{"id":839,"date":"2024-03-05T21:25:11","date_gmt":"2024-03-05T20:25:11","guid":{"rendered":"https:\/\/sabrierpaunet.com\/?page_id=839"},"modified":"2026-05-07T21:57:09","modified_gmt":"2026-05-07T19:57:09","slug":"notable-works","status":"publish","type":"page","link":"https:\/\/sabrierpaunet.com\/index.php\/notable-works\/","title":{"rendered":"Notable works"},"content":{"rendered":"\n
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Carlo Maratti<\/h1>\n\n\n\n

AT THE RIJKSMUSEUM OF AMSTERDAM<\/h2>\n\n\n\n
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CARLO MARATTI
Camerano (Ancona), 1625-Rome, 1713<\/p>\n\n\n\n

STUDIES OF FIGURES FOR THE IMMACULATE CONCEPTION IN THE DA SILVA CHAPEL IN SANT\u2019ISIDORO AGRICOLA IN ROME<\/h4>\n\n\n\n

Circa 1661-1662<\/h6>\n\n\n\n
Red chalk, white chalk highlights<\/h6>\n\n\n\n
290 x 440 mm<\/h6>\n\n\n\n
Provenance: Lisbon, Manuel de Sousa e Holstein Beck (1932-2011), Count of P\u00f3voa.<\/h6>\n\n\n\n
Literature: no publication.<\/h6>\n\n\n\n
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Born in the Marche region, Carlo Maratti joined the studio of Andrea Sacchi at the age of eleven and did not leave his master until Sacchi\u2019s death in 1661, twenty-four years later. Sacchi\u2019s teaching ensured his place in the noble tradition of the Carraccis and Francesco Albani, with drawing as the foundation of the arts, a lesson that Maratti passed on to the many students who joined his studio several decades later.1<\/sup> In the 1650s Maratti began to free himself from the influences of his master. He reached artistic maturity on the threshold of the 1670s and the height of his fame in the 1680s. This progression is particularly well illustrated by three successive projects in the church of Sant\u2019Isidoro Agricola in Rome: the chapel of Saint Joseph (or Alaleona) between 1652 and 1653, the chapel of the Crucifix (or Ludovisi) between 1655 and 1657, and the da Silva chapel between 1661 and 1662.2<\/sup><\/p>\n\n\n\n

The commission for the da Silva chapel marked the beginning of Maratti\u2019s public career; he was no longer tied to Sacchi, who had died that same year. This typically Roman Baroque chapel, commissioned by Rodrigo Lopes da Silva, was designed by Gian Lorenzo Bernini, who chose Maratti to create the altarpiece and Giacinto Gimigniani for the fresco decoration (ill. below). Maratti was tasked with painting an Immaculate Conception \u2013 the doctrine had gained momentum from a papal bull published that same year (1661). The iconography he developed, based on the models of Giovanni Lanfranco and Guido Reni, was to become a canon of sacred art in the 18th century; indeed Maratti himself produced several replicas of this Immaculate<\/em> Conception<\/em> over the course of his career.3<\/sup><\/p>\n\n\n\n

In keeping with the classical tradition, Maratti made drawing central to the creation of a composition. Preparation generally consisted of drawings of the composition as a whole, sketches of the figures, nude and then draped, and studies of details, in particular heads and hands. As Simonetta Prosperi Valenti Rodin\u00f2 points out, there are surprisingly few preparatory drawings for the Immaculate Conception<\/em> of the da Silva chapel, given the painting\u2019s considerable importance.4<\/sup> They amount to three sheets from the collection of the Real Accademia de Bellas Artes de San Fernando (RABASF) in Madrid, acquired by Philip V of Spain from Rosalia O\u2019Moore, the widow of Andrea Procaccini, a pupil and close collaborator of Maratti, studies mainly of the head and hand positions of the Virgin, the Child and the angels. One of these sheets shows an initial sketch for the bust of the angel on the right, with clasped hands (ill.\u00a0below), and this has been taken up and elaborated in the drawing we are presenting here.5<\/sup><\/p>\n<\/div>\n\n\n\n

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This fourth, previously unpublished study focuses on the postures of the figures, full-length or in bust form, incorporated into the final composition without variation, and in a style still reminiscent of Sacchi\u2019s drawing style. In keeping with academic practice, Maratti first studied the figures of the Virgin and one of the angels, in bust form, based on the same male model, before drawing the drapery in detail. Our drawing also includes an initial study for a figure in the Visitation<\/em> commissioned for the church of Santa Maria della Pace through Bernini and completed in 1666: a man carrying a sack, on the left of the composition, who is seen in the study for the composition as a whole in the Berlin Kupferstichkabinett.6<\/sup> Clearly drawn on the same paper as the RABASF drawings, our sheet has not been cut and the edges are still visible.<\/p>\n\n\n\n

The Portuguese Sousa e Holstein family have taken a keen interest in the arts over the centuries. An ancestor of the family, Dom Lu\u00eds de Sousa, was in Rome shortly after the chapel was completed but, for reasons related to the historical and religious context, it is unlikely that it was he who acquired this work. Prof. Teresa L. M. Vale has suggested that Dom Alexandre de Sousa Holstein, Portuguese ambassador to Rome over a century later, and also a collector, may provide a link between the Maratti drawing and its entry into the collections of the Sousa Holsteins, Counts and Countesses of P\u00f3voa.7<\/sup> Dom Alexandre acquired artworks through the art critic Giovanni Gherardo De Rossi, who was the first director of the Portuguese Academy of Fine Arts in Rome in 1791. Knowing that Maratti\u2019s drawings passed through the hands of Procaccini before his departure for Madrid in 1721, and through those of Pier Leone Ghezzi, who sold a significant number of them to Lambert Krahe, the first director of what became the Kunstakademie D\u00fcsseldorf, it may well be that this sheet escaped Krahe\u2019s notice before being acquired by Gherardo De Rossi and entering the collection of Alexandre de Sousa Holstein.<\/p>\n\n\n\n

