal- ligious paintings for churches in Paris, Ypres, Limoges,
lot, from 1616 to 1622; there he worked for Cosimo II de' and Cambrai. While in Rome between late 1772 and
Medici. Circa 1623 he moved to Rome for a ten-year stay, 1778, his work took on an antiquarian aspect. On his re-
becoming famous for his small-scale paintings and en- turn to Paris he showed regularly at the Salon between
gravings. Many of Stella's drawings were later engraved 1779 and 1796. Suve worked for the king and the aris-
by his nieces. In Rome he was a friend of Nicolas Pous- tocracy throughout his successful career, painting por-
sin. Circa 1634 he left Rome and traveled north, stopping traits and historical and religious works and producing
along the way in Venice, Milan, and Lyons. The Adora- tapestry designs. Some of his works hark back to the sev-
tion of the Angels of 1635 (Lyons, Muse des Beaux-Arts) enteenth century, such as The Death of Admiral de Coligny
dates from an extended stay in his native city en route to of 1787 (Dijon, Muse des Beaux-Arts), which was ad-
Paris. There he was presented to Louis XIII by Cardinal mired at the Salon for its dramatic light effects. After the
Richelieu and was appointed painter to the king, in Revolution Suve returned to Rome in 1801 as director
whose honor he painted The Liberality of Louis XIII and of the French Academy.
Cardinal Richelieu of circa 1642 (Cambridge, Mass.,
Fogg Art Museum). Stella worked in Rouen and at T I N T O R E T T O (Jacopo Robusti)
Versailles as well as in Paris during the latter portion of Venice 1518-1594
his career. Called II Tintoretto because his father was a cloth dyer,
Jacopo is first recorded as an independent painter in 1539.
FRIEDRICH SUSTRIS Circa 1542 he painted Christ among the Doctors (Milan,
Italy (Venice?) circa i54O-Munich 1599 Museo dell' Opera del Duomo) for the cathedral of
Friedrich was the son of Lambert Sustris, a Dutch Milan. Tintoretto's style combines elements of Manner-
painter active in Titian's workshop in Venice. He prob- ism with Venetian colorism, as is evident in the painting
ably trained in Venice with his father and accompanied that established his reputation, The Miracle of Saint Mark
him to Padua in 1554-55. After a likely visit to Rome in of 1548 (Accademia). In 1562 he was commissioned to
1560, Sustris resided in Florence from 1563 to 1567, as- paint two pendants to the early Saint Mark scene, The
sisting Giorgio Vasari on such projects as the decoration Finding of the Body of Saint Mark (Brera) and The Abduc-
of the Palazzo Vecchio. He also became a member of the tion of the Body of Saint Mark (Accademia). Between 1565
Accademia del Disegno. Between 1568 and 1573 Sustris and 1587 he was occupied with the elaborate decoration
oversaw a team of painters and stuccoists in the decora- of the Scuola di San Rocco, Venice. He first painted a
tion of the house of Hans Fugger in Augsburg. From large Crucifixion (1565) for the Scuola and then numerous
1580 on he was in the service of the dukes of Bavaria in scenes for the upper (1575 - 81) and ground stories (1583
Munich, assuming a role similar to that of Vasari in 87). One of Tintoretto's last works is the Last Supper of
which he designed and coordinated all of the artistic proj- 1592-94 (Venice, San Giorgio Maggiore), notable for its
ects undertaken at the court. Among the most important dramatic lighting and strong perspective.
of these were the Jesuit church of Saint Michael in Mu-
nich (from 1583), the gardens and Grottenhof of the Mu- T I T I A N (Tiziano Vecellio)
nich Residenz (circa 1582-86), and the construction of Pieve di Cadore circa 1480/90-Venice 1576
the Munich Antiquarium (from 1586). Together with One of the greatest Venetian artists of the Cinquecento,
Bartholomeus Spranger and Hans van Aachen, Sustris Titian trained in Venice with Gentile and Giovanni Bel-
was one of the leading artistic figures in Central Europe lini and circa 1508 entered into association with Gior-
during the later sixteenth century and also one of the ep- gione, whose lyrical style he adopted. In the Assumption
och's finest draughtsmen. of 1516-18 for Santa Maria dei Frari, Venice, he intro-

duced a monumental and richly coloristic manner. For where he made engravings after the master's composi-
the duke of Ferrara he created a series of exuberant tions, and in 1627/28 he became a member of the guild
mythological paintings, including Bacchanal of 1523 -25 in Antwerp. He seems to have spent his entire career in
(Prado). Titian's portraits, such as Man with a Glove of Antwerp save for a trip along the Rhine in 1644-46. Al-
1523 (Louvre) and Pope Paul HI of 1543 (Museo Nazion- though van Uden made paintings, his most pleasing
ale di Capodimonte), are admired for their brilliant com- works are his watercolors and etchings, which display his
bination of pictorial and psychological elements. He vis- refined sense of light and mood, derived in large measure
ited Rome between 1548 and 1551 and traveled twice from the influence of Rubens.
during these years to the court of Charles V at Augsburg.
Late masterpieces such as the Rape of Europa of 1559-62 GERARDUS VAN VEEN
(Isabella Stewart Gardner Museum) and The Crowning Haarlem(?) circa i62o-Beverwijk(?) circa 1683
with Thorns, left unfinished on his death (Alte Pinako- Gerardus was the brother of Rochus van Veen and the
thek), are notable for their technical freedom and em- son of Isenbout van Veen, who is recorded in Haarlem
phasis on surface values. in 1626 but who had moved from the city by 1628, prob-
ably to Beverwijk. Far fewer works by Gerardus have
JOSEPH MALLORD WILLIAM survived than by Rochus, who was also a natural history
TURNER draughtsman. They practiced virtually identical styles
London 1775-1851 and generally signed and dated their drawings. Gerar-
Turner was admitted to the Royal Academy in 1789, dus's nature studies range in date from 1643 (Studies of a
studying briefly during the following years with the Praying Mantis and Dung Beetle [Rijksprentenkabinet]) to
architectural and topographical draughtsmen Thomas 1678 (Study of a Waterfowl [Paris, Robert Lebel collec-
Maltn and Edward Day es. He first exhibited a water- tion]). Gerardus and Rochus belonged to a group of art-
color at the Royal Academy in 1790 and showed his first ists, including Herman Saftleven, Pieter Holsteijn, and
oils there in 1796 and 1797. Turner was elected an Asso- Pieter Withoos, who made refined natural history illus-
ciate of the Royal Academy in 1799 and a full Academi- trations in watercolors for a wealthy clientele, many of
cian in 1802, the year he also made his first trip to the whom owned country houses on the Vecht River outside
Continent. Monumental oil paintings such as Snow Amsterdam.
Storm: Hannibal and His Army Crossing the Alps of 1812
(London, Tate Gallery) soon established him as Britain's ADRIAEN VAN DE VELDE
leading younger artist. In 1819 he took his first trip to It- Amsterdam 1636-1672
aly, during which he gathered material for later paintings Van de Velde's exceptionally varied output includes dif-
and watercolors. Turner also became increasingly active ferent types of landscapes, accomplished figure and an-
as an illustrator, producing designs for various series of imal drawings, and the staffage in landscape paintings by
engravings such as Charles Heath's Picturesque Views in a number of other artists. He studied with his father, the
England and Wales (1827-38) and views of the Loire and marine painter Willem van de Velde the Elder, and, later,
Seine (circa 1825-34) as Part of the "Rivers of Europe" with Jan Wijnants in Haarlem. Adriaen, who probably
project. He visited Italy a second time in 1828. Master- did not go to Rome in 1653-56 as was once assumed,
pieces of his later years such as The Fighting "Tmraire" spent his entire brief career in Amsterdam. His earliest
of 1839 (Tate Gallery) and Slavers Throwing Overboard the dated picture is from 1654, with dated works appearing
Dead and Dying of 1840 (Boston, Museum of Fine Arts) consistently between 1656 and 1672. Under the influence
show an interest in steam, fog, and atmosphere as pow- of Philips Wouwerman as well as Jan Wijnants, Adriaen
erful embodiments of the forces of nature. Some of his produced dune landscapes populated by animals and fig-
most beautiful watercolors were inspired by his last two ures, such as Farm by a Stream of 1661 (National Gallery).
trips to Venice in 1833 and 1840. He also produced wa- Beach View of circa 1664 (Mauritshuis), one of a number
tercolors and oils of mountain subjects which reflect his of beach scenes he painted between 1658 and 1670,
several journey s to the Alps between 1836 and 1845. achieves a finely tuned balance between figurai elements
and the landscape. Vertumnus and Pomona of 1670 (Vi-
LUCAS VAN U D E N enna, Kunsthistorisches Museum) exhibits the tendency
Antwerp 1595-1672 of figures in his later art to dominate their surroundings.
Lucas was probably a pupil of his father, Artus van Adriaen's refined formal sensibility and meticulous tech-
Uden. From 1615 to 1630 he worked in Rubens' studio,

