By George Goldner
Inside a little while the dep. of Drawings has bought striking holdings of eu works on paper. This quantity, the 1st in a sequence meant to maintain students apprised of acquisitions, comprises 149 entries on Italian, French, Flemish, Dutch, and different works ranging in date from the Renaissance in the course of the 19th century. Artists represented contain Rembrandt, Cezanne, Blake, Goya, Dürer, Savery, Rubens, Millet, Veronese, Caravaggio, Raphael, and diverse others. All drawings are illustrated at full-page size.
(В первой книге серии представлены рисунки итальянской, французской, фламандской, голландской и других школ европейской живописи. Художники - Рембрандт, Сезанн, Блейк, Гойя, Дюрер, Рубенс, Милле, Веронезе, Караваджо, Рафаэль и многие другие.)
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Additional resources for European Drawings 1 Catalogue of the Collections
334). 4o8 MARKS AND INSCRIPTIONS: None. PROVENANCE: Art market, Amsterdam; sale, Sotheby's, London, March 23, 1972, lot 121; art market, New York. EXHIBITIONS: None. BIBLIOGRAPHY: P. Bagni, // Guercino e il suo falsario— Idisegni dipaesaggio (Bologna, 1985), p. 36, no. 18. 1 The location depicted here appears to be imaginary. 2 In its planar clarity and emphasis on architectonic form, this drawing may be compared with two others in the Pierpont Morgan Library, New York (inv. 3 The Museum's sheet would seem to date from after 1630, as has been suggested by D.
I, pis. 66a, b). It was used again later in the Passerini Assumption in the Pitti. This appears to be an instance in which Sarto altered and developed an idea first conceived in relation to the earlier Panciatichi Assumption. The brief sketch of a face on the recto may have been made in relation to one of the apostles in that painting, but is not clearly the model for any of them. The verso has never been published. The principal image of the standing nude figure with drapery is a study for the Saint Thomas in the Panciatichi Assumption and was employed later for the same saint in the Passerini Assumption.
THIS IS ONE OF A SMALL HANDFUL OF DRAWINGS THAT date from Correggio's early years. Although exceptional in some respects, its various characteristics have been well elucidated by DeGrazia (1984, p. "1 Perhaps most typical of the artist are the figures in the foreground, especially the man on the bull, with their rather soft contours and pronounced sfumato modeling. Ready comparisons are available in other drawings by the artist in the Musee du Louvre, Paris (inv. 10307), the British Museum, London (inv.