The Rijksmuseum d\u2019Amsterdam has acquired Carlo Maratti\u2019s drawing in March 2026 on the occasion of the Salon du dessin.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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1<\/sup> According to Giovanni Pietro Bellori quoted by Stella Rudolph in Stella Rudolph and Simonetta Prosperi Valenti Rodin\u00f2, Carlo Maratti (1625-1713), tra la magnificenza del Barocco e il sogno d\u2019Arcadia<\/em>, Rome, Ugo Bozzi Editore, 2024, pp. 4-5.<\/p>\n\n\n\n

2<\/sup> Ibid.<\/em>, cat. 16, pp. 336-347, cat. 32, pp. 402-410 and cat. 59, pp. 480-484.<\/p>\n\n\n\n

3<\/sup> Ibid.<\/em>, p. 60 and 94.<\/p>\n\n\n\n

4<\/sup> Ibid.<\/em>, p. 484. We are grateful to Professor Simonetta Prosperi Valenti Rodin\u00f2 for her invaluable guidance on this.<\/p>\n\n\n\n

5<\/sup> Ibid.<\/em>, cat. 59.3, p. 484.<\/p>\n\n\n\n

6<\/sup> Staatliche Museen zu Berlin, Kupferstichkabinett, inv. KdZ 15248 (ibid.<\/em>, cat. 74.1, p. 519).<\/p>\n\n\n\n

7<\/sup> E-mail correspondence, 16 January 2025. We are most grateful to Professor Teresa L. M. Vale for her time and attention.<\/p>\n\n\n\n

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Carlo Maratti, Immaculate Conception<\/em>, oil on canvas, 2270 x 1970 mm, Rome, Church of Sant\u2019Isidoro Agricola, Da Silva Chapel<\/em>. \u00a9 Ugo Bozzi Editore.<\/p>\n\n\n\n

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Carlo Maratti, Studies of hands and drapery for the Immaculate Conception in the da Silva Chapel at Sant\u2019Isidoro Agricola in Rome<\/em>, circa 1661-1662, red chalk, white chalk highlights, 273 x 432 mm, Madrid, Museo de la Real Academia de Bellas Artes de San Fernando, inv. D-1130. \u00a9 Madrid, Museo de la Real Academia de Bellas Artes de San Fernando.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Giacomo del Po<\/h1>\n\n\n\n

AT THE MUSEO E REAL BOSCO DI CAPODIMONTE IN NAPLES<\/h2>\n\n\n\n
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GIACOMO DEL PO
Rome, 1652-Naples, 1726<\/p>\n\n\n\n

STUDY FOR THE GREAT DOOR OF THE MONASTERY OF SAN GREGORIO ARMENO IN NAPLES (RECTO)<\/h4>\n\n\n\n

SKETCH OF THE GREAT DOOR WITH MEASUREMENTS (VERSO)<\/h4>\n\n\n\n

Circa 1715-1719<\/h6>\n\n\n\n
Pen and brown ink, grey wash (recto)
Pen and brown ink (verso)<\/h6>\n\n\n\n
434 x 290 mm<\/h6>\n\n\n\n
Various measurements (in palms), inscribed by the artist (?); annotated bottom centre: \u201cGiacomo del P\u00f2.\u201d<\/h6>\n\n\n\n
Watermark: a quadruped in a circle surmounted by a \u00ab\u00a0P\u00a0\u00bb (h. 63 mm).<\/h6>\n\n\n\n
Provenance: \u00c9mile Calando Collection, his mark bottom centre (L. 837); Sale, London, Sotheby’s, 13 December 2001, lot 24; Rome, Giancarlo Sestieri Collection.<\/h6>\n\n\n\n
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 Born in Rome and taught by his father, Pietro del Po, a painter and engraver from Palermo but Neapolitan by adoption, Giacomo began his career as a member of the Academy of St Luke in 1674. The following year, he was appointed as a teacher of notomia<\/em> (\u00ab\u00a0anatomy\u00a0\u00bb) at the Academy. In 1683, the del Po family returned to Naples. As well as producing small paintings for collectors on canvas or copper, Giacomo del Po received a great many commissions for paintings, on canvas or as frescoes, for religious buildings and private palaces. At the beginning of the 18th century, he was one of the most prominent painters in this field in Naples, alongside Francesco Solimena and Paolo de Matteis. His career reached its apogee in 1723 when he was commissioned by Eugene of Savoy to paint the ceilings of the Upper Belvedere Palace in Vienna.<\/p>\n\n\n\n

Giacomo del Po’s work was an interesting blend of the Roman style of Giovanni Battista Gaulli and Carlo Maratti, the Neapolitan fresco tradition exemplified by Luca Giordano, and the colours of the Genoese Baroque as typified by Gregorio de Ferrari. He incorporated illusionist elements, in particular figures in grisaille, and in so doing devised a formula that was to prove highly successful in the city of Naples. The painting for the great doorway of the Benedictine monastery of San Gregorio Armeno in Naples, dates from between 1715 and 1719,1<\/sup> and is one of del Po’s mature masterpieces (ill. below).<\/p>\n<\/div>\n\n\n\n