nique had great appeal for his contemporaries and for cademia) and Feast in the House ofLevi of 1573 (Louvre).
eighteenth-century collectors as well. They are remarkable for their skillful and harmonious
organization of large groups before stabilizing architec-
WILLEM VAN DE YELDE THE ELDER tural backgrounds.
Leiden circa ion-London 1693
The marine painter Willem van de Velde the Elder was DAVID V I N C K B O O N S
the father of the painters Willem the Younger and Ad- Mechelen i576-Amsterdam(?) circa 1632
riaen van de Velde. It is not known with whom Willem David was the son of the artist Philip Vinckboons. In
the Elder trained. A resident of Leiden in 1633, he had 1579 the family moved to Antwerp, and the father en-
moved to Amsterdam by 1636. His entire oeuvre, begin- tered the guild of Saint Luke. According to Carel van
ning with his earliest drawing of 1638, is devoted to the Mander, the elder Vinckboons was a specialist in water-
depiction of ships and marine life. An inveterate traveler, color and trained his son in this medium. Fleeing reli-
he made sketching voyages with trade ships to the Baltic gious persecution, the family left Antwerp in 1586, set-
during the early 16405 and with the Dutch fleet during tling temporarily in the city of Middelburg in the north
much of the remainder of the decade. During the 16505 Netherlands and permanently in Amsterdam by 1591.
he accompanied the Dutch fleet into action as official re- David married in 1602 and established himself in Am-
cording artist. His drawings often served as the bases for sterdam, buying a house in 1611 and eventually taking
prints or for "pen paintings," large-scale drawings on on a number of pupils, including Gillis d'Hondecoeter
prepared panel or canvas like The Battle of the Downs and probably Esaias van de Velde. His wife is listed as a
against the Spanish Armada, signed and dated 1659 (Rijks- widow in January 1633, but the exact date of his death is
museum). Van de Velde worked in England from 1660 not known. Vinckboons's early forest scenes, such as
until early 1662, when he returned to Holland. During View with a Hunt of 1602 (formerly Stockholm, Dr. Ei-
the ensuing years he was frequently at sea recording the nar Perman) display the influence of Gillis van Coninx-
Anglo-Dutch war. Among his major paintings of the loo. His depictions of low-life subjectsas in Peasant
1670s is The Battle ofSchoonveld of 1673 (Greenich, Na- Kermis of circa 1601 (Dresden, Staatliche Kunstsamm-
tional Maritime Museum). By 1673 the artist and Willem lungen)and aristocratic ftes in parksas in Outdoor
the Younger had emigrated to England, where they re- Merry Company of 1610 (Vienna, Akademie der Bil-
ceived commissions from King Charles II. The elder van denden Knste)are important for the development of
de Velde stayed on in the service of James II and cele- these genres in Dutch painting of the seventeenth
brated William and Mary's assumption of power in a century. Vinckboons's influence was especially wide-
drawing of 1688 (Museum Boymans-van Beuningen). spread due to numerous engravings made after his
He worked actively until his death in London in 1693. compositions.
PAOLO V E R O N E S E (Paolo Caliari) SIMON DE VLIEGER

Verona 1528-Venice 1588 Rotterdam circa i6oi-Weesp 1653
Veronese, best known for his grandiose civic and reli- De Vlieger might have trained under Willem van de
gious painting cycles, received his artistic training in Ve- Velde the Elder or Jan Porcellis. He was active in Rotter-
rona from Antonio Badile. The early fresco decorations dam from the later 16205 until 1633, in Delft from 1634
(1551) for the Villa Soranza near Castelfranco suggest a through early 1638, and in Amsterdam from mid-i638
knowledge of the art of Correggio, Parmigianino, and until 1648. As a painter he is known principally for his
Giulio Romano. Moving to Venice in 1553, Veronese seascapes; those executed during his early career exhibit
worked in the Sala del Consiglio dei Dieci in the Palazzo the influence of Porcellis. An early tendency to portray
Ducale, and began a series of projects for the church of dramatic rocky coasts gives way in later works such as
San Sebastiano, including the Triumph of the Mordecai of Calm Sea of 1649 (Vienna, Kunsthistorisches Museum)
1556. His youthful production culminated in the my- to the depiction of placid, deeply spatial marine vistas.
thologies and allegories painted in Palladio s Villa Br- De Vlieger also painted beach scenes, such as The Beach
baro (now Volpe), Maser, in 1561. A noted portraitist, he at Scheveningen of 1643 (Mauritshuis), as well as a few
imparted a serene, imposing air to his subjects, which are landscapes. From 1649 on he lived in Weesp, save for a
enriched with fine details of color and texture, as can be brief return to Rotterdam in 1652. Most of his many sur-
seen in Portrait of a Woman (Louvre). His large "feast viving drawings are landscapes and, to a lesser degree,
paintings" include the Marriage at Cana of 1562-63 (Ac- studies of animals. He was also a talented printmaker.

V O L T E R R A N O (Baldassare Franceschini) J E A N - A N T O I N E WATTEAU
Volterra ion-Florence 1690 Valenciennes i684~Nogent-sur-Marne 1721
Baldassare Franceschini, called II Volterrano, was the son The son of a master tiler, Watteau trained with Jacques
of a sculptor. At the age of sixteen he moved from Vol- Albert Grin in Valenciennes in 1699. He went to Paris be-
terra to Florence, where he became an assistant to the fore 1702 and shortly thereafter met Claude Gillot. Wat-
painters Matteo Rosselli and Giovanni da San Giovanni. teau worked with Gillot from 1703 to 1707 and was in-
His most important early commission, begun in 1636, fluenced by his passion for the commedia dell'arte and
was for a fresco cycle for the Medici villa at Petraia, near theater, as can be seen in Mezzetin of 1718-19 (Metro-
Florence. Thereafter he continued to enjoy the patronage politan Museum of Art). From 1708 to 1709 Watteau
of the Medici as well as other distinguished Florentine worked with the decorator Claude Audran III, who also
families, becoming one of the most successful painters served as curator of the Rubens paintings in the Palais du
of the Baroque era in Florence. The frescoes in the Sala Luxembourg. Watteau's close study of this Flemish mas-
dlie Allgorie, Palazzo Pitti, completed circa 1652 for ter profoundly affected his own art. His patron, Pierre
Vittoria della Rovere, are among his many palace deco- Crozat, encouraged Watteau to study the drawings and
rations. Volterrano painted genre scenes, such as the Venetian paintings in his collection. In this way the artist
Burla del Vino (16405), and portraits, including Cardinal began to combine Flemish and Venetian elements, de-
Giovan Carlo de' Medici of circa 1653 (both Palazzo Pitti), veloping a unique style characterized by rich, decorative
in addition to many religious paintings. He worked at coloring, graceful figures, and a tender, poetic mood. In
SS. Annunziata, Florence, on several occasions, painting 1717 he was elected to the Acadmie in a special category
two altarpieces as well as decorating the nave and cupola. created for him, painter ojetesgalantes. His major works
His mature paintings indicate a thorough knowledge of include Embarkation for Cythera of 1717 (Louvre), which
the works of Pietro da Cortona. Volterrano remained in he presented to the Acadmie as his reception piece, and
Florence during his long career except for brief visits to Gersaint's Shop Sign of 1720 (Berlin, Schloss Char-
Modena, Venice, Parma, and Rome. lottenburg).
SIMON VOUET TADDEO ZUCCARO