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Although the overall structure of the composition is unchanged, the preparatory drawing indicates a number of differences from the final work, including an alternative form for the medallion in which St Benedict is depicted. The drawing was probably made for submission to the commissioning parties. The postures of the figures have mostly been altered, while certain motifs have been changed. This is the case of the putti positioned above the hatches where the nuns, being careful to comply with the rule of seclusion, would deposit food for the poor. This activity explains the artist’s initial choice of the pelican, bottom left \u2013 a Christ-like symbol of giving.<\/p>\n\n\n\n

Technically and stylistically, this sheet is very close to the drawing in the Cooper Hewitt Museum, which was a preparatory study for the monument in honour of Giacomo and Giovanni Domenico Milano in the church of San Domenico Maggiore in Naples. That drawing was dated around 1712.2<\/sup> In both drawings, Del Po has used grey wash to indicate shadows and shading, thus creating an illusion of three-dimensionality which he would subsequently incorporate into the fresco.<\/p>\n\n\n\n

Il Museo e Real Bosco di Capodimonte in Naples has acquired Giacomo del Po\u2019s drawing in 2025.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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1<\/sup> Daniel Rabiner, \u00ab Giacomo del Po \u00bb, Dizionario biografico degli italiani<\/em>, vol. XXXVIII [Della Volpe-Denza], Roma, Istituto della Enciclopedia Italiana, 1990, ad vocem<\/em> ; Marina Causa Picone dates the painting of the great doorway around 1711-1715 (see Marina Picone, \u00ab Per la conoscenza del pittore Giacomo del P\u00f2 \u00bb, Bolletino d\u2019arte<\/em>, year XLII, serie IV, 1957, no. 2, pp. 163-172, no. 3-4, pp. 310-311) and Nicolas Spinosa in 1712 (see The Golden Age of Naples: Art and Civilization under the Bourbons, 1734-1805<\/em>, exh. cat., The Detroit Institute of Arts, 11 August-1st November 1981, The Art Institute of Chicago, 16 January-8 March 1982, 2 vols., Detroit, The Detroit Institute of Arts, 1981., vol. I, p. 136).<\/p>\n\n\n\n

2<\/sup> New York, Cooper Hewitt Museum, Smithsonian Institution, inv. 1901-39-2173. See The Golden Age of Naples<\/em>, op. cit.<\/em>, vol. II, cat. 91, pp. 266-267.<\/p>\n\n\n\n

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Present-day view of the great door of the San Gregorio Armeno monastery in Naples. \u00a9 Soprintendenza per i Beni artistici e storici di Napoli e provincia|Fabio Speranza.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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JAN LIEVENS<\/h1>\n\n\n\n

SAINT JOHN THE EVANGELIST<\/em> AT THE RIJKSMUSEUM OF AMSTERDAM<\/h2>\n\n\n\n
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JAN LIEVENS
Leiden, 1607-Amsterdam, 1674<\/p>\n\n\n\n

SAINT JOHN THE EVANGELIST<\/h4>\n\n\n\n

Circa 1629<\/h6>\n\n\n\n
Black and white chalk, on grey prepared paper<\/h6>\n\n\n\n
196 x 114 mm<\/h6>\n\n\n\n
Provenance: London, art market (attributed to Pieter Lastman); Sale, Amsterdam, Christie\u2019s, 14 November 1994, lot 46 (as Dutch school, first half of the 17th century); sale, Amsterdam, Christie\u2019s, 1 November 1996, lot 116; Bilbao, private collection.<\/h6>\n\n\n\n
Literature: Bernhard Schnackenburg, trad. Kristin Lohse Belkin, Jan Lievens: Friend and Rival of the Young Rembrandt with a Catalogue Raisonn\u00e9 of His Early Leiden Work 1623-1632,<\/em> Petersberg, Michael Imhof Verlag, 2016, cat. 99, pp. 282-283 (repr.).<\/h6>\n\n\n\n
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Jan Lievens, son of a Leiden embroiderer, showed artistic talent at an early age. After initial training in his native city, the young painter was an apprentice, between the ages of ten and twelve, in Pieter Lastman\u2019s atelier in Amsterdam. Back in Leiden, in 1628 he met Constantijn Huygens, a man of letters, patron of the arts and secretary to two Princes of Orange; this proved to be a turning point in Lievens\u2019s career and led to international aspirations. He moved to London in 1632, and to Antwerp three years later. He then returned to the Netherlands, where he undertook various prestigious commissions in The Hague and Amsterdam.1<\/sup><\/p>\n\n\n\n

Although 17th- and 18th-century literature ensured that Lievens\u2019s work was remembered, in the 19th century he was overshadowed by the prestige of his famous contemporary Rembrandt. Both had been pupils of Lastman, four years apart \u2013 Lievens first \u2013 before the \u201ctwo young and noble painters from Leiden\u201d became friends and engaged in an artistic dialogue, as is attested to by their many stylistic affinities during the second half of the 1620s.2<\/sup> It was not until the 1970s that Lievens\u2019s personal style regained recognition through the work of Rudolf E. O. Ekkart, R\u00fcdiger Klessmann and Sabine Jacob, which led to the first monographic exhibition at the Herzog Anton Ulrich-Museum in Brunswick, in 1979.3<\/sup><\/p>\n\n\n\n

Subsequent studies by Werner Sumowski and Pieter Schatborn added to our knowledge of Lievens\u2019s work, particularly his prints and drawings, until an international exhibition in 2008 brought wider and long-overdue awareness of the artist\u2019s outstanding talent.4<\/sup> Coinciding with the exhibition at the J. Paul Getty Museum in 2011, studies by Gregory Rubinstein were instrumental in distinguishing between the graphic works of Lievens and Rembrandt from the late 1620s and up to Lievens\u2019s departure for London in 1632; the similarities made it particularly difficult to tell them apart in studies of figures combining black and red chalk.5<\/sup><\/p>\n<\/div>\n\n\n\n

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Attributed to Lievens by Sumowski and Schatborn, then published by Bernhard Schnackenburg in 2016, our Saint John the Evangelist<\/em> can be dated to his years in Leiden; Schnackenburg dates it more precisely to circa 1629. For a long time, it was associated with a second drawing \u2013 the whereabouts of which are no longer known \u2013 depicting Saint John with a variation in the position of his arms. Both are stylistically very close to a study for a Saint Peter, now in the Albertina Museum, Vienna, which was first published in 1932. That, too, is in black chalk and possesses the same monumental character despite its smaller dimensions (ill. below).6<\/sup><\/p>\n\n\n\n

Preparatory drawings relating directly to a print or painting are relatively rare in the artist\u2019s oeuvre, and these sheets are not an exception. They may be studies in their own right, recalling Odoardo Fialetti\u2019s engravings of religious figures, published in Venice in 1626.7<\/sup><\/p>\n\n\n\n

The Rijksmuseum of Amsterdam has acquired Jan Lievens\u2019s drawing in July 2025 on the occasion of the Trois Crayons exhibition in London.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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1<\/sup> These included the decorations in the Oranjezaal in the Huis ten Bosch, the royal summer palace of the House of Orange near The Hague, and the Burgomaster’s chamber in the Amsterdam Town Hall.<\/p>\n\n\n\n

2<\/sup> The phrase \u201ctwo young and noble painters from Leiden\u201d was used by Constantijn Huygens, see Jan Lievens: A Dutch Master Rediscovered<\/em>, exhib. cat. (Washington, National Gallery of Art, 26 October 2008-11 January 2009, Milwaukee Art Museum, 7 February-26 April 2009, Amsterdam, Rembrandthuis, 17 May-9 August 2008), Arthur K. Wheelock (ed.), Washington|New Haven|London, National Gallery of Art|Yale University Press, 2008, pp. 286-287.<\/p>\n\n\n\n

3<\/sup> Ibid.<\/em>, pp. viii-ix.<\/p>\n\n\n\n

4<\/sup> Cf. n. 2. Werner Sumowski, trad. Walter L. Strauss, Drawings of the Rembrandt School<\/em>, vol. VII, New York, Abaris Books, 1983; Jan Lievens (1607-1674), prenten en tekeningen<\/em>, exhib. cat. (Amsterdam, Museum het Rembrandthuis, 5 November 1988-8 January 1989), Peter Schatborn (ed.), Amsterdam, Rembrandthuis, 1988.<\/p>\n\n\n\n

5<\/sup> Drawings by Rembrandt and his pupils: telling the difference<\/em>, exhib. cat. (Los Angeles, J. Paul Getty Museum, 8 December 2009-28 February 2010), Holm Bevers (ed.), Los Angeles, J. Paul Getty Museum, 2009; Gregory Rubinstein, \u201cBrief Encounter: the Early Drawings by Jan Lievens and Their Relationship with Those of Rembrandt\u201d, Master Drawings<\/em>, vol. XLIX, no. 3, 2011, pp. 352-370; Gregory Rubinstein, \u201cThree Newly Identified Figure Drawings by Jan Lievens\u201d in Liber Amicorum Dorine van Sasse van Ysselt<\/em>, Charles Dumas (ed.), The Hague, Rijksbureau voor Kunsthistorische Documentatie, 2011, pp. 51-55.<\/p>\n\n\n\n

6<\/sup> Bernhard Schnackenburg, trad. Kristin Lohse Belkin, Jan Lievens: Friend and Rival of the Young Rembrandt with a Catalogue Raisonn\u00e9 of His Early Leiden Work 1623-1632<\/em>, Petersberg, Michael Imhof Verlag, 2016, cat. 98, pp. 281-282 and cat. 100, p. 283.<\/p>\n\n\n\n

7<\/sup> Ibid.<\/em>, p. 102.<\/p>\n\n\n\n

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Jan Lievens, Saint Peter<\/em>, black chalk, white chalk highlights, 296 x 182 mm, Vienna, Albertina Museum, inv. 8906. \u00a9 The Albertina Museum, Vienna.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Massimo Stanzione<\/h1>\n\n\n\n

THE SEVEN ARCHANGELS<\/em> AT THE CLEVELAND MUSEUM OF ART<\/h2>\n\n\n\n
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MASSIMO STANZIONE
Orta di Atella (Caserte), 1585-1656, Naples<\/p>\n\n\n\n