Paris 1590-1649 San Angelo in Vado 1529-Rome 1566
The son of a painter, Vouet traveled to England and Con- Taddeo Zuccaro moved to Rome at the age of fourteen
stantinople at a young age. By 1612 he was in Italy, first and studied with several minor painters, although he
in Venice for a year and then in Rome, where he remained seems to have learned most of what he knew from study-
until 1627 except for short trips to Genoa and Milan. ing the art of Rome on his own. By 1548 he was known
Vouet's reputation was secured with his election in 1625 for his painted facade decorations in the style of Polidoro
to the presidency of the Accademia di San Luca and the da Caravaggio. Circa 1553 Taddeo collaborated with
receipt of a commission for Saint Peter's (destroyed). Prospero Fontana in painting frescoes for the Villa di
Paintings from his Italian years include altarpieces for San Papa Giulio. He was commissioned in 1556 to paint fres-
Francesco a Ripa, Rome, and for the Certosa di San Mar- coes for the Cappella Frangipane in San Marcello al
tino, Naples. Some of his paintings, such as Saint Jerome Corso; these eventually were completed by his brother
and the Angel of circa 1622 (National Gallery), indicate Federico. Most of them date to after 1560, as does Tad-
the influence of Caravaggio on Vouet. In 1627 he left deo's altarpiece Conversion of Saint Paul (circa 1563) for the
Rome for Paris, where his position as the most successful same chapel. In 1559 he began working at the Villa
painter of his generation in France was briefly threatened Farnese, Caprarola, which occupied him intermittently
by Poussins return in 1640. Unfortunately, many of until his death. The elaborate program in the Sala dei
Vouet's French decorations have been destroyed. In 1648 Fasti Farnesi is the most important of his works there.
he took part in the founding of the Acadmie in Paris. He Many of Taddeo's late works are rather pious in nature,
trained many artists, most notably Eustache Le Sueur including Dead Christ Supported by Angels of 1564-65
and Charles Le Brun. (Urbino, GalleriaNazionale), originally intended for the
Villa Farnese.

ADDENDA
TO European Drawings i (1988)
FEDERICO BAROCCI EXHIBITIONS: Giulio Romano, Palazzo Te and Palazzo

3 The Entombment Ducale, Mantua, September-November 1989, p. 362
85.00.26 (catalogue entry by K. Oberhuber); Furstenhofe der
Renaissance: Giulio Romano un aie klassische Tradition,
BIBLIOGRAPHY: A. E. Popham, Italian Drawings Exhib- Kunsthistoriches Museum, Vienna, December 1989-
ited at the Royal Academy, Burlington House, London, 1930 February 1990, no. IV/33.
(London, 1931), p. 78, no. 290; M. C. Mazzi, Museo C-
vico di Pistola: Catalogo dlie collezioni (Florence, 1982), p. GUERCINO
146, under no. 50; G. Luijten and A. W. F. M. Meij, From
16 Christ Preaching in the Temple
Pisanello to Czanne: Master Drawings from the Museum
84.GG.23
Boymans-van Beuningen, Rotterdam, exh. cat. (Pierpont
Morgan Library, New York, and other institutions, EXHIBITIONS : Catalogue de l'exposition de dessins italiens du
1990), pp. 191-92, n. 4, under no. 69. XVeau XVIIle sicle de la collection H. de Marignane, Palais
des Congrs, Monte Carlo, May-June 1966, no. 81 (cat-
FRA BARTOLOMMEO alogue by G. A. Caviggioli); Guercino, Master Draftsman:
5 Madonna and Child with Saints Works from North American Collections, Harvard Uni-
85.GB.288 versity Art Musums, Cambridge, Mass., February-
March 1991, no. 17 (catalogue by D. M. Stone); Giovanni
BIBLIOGRAPHY: C. Fischer, Fra Bartolommeo: Master Francesco Barbieri, II Guercino, 1561-1666: Dipinti e disegni,
Draughtsman of the High Renaissance (Rotterdam, 1990), Museo Civico Archeologico, Bologna, September-
p. 227, under no. 60. November 1991, no. 47 (catalogue by D. Mahon).
CORREGGIO BIBLIOGRAPHY: N. Turner and C. Piazzotta, Drawings