THE SEVEN ARCHANGELS (recto)<\/h4>\n\n\n\n

STUDIES OF AN ARCHANGEL AND A WIND GOD (verso)<\/h4>\n\n\n\n

Pen and brown ink, brown wash, traces of black chalk (recto)
Pen and brown ink (verso)<\/h6>\n\n\n\n
195 x 358 mm<\/h6>\n\n\n\n
Inscribed on the back.<\/h6>\n\n\n\n
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According to Bernardo de Dominici, Massimo Stanzione learned his trade in the Neapolitan atelier of Fabrizio Santafede, specialising initially in portrait painting. In 1621, Stanzione was made a Knight of the Golden Fleece and a Count Palatine by Pope Gregory XV, and in 1627 a Knight of the Order of Jesus Christ by Urban VIII, which would seem to be recognition of his early success as a painter. Yet his first forty years of activity remain fairly poorly documented. Indeed, although there are references to works prior to the 1620s, very few are extant. From the 1630s onwards, Stanzione was involved in most of the major projects in Naples. He then became one of the most important artists in Naples alongside Jusepe de Ribera, whose antithesis he is held to be in terms of style.<\/p>\n\n\n\n

Although sources seem to indicate that Stanzione used drawings as a model and made drawings himself, Sebastian Sch\u00fctze maintains that there are no more than twenty or so drawings in his entire oeuvre.1<\/sup> In fact, if we discount attributions, whether stylistic, traditional or based simply on an old inscription, the number of sheets corresponding to known works by the artist, and which might be said to constitute a reliable corpus, could be counted on the fingers of one hand. The most remarkable work in this small group is without doubt Saint Bruno in Glory<\/em> in the Mus\u00e9e de Poitiers; it was first published in 1992 and, in spite of many differences, is thought to be a preparatory drawing for the decoration of the dome of the Chapel of Saint Bruno in the Carthusian monastery of San Martino.2<\/sup> There are also two other drawings that are stylistically coherent but whose connection with Stanzione’s work is more tenuous: A scene from the life of St Anthony<\/em>, which relates to a documented, but now destroyed, decoration, and a Piet\u00e0<\/em>, which was the foundation stone of the graphic corpus established by Walter Vitzthum, and relates to the work above the main portal of the church of the Carthusian monastery in San Martino.3 4<\/sup><\/p>\n<\/div>\n\n\n\n

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The Dormition of the Virgin<\/em>, which is identical to a fresco in the Ges\u00f9 Nuovo by Stanzione and fully accepted as by his hand, seems to us to be of lesser quality.5<\/sup><\/p>\n\n\n\n

The drawing we present here is a preparatory work for the painting of the same subject in the Monasterio de las Descalzas Reales in Madrid (ill. below). The painting was first attributed to the Spanish school, then to Francesco Guarino and finally to Stanzione by Maria Teresa Ruiz Alc\u00f3n in 1974.6<\/sup> Ruiz Alc\u00f3n’s attribution is confirmed by Giuseppe Porzio, who dates the painting to the 1620s.7<\/sup> The unpublished drawing of the seven archangels is a rare example of a direct relationship between painting and drawing and is therefore of great importance in understanding Stanzione’s graphic work. By capillary action, as it were, it enables a coherent group of pen-and-ink drawings to be attributed with greater confidence: Piet\u00e0<\/em>, St. Magdalene Raptured by Angels<\/em>, The Virgin and Child with St. Elizabeth and St. John the Baptist<\/em>,and The Apparition of the Virgin and Child Holding the Cross to the Guardian Angel<\/em>.8 9 10 11 <\/sup>On the reverse side, there is a study of a relatively complete figure \u2212 an even rarer phenomenon \u2212 with a readjustment to the angel’s right leg. The motif of the wind god, who is stiffer, could, as the sketchy pen-and-ink outline suggests, be a copy of a large ceiling decoration which the artist used to help reproduce the correct proportions of the model.<\/p>\n\n\n\n

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The Cleveland Museum of Art has acquired Massimo Stanzione\u2019s drawing in June 2025.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

1<\/sup> Sebastian Sch\u00fctze, \u00ab Teoria e pratica del disegno napoletano e l\u2019arte del Cavalier Massimo \u00bb in Le Dessin napolitain<\/em>, proceedings of the international conference (Paris, \u00c9cole Normale Sup\u00e9rieure, 6-8 March 2008), Francesco Solinas and Sebastian Sch\u00fctze (dir.), Rome, De Luca Editori d\u2019Arte, 2010, p. 83. According to de Dominici, Stanzione acquired a collection of drawings by the Bolognese masters of the Carracci school from Santafede.<\/p>\n\n\n\n

2<\/sup> Poitiers, Mus\u00e9e Sainte-Croix, inv. 882-1-421. See ibid.<\/em>, p. 84, repr. fig. 5, works cited n. 25, p. 90.<\/p>\n\n\n\n

3<\/sup> Copenhagen, Statens Museum for Kunst, inv. GB 449. See ibid.<\/em>, pp. 84-85, repr. fig. 6, p. 84, works cited n. 26, p. 90.<\/p>\n\n\n\n

4<\/sup> Paris, formerly Janusz Zarnowski Collection. See ibid.<\/em>, p. 84, repr. fig. 3, p. 83, works cited n. 22, p. 90. A significant difference is the absence of the Carthusian monks in the drawing, as opposed to the fresco. This iconographic element is of fundamental importance when one considers the destination of the final work.<\/p>\n\n\n\n

5<\/sup> Naples, Museo nazionale di Capodimonte, inv. GDS 1054. See ibid.<\/em>, p. 84, repr. fig. 4, p. 83, works cited n. 23, p. 90.<\/p>\n\n\n\n