by Guercino from British Collections with an Appendix De-
n Unidentified Mythological(?) Subject
scribing the Drawings by Guercino, His School and His Fol-
8s.GB.344
lowers in the British Museum (London, 1991), pp. 286-87,
BIBLIOGRAPHY: D. DeGrazia, "Correggio and His Leg- under no. HI.
acy: Further Observations," Master Drawings 23-24, no.
A copy by Francesco Bartolozzi of the Getty drawing is
2 (Summer 1986), pp. 199-200; M. di Giampaolo and A.
in the British Museum (inv. 66.3-387).
Muzzi, Correggio: Idisegni (Torino, 1989), no. n.
17 A Fortified Port
BERNARDINO GATTI
85.GA.4o8
14 Study of an Apostle
84.GG.o5i EXHIBITIONS: Guercino, Master Draftsman: Works from
North American Collections, Harvard University Art Mu-
BIBLIOGRAPHY: M. JafF, Old Master Drawings from seums, Cambridge, Mass., February-March 1991, no.
Chatsworth, exh. cat. (Frick Art Museum, Pittsburgh, 70; Giovanni Francesco Barbieri, II Guercino, 1561-1666:
and other institutions, 1987), p. 69, under no. 32. Dipinti e disegni, Museo Civico Archeologico, Bologna,
September-November 1991, no. 176 (catalogue by D.
GIULIO ROMANO Mahon).
15 An Allegory of the Virtues of Federico II
Gonzaga INNOCENZO DA IMOLA
84.GA.48 18 Studies of an Angel and of Drapery
85.66.289
ADDENDA 35!
BIBLIOGRAPHY: M. di Giampaolo, "Innocenzo da Imo- 27 David with the Head of Goliath
la: Un'aggiunta al catalogo dei disegni, " Antichit viva 23, 84.GA.6i
no. i (1984), pp. 34-35-
BIBLIOGRAPHY: D. DeGrazia, "Correggio and His Leg-
acy: Further Observations," Master Drawings 23-24, no.
LEONARDO DA VINCI
2 (Summer 1986), pp. 200; 204, n. 4.
ig Caricature of a Man with Bushy Hair
84.GA.47 LUCA PENNI
BIBLIOGRAPHY: L. Cogliati Arao and A. Marinoni, 29 The Entombment
Disegni di Leonardo e dlia sua cerchia alla Biblioteca Ambro- 85.GG.235
siana di Milano (Miln, 1981), p. 16, under no. 29; F. Car-
BIBLIOGRAPHY: S. Bguin, "Lea Penni peintre: Nou-
oli, Leonardo: Studi di fisiognomica (Miln, 1990), p. 154,
velles attributions," // se rendit en Italie: Etudes offertes
no. 15.
Andr Chastel (Paris, 1987), pp. 245-46, 248.
ANDREA MANTEGNA
BERNARDINO POCCETTI
22 Study of Four Saints: Peter, Paul, John the
32 The Deaths of the Blessed Uaccione and
Evangelist, and Zeno
Sostegno*
84.GG.9i
A Study of the Farnese Hercules (by another
EXHIBITIONS: Andrea Mantegna, Royal Academy of
hand [Giovanni Navaretti?])"
Arts, London, and Metropolitan Museum of Art, New
85.GG.223
York, January-July 1992, no. 14 (catalogue by D.
Ekserdjian). EXHIBITIONS: From Studio to Studiolo: Florentine Drafts-
manship under the First Medici Grand Dukes, Allen Me-
BIBLIOGRAPHY: R. Lightbown, Mantegna (Oxford,
morial Art Museum, Oberlin College, October-De-
1986),
cember 1991, no. 34 (catalogue entry by L. Feinberg).
p. 481, no. 177.
RAPHAEL
NICOLO DELL'ABATE
38 Studies for the Disputa*'v
24 Saint Catherine of Alexandria at the Wheel
84.GA.920
84.GG.50
EXHIBITIONS: Italian loth Century Drawings from British
BIBLIOGRAPHY: W. Bergamini, "Nicol delTAbate," in
Private Collections, Scottish Arts Council, Edinburgh
V. Fortunad Pietrantonio, d., Pittura bolognese del '500
Festival Society, August-September 1969, no. 72 (cata-
(Bologna, 1986), vol. i, pp. 277, 281, 298.
logue by Y. Tan Bunzl et al.); Drawings by Raphael and His
Circle, Pierpont Morgan Library, New York, October
GIOVANNI PAOLO PANINI
1987-January 1988, no. 14 (catalogue by J. A. Gere).
25 Three Figure Studies
84.GA.55 BIBLIOGRAPHY: A. E. Popham, Italian Drawings Exhib-
ited at the Royal Academy, Burlington House, London, 1930
BIBLIOGRAPHY: J. Bean and W. Griswold, i8th Century (London, 1931), p. 39, no. 138.
Italian Drawings in the Metropolitan Museum of Art (New
York, 1990), p. 164, under no. 153. 39 Saint Paul Rending His Garments
84.66.919
PARMIGIANINO
EXHIBITIONS: Drawings by Raphael and His Circle, Pier-
26 Figure Study
pont Morgan Library, New York, October 1987-
84.GA.9
January 1988, no. 28 (catalogue by J. A. Gere).
BIBLIOGRAPHY: K. Bellinger, Kunsthandel: Master Draw-
ings 1500-1900, exh. cat. (Harari and Johns, London, 40 Christ in Glory
1990), under no. 4. 82.GG.I39
352 ADDENDA
EXHIBITIONS: Drawings by Raphael and His Circle, Pier- EXHIBITIONS: Pietro Testa 1612-1650: Prints and Draw-
pont Morgan Library, New York, October 1987- ings, Philadelphia Museum of Art and Arthur M. Sackler
January 1988, no. 39 (catalogue by J. A. Gere); Giulio Museum, Harvard University, Cambridge, Mass., No-
Romano, Palazzo Te and Palazzo Ducale, Mantua, vember 1988-March 1989, no. 70 (catalogue by E.
September-November 1989, pp. 272-73 (catalogue en- Cropper).
try by S. Ferino); Frstenhofe der Renaissance: Giulio Ro-
mano und die klassische Tradition, Kunsthistorisches Mu- GIOVANNI BATTISTA TIEPOLO
seum, Vienna, December 1989-February 1990, no. n/ 48 Flight into Egypt*
50.
Various Studies"
BIBLIOGRAPHY: P. Joannides, "The Early Easel Paint- 85.GG.4O9
ings of Giulio Romano," Paragone 36, no. 425 (July
1985), pp. 25; 44, n. 25; D. Rosand, "Raphael Drawings EXHIBITIONS: The Tiepolos: Painters to Princes and Prel-
Revisited," Master Drawings 26, no. 4 (Winter 1988), pp. ates, Birmingham Museum of Art and Museum of Fine
360, 363. Arts, Springfield, Mass., January-May 1978, no. 76
(catalogue by B. Hannegan and E. F. Weeks).
GUIDO RE
GIOVANNI DOMENICO TIEPOLO
41 Holy Family with an Angel
83.GA.27 50 Punchinello Is Helped to a Chair
84-GG.IO
BIBLIOGRAPHY: B. Bohn, "Review of Veronika Birke:
Italian Masters of the Sixteenth and Seventeenth Centuries: BIBLIOGRAPHY: G. Knox, "Domenico Tiepolo's Pun-
The Illustrated Bartsch, Volume 40," Master Drawings 26, chinello Drawings: Satire or Labour of Love?" in Satire
no. 4 (Winter 1988), pp. 378, 381. in the iSth Century (New York, 1983), p. 146.
ROSSO FIORENTINO TITIAN

43 Study of a Male Figure (Empedodes) 51 Pastoral Scene
83.GB.2I 85.GG.98
EXHIBITIONS: 0550 Fiorentino: Drawings, Prints, and BIBLIOGRAPHY: M. A. Chiari, Incisioni da Tiziano: Ca-
Decorative Arts, National Gallery of Art, Washington, talogo del fondo grfico a stampa del Museo Correr (Venice,
D.C., October 1987-January 1988, no. 109 (catalogue 1982), p. 108, under no. ioo;H. E. Wethey, TitianandHis
byE.A. Carroll). Drawings with Reference to Giorgione and Some Close Con-
temporaries (Princeton, 1987), pp. 53; 162-63, n- 47">
BIBLIOGRAPHY: D. Franklin, "Rosso at the National M. A. Chiari Moretto Wiel, Per un catalogo ragionato dei
Gallery of Art," Burlington Magazine 130, no. 1021 disegni di Tiziano (Florence, 1988), p. 57, no. 34; D. Ro-
(April 1988), p. 326; E. A. Carroll, The Print Images of sand, Places of Delight: The Pastoral Landscape, exh. cat.
Rosso Fiorentino (Los Angeles, 1989), pp. 21-24. (Phillips Collection, Washington, D.C., 1988), pp. 77-
78; 81, n. 67; C. Hulse, "The Significance of Titian's Pas-
GIOVANNI GIROLAMO SAVOLDO toral Scene," J. Paul Getty Museum Journal 17 (1989), pp.
45 Study of the Head of a Bearded Man 29-38; M. A. Chiari Moretto Wiel, Titian Drawings
83.GB.i7 (New York, 1990), p. 95, no. 34.
BIBLIOGRAPHY: A. Nova, "Brescia and Frankfurt: Sa-
PAOLO VERONESE
voldo," Burlington Magazine 132, no. 1047 (June 1990),
p. 434, n. 2. 52 Christ Preaching in the Temple
83.G A. 266
PIETRO TESTA EXHIBITIONS: The Art of Paolo Veronese 1528-1588, Na-
47 Holy Family with Saint Anner tional Gallery of Art, Washington, D.C., November
1988-February 1989, no. 57 (catalogue by W. R.
Figure Studies"
Rearick).
84.GA.5i
ADDENDA 353
BIBLIOGRAPHY: D. Gisolfi Pechukas, "Two Oil Sketches FRANOIS BOUCHER
and the Youth of Veronese," Art Bulletin 64, no. 3 (Sep- 59 Study of a Reclining Nude
tember 1982), pp. 411-12; H. Coutts, "Veronese in Ven- 84.GB.2I
ice and Washington," Master Drawings 27, no. 3 (Au-
tumn 1989), p. 231. BIBLIOGRAPHY: B. S. Jacoby, "Franois Boucher's Sty-
listic Development as a Draftsman: The Evolution of His
53 Sheet of Studies for the Martyrdom of Saint Autonomous Drawings," in Drawings Defined (New
George' York, 1987), pp. 265, 268, fig. ii.
Studies of a House, Tree, Heads, Artist's 60 Reclining Male Figure

Tools, Decorative Motifs, and Computations" 83-GB.359
83.GA.258
BIBLIOGRAPHY: B. S. Jacoby, "Franois Boucher's Sty-
EXHIBITIONS: The Art of Paolo Veronese 1528-1588, Na- listic Development as a Draftsman: The Evolution of His
tional Gallery of Art, Washington, D.C., November Autonomous Drawings," in Drawings Defined (New
1988-February 1989, no. 42 (catalogue by W. R. York, 1987), pp. 263, 265, fig. 7.
Rearick).
BIBLIOGRAPHY: Masterpieces from the Robert von Hirsch JACQUES CALLOT
Sale at Sotheby's (Westerham, 1978), pp. 20-21; D. Gi- 63 An Army Leaving a Castle
solfi Pechukas, "Two Oil Sketches and the Youth of Ve- 85.66.294
ronese," Art Bulletin 64, no. 3 (September 1982), p. 412.
BIBLIOGRAPHY: H. T Goldfarb, From Fontainebleau to the
Louvre: French Drawing from the Seventeenth Century, exh.
FEDERICO ZUCCARO
cat. (Cleveland Museum of Art, 1989), pp. 94-96, under
55 The Submission of the Emperor Frederick no. 45.
Barbarossa to Pope Alexander III
83.GG.i9o JEAN-SIMEON CHARDIN
EXHIBITIONS: Renaissance into Baroque: Italian Master 66 Study for a Seated Manr
Study of a Male Nude"
of Design, New York, March-April 1990, no. 87 (cat-
85.GB.224
alogue by E. J. Mundy with the assistance of E. Ouru-
soff de Fernandez-Gimenez). BIBLIOGRAPHY: P. Rosenberg, "Chardin Studies," Bur-
lington Magazine 129, no. 1007 (February 1987), pp. 116-
56 View of Saint PeterY 18.
Study of a Young Manv JACQUES-LOUIS DAVID

85.GB.228
67 Paris and Helen
EXHIBITIONS: Renaissance into Baroque: Italian Master 83.GA.I92
of Design, New York, March-April 1990, no. 98 (cat- EXHIBITIONS: Jacques-Louis David 1748-1825, Muse du
alogue by E. J. Mundy with the assistance of E. Ouru- Louvre, Paris, October 1989-February 1990, no. 83 (cat-
soff de Fernandez-Gimenez). alogue entry by A. Srullaz).
BIBLIOGRAPHY: Y. Korshak, "Paris and Helen by Jacques
JACOPO ZUCCHI Louis David: Choice and Judgment on the Eve of the
57 The Age of Gold French Revolution, " Art Bulletin 69, no. i (March 1987),
84.GG.22 pp. 109-10; P. Spencer-Longhurst, "State of the Art:
David," Apollo 131, no. 336 (February 1990), p. 106.
EXHIBITIONS: From Studio to Studiolo: Florentine Drafts-
manship under the First Medici Grand Dukes, Allen Me-
68 The Lictors Carrying the Bodies of the Sons
morial Art Museum, Oberlin College, October-De-
of Brutus
cember 1991, no. 61 (catalogue entry by L. Feinberg).
84.GA.8
354 ADDENDA
EXHIBITIONS: Words of Blood, Images of Fire, Pierpont ANTHONY VAN DYCK
Morgan Library, New York, May-August icS^Jacques- 86 The Entombment*
Louis David 1748-1825, Muse du Louvre, Paris, Octo-
ber 1989-February 1990, no. 90 (catalogue entry by A. Partial Study of the Entombment"
Srullaz). 8s.GG.97
BIBLIOGRAPHY: M. Hamilton-Phillips, "America: A EXHIBITIONS: The Drawings of Anthony van Dyck, Pier-
Round-up," Apollo 130, no. 329 (July 1989), pp. 52, 54; pont Morgan Library, New York, and Kimbell Art Mu-
K. Monrad, "Fra Odysseus' borg til Langebro i K0ben- seum, Fort Worth, February-April, June-August 1991,
havn," Kunstmuseets rsskrift 68 (1990), p. 84. no. 6 (catalogue by C. Brown).
JEAN-HONORE FRAGONARD 8j Portrait ofHendrick van Balen

84.66.92
69 Oh! If Only He Were as Faithful to Me
82.GB.I5 EXHIBITIONS: The Drawings of Anthony van Dyck, Pier-
pont Morgan Library, New York, and Kimbell Art Mu-
EXHIBITIONS: Fragonard, Galeries Nationales du Grand
seum, Fort Worth, February-April, June-August 1991,
Palais, Paris, and Metropolitan Museum of Art, New
no. 54 (catalogue by C. Brown).
York, September I98y-May 1988, no. 119 (catalogue by
P. Rosenberg).
88 Landscape
85.GG.9o
ANNE-LOUIS GIRODET DE ROUCY
TRIOSON EXHIBITIONS: Paintings and Drawings by VanDyck, Not-
71 Phaedra Rejecting the Embraces of Theseus tingham University Art Gallery, February-March 1960,
85.00.209 no. 58 (catalogue by O. Millar); The Drawings of Anthony
van Dyck, Pierpont Morgan Library, New York, and
BIBLIOGRAPHY: Master Drawings 1760-1880, exh. cat. Kimbell Art Museum, Fort Worth, February-April,
(W. M. Brady and Co., Inc., New York, 1990), under June-August 1991, no. 91 (catalogue by C. Brown).
no. 17.
PETER PAUL RUBENS
NICOLAS POUSSIN
go Three Groups of Apostles in a Last Supperr
82 Apollo and the Muses on Parnassus
83.00.345 Three Sketches for Medea and Her Children"
84.GA.959
EXHIBITIONS: Early Poussin in Rome: The Origins of
French Classicism, Kimbell Art Museum, Fort Worth, BIBLIOGRAPHY: A.-M. Logan, "Review of Julius S.
September-November 1988 (not in catalogue). Held, Rubens: Selected Drawings," Master Drawings 25,
no. i (Spring 1987), p. 81; X. Egorova, Rubens (Lenin-
BIBLIOGRAPHY: F. G. Schab, d., Woodner Collection II:
grad and Paris, 1989), pp. 143-44, under no. 64; C.
Old Master Drawings from the XV to the XVIII Century,
Scribnerlll, Peter Paul Rubens (New York, 1989), pp. 12-
exh. cat. (William H. Schab Gallery, New York, 1973), 13; G. Luijten and A. W. F. M. Meij, From Pisanello to C-
under no. 88; H. T. Goldfarb, From Fontainebleau to the zanne: Master Drawings from the Museum Boymans-van
Louvre: French Drawing from the Seventeenth Century, exh.
Beuningen, Rotterdam, exh. cat. (Pierpont Morgan Li-
cat. (Cleveland Museum of Art, 1989), pp. 42-43, under
brary, New York, and other institutions, 1990), p. 124,
no. 15. under no. 43.
83 Presentation in the Temple 91 Assumption of the Virgin