6<\/sup> Riccardo Lattuada, Francesco Guarino da Solofra: nella pittura napoletana del Seicento (1611-1651)<\/em>, Naples, Paparo Edizioni, 2000, cat. E12, pp. 185-186, repr., previous works cited; Maria Teresa Ruiz Alcon, \u00ab Los Arc\u00e1ngelos en los Monasterios de las Descalzes Reales y de la Encarnacion \u00bb, Reales Sitios<\/em>, XL, 1974, pp. 45-56.<\/p>\n\n\n\n

7<\/sup> De Caravaggio a Bernini: obras maestras del Seicento italiano en las colecciones reales de Patrimonio Nacional<\/em>, exh. cat., Gonzalo Red\u00edn Michaus (dir.), Madrid, Palacio Real, 6 June-16 October 2016, Madrid, Patrimonio Nacional|Fundaci\u00f3n Banco Santander, 2016, cat. 60, pp. 278-281.<\/p>\n\n\n\n

8<\/sup> Piet\u00e0<\/em>, cf n. 4.<\/p>\n\n\n\n

9<\/sup> St. Magdalene Raptured by Angels<\/em>, Paris, Mus\u00e9e du Louvre, inv. INV9754. See Sch\u00fctze, 2010, p. 86, repr. fig. 13, p. 87.<\/p>\n\n\n\n

10<\/sup> The Virgin and Child with St. Elizabeth and St. John the Baptist<\/em>,Paris, Mus\u00e9e du Louvre, inv. INV9826. See Sch\u00fctze, 2010, op. cit.<\/em>, repr. fig. 9, p. 85.<\/p>\n\n\n\n

11<\/sup> The Apparition of the Virgin and Child Holding the Cross to the Guardian Angel<\/em>, Orl\u00e9ans, Mus\u00e9e des Beaux-Arts, inv. 168 (album 3.312). Attribution of the drawing alternates between Stanzione and Micco Spadaro. See Splendeurs baroques de Naples. Dessins des XVIIe<\/sup> et XVIIIe<\/sup> si\u00e8cles<\/em>, exh. cat., Poitiers, mus\u00e9e Sainte-Croix, 25 octobre 2006-4 f\u00e9vrier 2007, Catherine Loisel (dir.), Montreuil, Gourcuff Gradenigo, 2006, cat. 16, pp. 50-51, repr.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Massimo Stanzione, The Seven Archangels<\/em>, oil on canvas, 2410 x 4000 mm, Madrid, Monasterio de las Descalzas Reales, Patrimonio Nacional, inv. 00610873. \u00a9 Centro de Estudios Europa Hisp\u00e1nica.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Bonaventure Louis Pr\u00e9vost<\/h1>\n\n\n\n

PORTRAIT OF A YOUNG BOY <\/em>AT THE METROPOLITAN MUSEUM OF ART IN NEW YORK<\/h2>\n\n\n\n
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BONAVENTURE LOUIS PR\u00c9VOST
Paris, 1733-1816<\/p>\n\n\n\n

PORTRAIT OF A YOUNG BOY
1795<\/h4>\n\n\n\n

Grey ink (using the tip of the brush), grey wash<\/h6>\n\n\n\n
175 x 140 mm [the composition]
225 x 165 mm [the sheet]<\/h6>\n\n\n\n
Signed, localised and dated under the framing line: \u201cPrevost fecit. Canettecourt 1795.\u201d<\/h6>\n\n\n\n
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Official records are the only documents that mention the actual first name of \u201cB. L. Prevost\u201d, as the engraver signed his plates. It was \u201cBonaventure Louis\u201d and not \u201cBeno\u00eet Louis\u201d, as he was dubbed by Georg Kaspar Nagler and Louis Le Blanc, as well as most subsequent commentators. Furthermore, Pr\u00e9vost\u2019s post-death inventory dates from 30 March 1816 and the death and inheritance tables of the city of Paris indicate that he died on 19 March 1816 at the age of 83, contrary to the details given in most biographical dictionaries.1<\/sup><\/p>\n\n\n\n

With the help of a few quotations, we can draw a brief portrait of Bonaventure Louis Pr\u00e9vost, engraver, draughtsman, print dealer and collector. In his catalogue of the work of Charles Nicolas Cochin, for whom Pr\u00e9vost was the engraver of choice, Charles-Antoine Jombert states that \u201che also acquired various other plates that form part of the work of M. Cochin fils, & which he is selling together or separately, for the convenience of collectors.\u201d2<\/sup> His activity as a dealer, the scale of which is difficult to quantify, probably enabled Pr\u00e9vost to assemble a handsome collection of prints. For the most part these were etchings by painters, as Pr\u00e9vost was \u201cconvinced that an etching engraved by the artist himself can be likened to a drawing in which the artist has preserved the first draft of his ardent imagination, and fixed, as it were, the rapid flight of his thought.\u201d3<\/sup> This collection, along with a few paintings, more than two hundred drawings \u2013 some from the Crozat, Gouvernet, Mariette and Lempereur collections \u2013 as well as a number of books, were offered for sale in January 1810, probably at the time when he was making arrangements for his estate.4<\/sup> 5<\/sup><\/p>\n\n\n\n