84.GA.6o7 83.66.198
The drawing has been de-accessioned and returned to
BIBLIOGRAPHY: A.-M. Logan, "Review of Julius S.
its previous owner.
Held, Rubens: Selected Drawings," Master Drawings 25,
no. i (Spring 1987), p. 66; C. White, Peter Paul Rubens:
Man and Artist (New Haven and London, 1987), pp. 142,
144.
ADDENDA 355
92 A Man Threshing beside a Wagon, Farm STRADANUS
Buildings Behind 0oo The Arno with Fishermen
84.00.693 83.66.380
BIBLIOGRAPHY: A.-M. Logan, "Review of Julius S. EXHIBITIONS: From Studio to Studiolo: Florentine Drafts-
Held, Rubens: Selected Drawings," Master Drawings 25, manship under the First Medici Grand Dukes, Allen
no. i (Spring 1987), p. 73; C. White, Peter Paul Rubens: Memorial Art Museum, Oberlin College, October-
Man and Artist (New Haven and London, 1987), pp. 124, December 1991, no. 49 (catalogue entry by L. Feinberg).
125; N. Gritsai, in Dutch and Flemish Paintings from the
Hermitage, exh. cat. (Metropolitan Museum of Art, New GERRIT VAN BATTEM
York, and Art Institute of Chicago, 1988), p. 104, under
101 Figures on a Frozen Canal
no. 46; M. Varchavskaya, Rubens (Leningrad and Paris,
85.GC.222
1989), p. 96, under nos. 40-43.
PROVENANCE: H. Tersmitten (?) (sale, de Bary and Yver,
93 Korean Man Amsterdam, September 23, 1754, lotM5i4orM5i5); D.
83.06.384 Muilman, Amsterdam (sale, de Bosch, Amsterdam,
March 29, 1773, lot A4 or A5); Neyman, Amsterdam
(sale, Basan, Paris, July 8, 1776, lot 895); J. Witsen, Am-
sterdam (sale, Terwen, Amsterdam, August 16, 1790, lot
no. i (Spring 1987), p. 73; P. Bjurstrm, Durer to Dela-
A3);J. Hoofman(?) (sale, Roos, Amsterdam, October 19,
croix: Great Master Drawings from Stockholm, exh. cat.
1818, lot iS); J. Witsen, Amsterdam (sale F. Muller,
(Kimbell Art Museum, Fort Worth, 1985), p. 156, under
Amsterdam, June 11, 1912, lot 7); Meyer collection (sale,
no. 78; H. Vlieghe, Rubens Portraits of Identified Sitters
Boerner, Leipzig, March 19, 1914, lot 115); art market,
Painted in Antwerp, Corpus Rubenianum Ludwig Bur-
London.
chard, vol. 19 (London, 1987), pp. 193-95, under no.
154, n. 9; 197, under no. I54C. EXHIBITIONS: Landscape in Perspective: Drawings by Rem-
brandt and His Contemporaries, Arthur M. Sackler Mu-
94 Studies of Women seum, Harvard University, Cambridge, Mass., and
82.GB.I4O Montreal Museum of Fine Arts, February-May 1988,
no. 6 (catalogue by F. J. Duparc).
EXHIBITIONS: Creative Copies: Interpretative Drawings
from Michelangelo to Picasso, Drawing Center, New York, BIBLIOGRAPHY: H. Verbeek, Genet Battem Constrijck
April-July 1988, no. 22 (catalogue entry by C. Schilder, unpub. thesis, Rijksuniversiteit Leiden, 1983, p.
Fryklund). 63, no. Lgi5; Le pay sage en Europe du XVIe au XVIIIe si-
cle, exh. cat. (Muse du Louvre, Paris, 1990), p. 53, under
no. 51 (catalogue entry by E. Starcky).
no. i (Spring 1987), p. 75; H. Braham, Rubens: Paintings,
ALLART VAN EVERDINGEN
Drawings, Prints in the Princes Gate Collection, exh. cat.
(Courtauld Institute Galleries, London, 1988), p. 38, un- 105 Mountain Landscape, Peasants in a Clearing
der no. 41; G. M. Pilo, "Rubens e l'eredit del rinasci- near a Waterfall'
mento italiano," in Pietro Paolo Rubens 1577-1640, exh. Landscape Sketch"
cat. (Palazzo della Ragione, Padua, and Societ per le 84.66.50
Belle Arti ed Esposizione Permanente, Rome, 1990),
p. 24. BIBLIOGRAPHY: Old Master Drawings, exh. cat. (Richard
Day Ltd., London, 1988), under no. 26.
PIETER STEVENS
VINCENT VAN GOGH
99 A Wooded Landscape with Travelers by a
Stream, a Town Beyond 106 Portrait of Joseph Roulin
84.GG.8o7 85.GA.299
PROVENANCE: Sale, Amsler and Ruthardt, Berlin, May EXHIBITIONS: Vincent van Gogh, Rijksmuseum Krller-
24-27, 1908, lot 470. Mller, Otterlo, March-July 1990, no. 198 (catalogue by
J. van der Wolk, R. Pickvance, and E. B. F. Pey).
356 ADDENDA
BIBLIOGRAPHY: R. Huyghe, Van Gogh (New York, terdam (Rotterdam, 1988), p. 65, n. 3, under no. 14; H.
!977)> P- 3; J- van Keulen, Met van Gogh in Provence Bevers, P. Schatborn, and B. Welzel, Rembrandt: The
(Amsterdam, 1987), p. 33. Master and His Workshop: Drawings and Etchings, exh. cat.
(Altes Museum, Berlin, and other institutions, 1991), p.
HENDRICK GOLTZIUS 92, no. i, under no. 24.
107 Venus and Mars Surprised by Vulcan
84.00.810 115 Two Thatched Cottages with Figures at a
Window
BIBLIOGRAPHY: K. Oberhuber, Die Kunst der Graphik 85.GA.93
IV: Zwischen Renaissance un Barock: Das Zeitalter von
Bruegel und Bellange: Werke aus dem Besitz der Albertina, BIBLIOGRAPHY: M. Eisler, Rembrandt als Landschafter
exh. cat. (Graphische Sammlung Albertina, Vienna, (Munich, 1918), pp. 53-54.
1968), p. 206, under no. 300; W. W. Robinson, "Rem-
brandt's Sketches of Historical Subjects," in Drawings 116 Christ and the Canaanite Woman
Defined (New York, 1987), pp. 248; 250, fig. 13; 257, n. 83.GG.i99
16; Dessins, estampes anciens du XVIe au XVIIIe sicle: Es- BIBLIOGRAPHY: H. M. Rotermund, Rembrandts Hand-
tampes des XIXe et XXe sicles, exh. cat. (Paul Prout, zeichnungen und Radierungen zur Bibel (Stuttgart, 1963),
Paris, 1990), p. 46, under no. 117; L. W. Nichols, "The pp. 180, 220, no. 172.
'Pen Works' of Hendrick Goltzius," Philadelphia Museum
of Art Bulletin, Winter 1992, pp. 6, fig. 3; 7, 8. 117 A Sailing Boat on a Wide Expanse (View of
the Nieuwe Meer?)
JAN VAN GOYEN 85.GA.94
108 A Village Festival with Musicians Playing
EXHIBITIONS: Landscape in Perspective: Drawings by Rem-
outside a Tent
85.00.296
seum, Harvard University, Cambridge, Mass., and
BIBLIOGRAPHY: H.-U. Beck, Jan van Goyen: 1596-1656 Montreal Museum of Fine Arts, February-May 1988,
(Amsterdam, 1987), vol. 3, p. 78, no. 385; H. Bevers, P. no. 70 (catalogue by F. J. Duparc).
Schatborn, andB. Welzel, Rembrandt: The Master and His
BIBLIOGRAPHY: G. Keyes, "Landscape in Perspective:
Workshop: Drawings and Etchings, exh. cat. (Altes Mu-
Drawings by Rembrandt and His Contemporaries,"
seum, Berlin, and other institutions, 1991), p. 58, fig.
Master Drawings 27, no. 2 (1989), p. 165.
I3c, under no. 13.
118 Landscape with the House with the Little
ADRIAEN VAN OSTADE
Tower
u i Peasant Festival on a Town Street 83.GA.33
8s.GC.439
EXHIBITIONS: Rembrandt's Landscapes: Drawings and
BIBLIOGRAPHY: Abridged Catalogue of the Pictures at Prints, National Gallery of Art, Washington, D.C.,
Doughty House, Richmond, Surrey (London, 1932), p. 92, March-May 1990, no. 81 (catalogue by C. P.
no. 306. Schneider).
REMBRANDT VAN RIJN BIBLIOGRAPHY: E. Haverkamp-Begemann, "Review

of Otto Benesch, The Drawings of Rembrandt, " Kunst-
114 Nude Woman with a Snake
chronik 14, no. i (January 1961), pp. 13, 88; Masterpieces
8l.GB.27
from the Robert von Hirsch Sale at Sotheby's (Westerham,
BIBLIOGRAPHY: O. Benesch, Rembrandt Werk und For- 1978), pp. 34-35; E. Schaar, Rembrandt: Hunden Radi-
schung (Vienna, 1935), p. 28; M. B. Cohn, "Red Chalk: erungen, exh. cat. (Hamburger Kunsthalle, Hamburg,
Historical and Technical Perspectives, Part i: Aspects of 1987), p. 160, under no. 69; C. P. Schneider, Rembrandt's
Historical Usage"; D. D. Mayer and P. B. Vandiver, Landscapes (New Haven and London, 1990), pp. 231, n.
"Red Chalk: Historical and Technical Perspectives, Part 64; 242, n. 2i; M. Royalton-Kisch, "A Landscape Wa-
2: A Technical Study," in Drawings Defined (New York, tercolour by Rembrandt? The Use of Watercolour in
1987), pp. 169, 171;}. Giltaij, The Drawings by Rembrandt Rembrandt's Circle in Amsterdam," Apollo 133, no. 347
and His School in the Museum Boymans-van Beuningen, Rot- (January 1991), p. 10.
ADDENDA 357
ng A Wooded Road BIBLIOGRAPHY: M. L. Bennett and A. Mongan, Selec-
85.GA.95 tionsfrom the Drawing Collection of David Daniels, exh. cat.
(Minneapolis Institute of Arts and other institutions,
EXHIBITIONS: Landscape in Perspective: Drawings by Rem-
1968), under no. 6; W. Stechow et al., Mannerism: Apogee
and Epilogue, exh. cat. (Vassar College Art Gallery,
Poughkeepsie, 1970), p. 72, under no. 106; W. W. Rob-
Montreal Museum of Fine Arts, February-May 1988,
inson, Seventeenth-Century Dutch Drawingsfrom theMaida
no. 73 (catalogue by F.J. Duparc).
and George Abrams Collection, exh. cat. (Rijksprentenka-
BIBLIOGRAPHY: J. Spicer, in Master Drawings from the binet, Amsterdam, and other institutions, 1992), p. 22,
National Gallery of Canada, exh. cat. (National Gallery of n. 2, under no. 2.
Art, Washington, D.C., 1988), pp. 136-37, n. 8, under
no. 41; G. Keyes, "Landscape in Perspective: Drawings ALBRECHT DURER
by Rembrandt and His Contemporaries, " Master Draw- 129 Stag Beetle
ings 27, no. 2 (Summer 1989), p. 165. 83.Gc.2i4
120 The Mocking of Christ BIBLIOGRAPHY: F. Anzelewsky, "Pflanzen und Tiere im