As the title of that sale indicates, Pr\u00e9vost was also a draughtsman and not just an engraver, although the latter activity seems to have been predominant. In particular, he engraved the famous frontispiece to Diderot and d’Alembert’s Encyclop\u00e9die<\/em> after a drawing by Cochin, of which there are two versions, one completed in 1772, the other in 1775.6<\/sup> He also engraved plates of drawings by Moreau le Jeune for the Encyclop\u00e9die <\/em>(in particular for the chapter in volume III devoted to \u201cdrawing\u201d, for which Pr\u00e9vost also wrote the commentaries) as well as vignettes, for example for Desormeaux’s Histoire de la Maison de Bourbon<\/em>, a substantial illustrated book, which also featured work by Boucher, Fragonard, Vincent and Choffard.
<\/p>\n<\/div>\n\n\n\n

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Pr\u00e9vost excelled in \u201csmall engravings\u201d, the precision of his burin enabling him to accurately transcribe every detail of a composition despite the constraints of a small format. That is how he was described in a 1776 Almanach<\/em> devoted to the arts, where he was also credited with being a \u201cproper and elegant draughtsman\u201d.7<\/sup> An echo of the \u201crefined and sensitive tact\u201d with which he seems to have been gifted.8<\/sup><\/p>\n\n\n\n

In parallel with his engraving work, Pr\u00e9vost also worked as a draughtsman-portraitist, as testified by a dozen surviving sheets. The only exception is the equestrian statue of Louis XV after Edm\u00e9 Bouchardon, in pen and grey ink, dated 1764, a preparatory drawing for a plate reproduced in a book, published in 1768, by Pierre Jean Mariette on the making of the same statue.9<\/sup> Although there is a pair of portraits in profile drawn in black chalk, in the manner of Cochin, the other drawings are in pen and grey ink, sometimes retouched with black chalk. Among them, Pr\u00e9vost\u2019s tribute to his friend, the publisher and print dealer Jacques Fran\u00e7ois Ch\u00e9reau, engraved in aquatint by Antoine Carr\u00e9e (ill. below), ought to be the most famous.10<\/sup> 11<\/sup> In fact, Pr\u00e9vost sometimes seems only ever to use the tip of the brush, as is the case in our portrait of a young boy, in stark contrast to his practice as an engraver, but nonetheless with the same acute sense of light and shade. It was almost certainly this sensitivity \u2013 which will have been evident from the comments above \u2013 that established his discreet reputation as a portraitist.<\/p>\n\n\n\n

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Bonaventure Louis Pr\u00e9vost, Portrait of Jacques Fran\u00e7ois Ch\u00e9reau<\/em>, circa 1780, pen and grey ink, grey wash, 170 x 150 mm, present location unknown. \u00a9 Rights reserved.<\/p>\n\n\n\n

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The Metropolitan Museum of Art in New York has acquired Bonaventure Louis Pr\u00e9vost\u2019s portrait during our March 2024 exhibition of Old Master and 19th<\/sup>-century drawings.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

1<\/sup> Jeffares, 2006. Nevertheless, the author does not specify either the location or the reference number of the archive items in question. Post-death inventory: Paris, Archives nationales, minutes et r\u00e9pertoires du notaire Henri Simon Boulard, MC\/ET\/LXXIII\/1251 (MC\/RE\/LXXIII\/22).<\/p>\n\n\n\n

2<\/sup> Charles-Antoine Jombert, Catalogue de l\u2019\u0153uvre de Ch. Nic. Cochin fils, \u00e9cuyer, chevalier de l’ordre du Roy, censeur royal, garde des desseins du cabinet de sa Majest\u00e9, secr\u00e9taire & historiographe de l’Acad\u00e9mie royale de peinture et de sculpture<\/em>, Paris, Laurent Fran\u00e7ois Prault, 1770, p. 77.<\/p>\n\n\n\n

 Fran\u00e7ois L\u00e9andre Regnault-Delalande, Catalogue raisonn\u00e9 d\u2019estampes anciennes et modernes, de peintre et de graveurs c\u00e9l\u00e8bres des \u00e9coles d\u2019Italie, de Flandres, de Hollande, d\u2019Allemagne, d\u2019Angleterre et de France, quelques recueils, livres \u00e0 figures et sur les arts, tableaux et dessins, du cabinet de Mr Pr\u00e9vost, dessinateur et graveur<\/em>, Paris, Fran\u00e7ois L\u00e9andre Regnault-Delalande, 1809 [Lugt 7685], p. i.<\/p>\n\n\n\n

3<\/sup> Fran\u00e7ois L\u00e9andre Regnault-Delalande, Catalogue raisonn\u00e9 d\u2019estampes anciennes et modernes, de peintre et de graveurs c\u00e9l\u00e8bres des \u00e9coles d\u2019Italie, de Flandres, de Hollande, d\u2019Allemagne, d\u2019Angleterre et de France, quelques recueils, livres \u00e0 figures et sur les arts, tableaux et dessins, du cabinet de Mr Pr\u00e9vost, dessinateur et graveur<\/em>, Paris, Fran\u00e7ois L\u00e9andre Regnault-Delalande, 1809 [Lugt 7685], p. i.<\/p>\n\n\n\n

4<\/sup> Ibid.<\/em>, p. iij.<\/p>\n\n\n\n

5<\/sup> Benjamin Peronnet, Burton B. Fredericksen, R\u00e9pertoire des tableaux vendus en France au XIX<\/em>e<\/sup><\/em> si\u00e8cle. Volume I, 1801-1810<\/em>, t. 1, Los Angeles, The J. Paul Getty Trust, 1998, n\u00b0 227, p. 68.<\/p>\n\n\n\n

6<\/sup> Christian Michel, Charles-Nicolas Cochin et le livre illustr\u00e9 au XVIII<\/em>e<\/sup><\/em> si\u00e8cle. Avec un catalogue raisonn\u00e9 des livres illustr\u00e9s par Cochin (1735-1790)<\/em>, Gen\u00e8ve, Librairie Droz, 1987, n\u00b0 126, pp. 283-288.<\/p>\n\n\n\n

7<\/sup> Abb\u00e9 Le Brun, Almanach historique et raisonn\u00e9 des architectes, peintres, sculpteurs, graveurs et cizeleurs : contenant des notions sur les cabinets des curieux du royaume, sur les marchands de tableaux, sur les ma\u00eetres \u00e0 dessiner de Paris, & autres renseignemens utiles relativement au dessin. D\u00e9di\u00e9 aux amateurs des arts<\/em>, Paris, [s. e.], 1776, p. 177. Neil Jeffares’ reference (cf. n. 1) to a certain \u00ab\u00a0Prevost l’a\u00een\u00e9\u00a0\u00bb, who \u00ab\u00a0also painted portraits very well\u00a0\u00bb (p. 138), applies in our opinion to another artist, also a flower painter, who worked not far from his wife, a painter of miniatures, in the area around the Portes Saint-Martin and Saint-Denis (pp. 116 and 120).<\/p>\n\n\n\n

8<\/sup> Regnault-Delalande, 1809, op. cit.<\/em>, p. ij.<\/p>\n\n\n\n

9<\/sup> Paris, Biblioth\u00e8que nationale de France, d\u00e9partement des Estampes et de la Photographie, inv. RES QB-201 (105)-FOL, fol. 37, Hennin 9162 (facing p. 161).<\/p>\n\n\n\n

10<\/sup> Collection Jean Masson, sale of, Paris, Galerie Petit, 7 and 8 May 1923, lots 192 and 193. The first is dated 1771.<\/p>\n\n\n\n

11<\/sup> Collection Paul Mathey, sale of, Paris, H\u00f4tel Drouot, 18 May 1901, lot 60 (last known location).<\/p>\n<\/div>\n<\/div>\n\n\n\n

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VINCENZO
GEMITO<\/h1>\n\n\n\n

PORTRAIT OF A YOUNG GIRL<\/em>
AT THE MUS\u00c9E D’ORSAY<\/h2>\n\n\n\n
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VINCENZO GEMITO
Naples, 1852-1929<\/p>\n\n\n\n

PORTRAIT OF A YOUNG GIRL
1917<\/h4>\n\n\n\n

Black chalk, graphite, gouache, watercolor, black ink, white chalk<\/h6>\n\n\n\n
555 x 365 mm
Signed and dated bottom left: \u00abGEMITO.\/1917\u00bb.<\/h6>\n\n\n\n
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Vincenzo Gemito’s was born from unknown father and mother. The day after his birth, he was left on the steps of the Real Casa Santa dell’Annunziata, a church that took in abandoned children. He was then adopted by Giuseppina Baratta, whose second husband, Francesco Jadiccio, who Gemito called Masto (or Mastro) Ciccio, became not only his adoptive father but also, years later, his assistant in casting bronzes. His childhood and adolescence were marked by poverty and a hard life. The many portraits of young models he met on the streets reflect his everyday surroundings, an attention to life that he will always cherish. At thirteen years old, he met Antonio Mancini, they both enrolled at the Istituto di Belle Arti, Mancini studying painting, Gemito studying sculpture, under the tuition of Domenico Morelli. Gemito soon made his mark and began exhibiting at the Societ\u00e0 Promotrice di Belle Arti in 1870. In Paris, he presented the bronze of Il Pescatorello<\/em> (\u00ab\u00a0The Neapolitan Fisherboy\u00a0\u00bb). It was exhibited at the third Paris World’s Fair in 1878 and met with great success. From then on, despite the tragic loss of people dear to him \u2212 Mathilde Duffaut in 1878, then, in 1904, his wife Anna Cutolo, who ran the foundry he had constructed in 1883 \u2212 and despite psychological instability, Gemito regularly exhibited bronzes that enjoyed a certain fame.<\/p>\n<\/div>\n\n\n\n

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Although he practised drawing throughout his career, Gemito spent more time on this practice during the last thirty years of his life. He worked with chalks rather than with pen and ink, mixing techniques liberally. Apart from commissions from public figures, he drew numerous portraits of the people around him, mainly his nieces, or female models he had seen in Naples neighbourhoods and in the countryside. Gemito was particularly attentive to volume and shape which he brought out with light and shadow, thus intensifying the physical presence of his subjects.
This portrait of a girl, with dishevelled hair and a rebellious air, is a kind of counterpoint to the portrait, executed a year earlier, of his niece Anita with her hair neatly tied up with a striped bow. Gemito belongs in the tradition of verismo portraits of ordinary people; the exaltation of their raw, unadorned beauty places him in the tradition of 17th-century Neapolitan naturalism.<\/p>\n\n\n\n

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The Mus\u00e9e d\u2019Orsay has acquired Vincenzo Gemito\u2019s \u201cPortrait of a Young Girl\u201d during our June 2023 exhibition of Neapolitan drawings from 17th to 19th century.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

CARLO MARATTICamerano (Ancona), 1625-Rome, 1713 STUDIES OF FIGURES FOR THE IMMACULATE CONCEPTION IN THE DA SILVA CHAPEL IN SANT\u2019ISIDORO AGRICOLA […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-839","page","type-page","status-publish","hentry"],"yoast_head":"\nNotable works - 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