83.GA.358 Werk Drers: Naturstudien und Symbolik, " Jahrbuch der
Kunsthistorischen Sammlungen in Wien 82-83 (1986-87),
BIBLIOGRAPHY: J. Kruse and C. Neumann, Die Zeich- p. 39; F. Koreny, Albrecht Durer and the Animal and Plant
nungen Rembrandts una seiner Schule im National-Museum Studies of the Renaissance (Boston, 1988), pp. 112; 124, un-
zu Stockholm: Beschreibender un kritischer Katalog (The der no. 38; no. 36; C. Eisler, Drer's Animals (Washing-
Hague, 1920), p. 26; W. R. Valentiner, Die Handzeichnun- ton, D.C., 1991), p. 136, pi. 19
gen Rembrandts (Stuttgart, 1934), vol. 2, pp. 34, 389, no.
475- HANS SCHUFELEIN
121 Shahjahan and Dar Shikoh

134 Christ Taking Leave of His Mother
85.GA.438
85.GA.44
BIBLIOGRAPHY: V. C. Raguin, Northern Renaissance
EXHIBITIONS: Romance of the Taj Mahal, Los Angeles
Stained Glass: Continuity and Transformations, exh. cat.
County Museum of Art, December 1989-March 1990,
(Iris and B. Gerald Cantor Art Gallery, College of the
no. 206 (catalogue by P. Pal et al.).
Holy Cross, Worcester, 1987), p. 61, under no. 24.
JACOB VAN RUISDAEL
HENRY FUSELI
122 Dead Trees by a Stream at the Foot of a Hill
137 An Old Man Murdered by Three Younger
85.GG.4io
Men
EXHIBITIONS: Landscape in Perspective: Drawings by Rem- 84.GG.7ii
The subject has been identified by D. Scrase as the mur-
der of Alexander of Pherae (Plutarch, Life of Pelopidas,
Montreal Museum of Fine Arts, February-May 1988,
chap. 65) (letter to G. Goldner, August 30, 1988).
no. 79 (catalogue by F.J. Duparc).
HANS HOLBEIN THE YOUNGER
JOACHIM ANTHONISZ. WTEWAEL
125 A Young Woman Assisted by a Gentleman 138 Portrait of a Scholar or Cleric
84.GG.93
85.GA.23O
BIBLIOGRAPHY: A. Mongan, "On Silverpoint Draw-
EXHIBITIONS: Dutch and Flemish Drawings, National-
ings and the Subject of Left-Handedness," in Drawings
museum, Stockholm, 1953, no. 85 (catalogue by N.
Defined (New York, 1987), pp. 160, 162, fig. 12.
Lindhagen and P. Bjurstrm); Oude Tekeningen uitde Ne-
derlanden: Verzameling Prof. E. Perman, Stockholm, Singer
FRANCISCO JOSE DE GOYA Y LUCIENTES
Museum, Laren, June-September 1962, no. 152 (cata-
logue by E. Perman). 141 He Can No Longer at the Age 0/98
84.GA.646
358 ADDENDA
BIBLIOGRAPHY: E. A. Sayre, Goya and the Spirit of En- sionary Hand: Essay sfor the Study of William Blake's Art and
lightenment, exh. cat. (Museum of Fine Arts, Boston, Aesthetics (Los Angeles, 1973), p. 37, n. 2; A. Kostelanetz
1989), pp. cxv-cxvi. Mellor, Blake's Human Form Divine (Berkeley, 1974), p.
150; D. Bindman, Blake as an Artist (Oxford and New
Sayre has dated this sheet to circa 1816-18.
York, 1977), pp. 98-100; J. La Belle, "Michelangelo's
Sistine Frescoes and Blake's 1795 Color-Printed Draw-
144 Pygmalion and Galatea
ings: A Study in Structural Relationships," Blake: An Il-
85.GA.2iy
lustrated Quarterly 14, no. 2 (Fall 1980), pp. 71-72; M.
EXHIBITIONS: Goya and the Spirit of Enlightenment, Mu- Butlin, "The Physicality of William Blake: The Large
seum of Fine Arts, Boston, and Metropolitan Museum Color Prints of '1795,' " Huntington Library Quarterly 52
of Art, New York, January-July 1989, no. 153 (catalogue (Winter 1989), pp. 7-8, 11, 15; D. W. Lindsay, "The Or-
entry by E. A. Sayre). der of Blake's Large Color Prints," Huntington Library
Quarterly 52 (Winter 1989), pp. 19-41.
WILLIAM BLAKE
146 Satan Exulting over Eve THOMAS ROWLANDSON
84.GC.49 148 Box-Lobby Loungers
EXHIBITIONS: William Blake, National Museum of 84.GG.45
Western Art, Tokyo, September-November 1990, no. EXHIBITIONS: Rowlandson Centenary Exhibition, Tate
26 (catalogue entry by G. Schiff). Gallery, London, December 1927-March 1928; The Art
BIBLIOGRAPHY: M. Butlin, William Blake: A Complete of Thomas Rowlandson, Frick Collection, New York;
Catalogue of the Works in the Tate Gallery (London, 1971), Frick Art Museum, Pittsburgh; and Baltimore Museum
p. 34; D. V. Erdman, d., The Notebooks of William Blake: of Art, February-August 1990, no. 21 (catalogue by J.
A Photographic and Typographic Facsimile (Oxford, 1973), Hayes).
no pagination; R. Todd, "The Techniques of William BIBLIOGRAPHY: R. H. Wilenski, English Painting (Lon-
Blake's Illuminated Printing," in R. Essick, d., The Vi- don, 1933), p. 173.
ADDENDA 359
LIST OF A R T I S T S
Numerals in boldface indicate entry numbers; those in regular type indicate the pages on which artists' biographies appear.
Denys van Alsloot 81, 325 Jacques de Gheyn II 98, 334

Albrecht Altdorfer 113, 325 Giulio Romano (Giulio Pippi) 18, 334
Jost Amman 114, 325 Hendrick Goltzius 99, 334
Andrea del Sarto I, 2, 326 Francesco Guardi 19, 335
Baciccio (Giovanni Battista Gaulli) 3, 326 Guercino (Giovanni Francesco Barbieri) 20, 335
David Bailly 90, 326 Hans Hoffmann 125, 335
Jacopo Bassano (Jacopo da Ponte) 4, 326 Jean-Auguste-Dominique Ingres 61, 335
Barthel Beham 115, 326-27 Jacob Jordaens 84, 335-36
Sebald Beham 116-118, 327 Filippo Juvarra 21, 336
Gian Lorenzo Bernini 5, 327 Wolfgang Katzheimer the Elder 126, 336
Bartolomeo Biscaino 6, 327 Hans von Kulmbach 127, 128, 336
Jan de Bisschop 91, 327 Hier ony mus Lang 130, 336
Abraham Bloemaert 92, 327-28 Jerome-Martin Langlois 62, 336-37
Christoph Bockstorffer 119, 328 Hanns Lautensack 131, 337
Ferdinand Bol 93, 328 Henri Lehmann (Karl Ernest Rodolphe Heinrich Salem
Sebastien Bourdon 52, 328 Lehmann) 63, 337
Jrg Breu the Elder 120, 121, 328-29 Leonardo da Vinci 22, 337
Agnolo Bronzino 7, 329 Mair von Landshut 129, 337-38
Theodor de Bry 122, 329 Isaac Major 132, 338
Domenico Campagnola 8, 329 Master of the Berlin Roundels 133, 134
Canaletto (Giovanni Antonio Canal) 9, 329 Master of the Egmont Albums IOO
Vittore Carpaccio 10, II, 329-30 Monogrammist A. S. 135
Agostino Carracci 12, 330 Monogrammist M. S. 136
Giovanni Benedetto Castiglione 13, 330 Morazzone (Pier Francesco Mazzuchelli) 23, 338
Cesare da Sesto 14, 330 Jan Harmensz. Muller 101, 338
Michel Corneille the Younger 53, 330-31 Giovanni Battista Naldini 24, 338
Correggio (Antonio Allegri) 15, 331 Nicol dellAbate 25, 338-39
Lorenzo Costa 16, 331 Jean-Baptiste Oudry 64, 339
Antoine Coypel 54, 331 Fra Paolino (Paolo del Signoraccio) 26, 339
Lucas Cranach the Elder 123, 331 Bernardo Parentino 27, 339
Aelbert Cuyp 94, 95, 331-32 Pierre-Adrien Paris 65, 339
Honor Daumier 55, 332 Parmigianino (Francesco Mazzola) 28, 339-40
Eugne Delacroix 56, 332 Bartolomeo Passarotti 29, 340
Desiderio da Settignano 17, 332 Jean-Baptiste Pater 66, 340
Albrecht Durer 124, 332-33 Georg Pencz 137, 340
Cornelis Engebrechtsz. 96, 333 Perino del Vaga (Piero Buonaccorsi) 30, 340-41
James Ensor 83, 333 Baldessare Peruzzi 31, 32, 341
Govaert Flinck 97, 333 Giovanni Battista Piazzetta 33, 341
Thomas Gainsborough 143, 333 Giovanni Battista Piranesi 34, 341
Thodore Gericault 57-60, 334 Cornelis van Poelenburch 102, 341
LIST OF A R T I S T S 361
Pontormo (Jacopo Carucci) 35, 342 Virgil Solis 140, 141, 346-47
Pordenone (Giovanni Antonio de' Sacchis) 36, 342 Franois Stella 75, 346
Jacques- Andr Portail 67, 342 Jacques Stella 76, 347
Nicolas Poussin 68-73, 342 Friedrich Sustris 107, 347
Francesco Primaticcio 37, 38, 342-43 Joseph-Benot Suve 87, 347
Giulio Cesare Procaccini 39, 343 Jacopo Tintoretto (Jacopo Robusti) 47, 347
Raphael (RafFaello Sanzio) 40, 343 Titian (Tiziano Vecellio) 48, 347-48
Rembrandt van Rijn 103, 104, 343 Joseph Mallord William Turner 144, 348
Guido Reni 41, 343 Lucas van Uden 88, 348
Marco Ricci 42, 344 Gerardus van Veen 108, 348
Hyacinthe Rigaud 74, 344 Adriaen van de Velde 109, no, 348-49
Peter Paul Rubens 85, 86, 344 Willem van de Velde the Elder in, 349
Pieter Jansz. Saenredam 105, 344-45 Paolo Veronese (Paolo Caliari) 49, 349
Cornelis Saftleven 106, 345 David Vinckboons 89, 349
Francesco Salviati (Francesco dei Rossi) 43, 345 Simon de Vleiger 112, 349
Santi di Tito 44, 345 Volterrano (Baldassare Franceschini) 50, 3 50
Giovanni Girolamo Savoldo 45, 345-46 Simon Vouet 77, 350
Erhard Schn 138, 346 Jean- Antoine Watteau 78-80, 3 50
Karel Skrta 139, 346 Taddeo Zuccaro 51, 350
Sodoma (Giovanni Antonio Bazzi) 46, 346
362 LIST OF ARTISTS

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EUROPEAN DRAWINGS.

George R. Goldner and Lee Hendrix

LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA

Cover: Pordenone, Martyrdom of Saint Peter Martyr (no. 36)

FOREWORD John Walsh vii

PREFACE AND ACKNOWLEDGMENTS GeorgeR. GoIdner ix

ITALIAN SCHOOL (Nos. 1-51) 19

FRENCH SCHOOL (Nos. 52-80) 132

FLEMISH SCHOOL (Nos. 81-89) 192

DUTCH SCHOOL (Nos. 90-112) 214

CENTRAL EUROPEAN SCHOOL (Nos. 113-42) 262

BRITISH SCHOOL (Nos. 143-44) 318

ARTISTS' BIOGRAPHIES 325

ADDENDA TO European Drawings i (1988) 351

LIST OF ARTISTS 361

i. C. Caneva, in Andrea del Sarto 1486-1530: Dipinti e disegni a

ANDREA DEL SARTO ITALIAN SCHOOL 19

verso ANDREA DEL SARTO (Italian, 1486-1530). The Feast of Herod

22 ITALIAN SCHOOL ANDREA DEL SARTO

3 Adoration of the Shepherds THIS DRAWING WAS MADE BY BACICCIO AS A PREPA-

24 ITALIAN SCHOOL BACICCIO

1. The Berlin drawing was once in the Durazzo collection,

26 ITALIAN SCHOOL BASSANO

28 ITALIAN SCHOOL BERNINI

6 Mystic Marriage of Saint THIS IS A CHARACTERISTIC EXAMPLE OF THE ANIMATED

3O ITALIAN SCHOOL BISCAINO

7 Study of Jealousy THIS IS A STUDY FOR THE FIGURE USUALLY CONSIDERED

i. The X ray was kindly brought to our attention by G. Smith

32 ITALIAN SCHOOL BRONZINO

8 Saint Christopher ALTHOUGH PUBLISHED SEVERAL TIMES AS BY TITIAN

34 ITALIAN SCHOOL CAMPAGNOLA

p Warwick Castle: The East Front A. Bettagno, Canaletto: Disegnidipintiincisioni, exh.

EXHIBITIONS: Canaletto, Metropolitan Museum of Art,

36 ITALIAN SCHOOL CANALETTO

Draped Legsv the stairs in Carpaccio's painting of the martyrdom of

38 ITALIAN SCHOOL - CARPACCIO

CARPACCIO ITALIAN SCHOOL 4!

44 ITALIAN SCHOOL CARRACCI

13 Pastoral Journey THIS IS ONE OF SEVERAL JOURNEY SCENES BY CASTIG-

1. (Paris, 1829), vol. 3, pi. 232.

46 ITALIAN SCHOOL CASTIGLIONE

ofMenr phael, as do many of the sketchbook's pages. It is possible

15 Christ in Glory Parmigianino," L'abbazia benedettina di San Giovanni

50 ITALIAN SCHOOL CORREGGIO

1. M. Faietti et al., Bologna e Vumanesimo 1490-1510, exh. cat.

52 ITALIAN SCHOOL COSTA

THIS SHEET APPEARED IN 1989, WHEN IT WAS PUB-

54 ITALIAN SCHOOL DESIDERIO DA SETTIGNANO

1. S. Massari, Indsorimantovanidel '500 (Rome, 1980), nos. 50-

56 ITALIAN SCHOOL GIULIO ROMANO

19 A Theatrical Performance THIS DRAWING FIRST APPEARED IN 1988 IN AN EXHI-

i. J. Byam Shaw, The Drawings of Francesco Guardi (London,

58 ITALIAN SCHOOL GUARDI

20 Study of a Seated Young Man THIS DRAWING WAS ASSOCIATED BY D. MAHON

60 ITALIAN SCHOOL GUERCINO

62 ITALIAN SCHOOL JUVARRA

Machineryv vol. i, p. 172, no. 475; W. von Seidlitz, Leonardo da Vinci,

64 ITALIAN SCHOOL LEONARDO DA VINCI

LEONARDO DA VINCI ITALIAN SCHOOL 65