Another Drawing by Gian Antonio Guardi

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<ul><li><p>Another Drawing by Gian Antonio GuardiAuthor(s): Luigi DaniaSource: Master Drawings, Vol. 6, No. 1 (Spring, 1968), pp. 30+71Published by: Master Drawings AssociationStable URL: http://www.jstor.org/stable/1552930 .Accessed: 21/12/2014 10:47</p><p>Your use of the JSTOR archive indicates your acceptance of the Terms &amp; Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp</p><p> .JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.</p><p> .</p><p>Master Drawings Association is collaborating with JSTOR to digitize, preserve and extend access to MasterDrawings.</p><p>http://www.jstor.org </p><p>This content downloaded from 128.235.251.160 on Sun, 21 Dec 2014 10:47:10 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/action/showPublisher?publisherCode=mdahttp://www.jstor.org/stable/1552930?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>been suggested by Sir Anthony Blunt. The painting, approximately I37 x I98 cm., was acquired by Pierre Boel in Poland in I924. A study for the Boals- </p><p>burg painting was published by T. Kamenskaya, "Unveroffentlichte Zeichnungen Abraham Bloe- maerts in der Ermitage' Oud-Holland, LIV, 1937, pp. I48, fig. 2, and I62, cat. no. i6. Kamenskaya, however, dated the drawing in the first years of the seventeenth century and related it stylistically to a drawing in the Albertina dated I629 by Otto Benesch. The Boalsburg painting would appear to be a late work and should date about I630. </p><p>17. Slatkes, Baburen, pp. 70-7I, cat. no. A28, p. 134, </p><p>fig. 27. </p><p>18. Ibid., pp. 68-70, cat. no. A2o, pp. 123-24, fig. 21. </p><p>19. See B. Nicolson, op. cit., cat. no. A8, for the drawing and cat. nos. AI, Aio and A57 for the paintings related to the drawing. For Terbrugghen's use of drawings, see W. Stechow and L. J. Slatkes, Hen- drick Terbrugghen in America, Dayton and Balti- more, 1965/66, cat. nos. 6 and 8. </p><p>20. Slatkes, Baburen, pp. 94-98. A recently discovered Baburen painting of St. Sebastian, now on the Lon- don art market, makes the working relationship between Baburen and Terbrugghen almost a cer- tainty. </p><p>Another Drawing by Gian Antonio Guardi </p><p>Luigi Dania </p><p>IN A PRIVATE COLLECTION in Paris I recently dis- </p><p>covered a drawing, representing the Virtues Peace and Justice (P1. 12), which has been attributed to Francesco Guardi,1 but which must instead be as- </p><p>signed to Gian Antonio Guardi. The drawing was </p><p>formerly in the Anfuso collection, Rome, and then in the Moratilla collection, Paris. It is closely related to Gian Antonio's Triumph of Virtues, the sheet signed on the verso which was once in the Kurt Meissner collection, Zurich,2 but which has now been pre- sented to the Correr Museum by Antonio Morassi in </p><p>memory of his son Mauro,3 and also to three drawings of analogous subject matter in the Biblioteca Comu- </p><p>been suggested by Sir Anthony Blunt. The painting, approximately I37 x I98 cm., was acquired by Pierre Boel in Poland in I924. A study for the Boals- </p><p>burg painting was published by T. Kamenskaya, "Unveroffentlichte Zeichnungen Abraham Bloe- maerts in der Ermitage' Oud-Holland, LIV, 1937, pp. I48, fig. 2, and I62, cat. no. i6. Kamenskaya, however, dated the drawing in the first years of the seventeenth century and related it stylistically to a drawing in the Albertina dated I629 by Otto Benesch. The Boalsburg painting would appear to be a late work and should date about I630. </p><p>17. Slatkes, Baburen, pp. 70-7I, cat. no. A28, p. 134, </p><p>fig. 27. </p><p>18. Ibid., pp. 68-70, cat. no. A2o, pp. 123-24, fig. 21. </p><p>19. See B. Nicolson, op. cit., cat. no. A8, for the drawing and cat. nos. AI, Aio and A57 for the paintings related to the drawing. For Terbrugghen's use of drawings, see W. Stechow and L. J. Slatkes, Hen- drick Terbrugghen in America, Dayton and Balti- more, 1965/66, cat. nos. 6 and 8. </p><p>20. Slatkes, Baburen, pp. 94-98. A recently discovered Baburen painting of St. Sebastian, now on the Lon- don art market, makes the working relationship between Baburen and Terbrugghen almost a cer- tainty. </p><p>Another Drawing by Gian Antonio Guardi </p><p>Luigi Dania </p><p>IN A PRIVATE COLLECTION in Paris I recently dis- </p><p>covered a drawing, representing the Virtues Peace and Justice (P1. 12), which has been attributed to Francesco Guardi,1 but which must instead be as- </p><p>signed to Gian Antonio Guardi. The drawing was </p><p>formerly in the Anfuso collection, Rome, and then in the Moratilla collection, Paris. It is closely related to Gian Antonio's Triumph of Virtues, the sheet signed on the verso which was once in the Kurt Meissner collection, Zurich,2 but which has now been pre- sented to the Correr Museum by Antonio Morassi in </p><p>memory of his son Mauro,3 and also to three drawings of analogous subject matter in the Biblioteca Comu- </p><p>nale at Fermo which I published in this quarterly in </p><p>I966.4 Like them, the drawing is a preliminary design for the decoration of a Venetian palace. It is executed with immediacy and elegance of line, and with inven- tive and compositional freedom. In perfect condition, it measures 229 x 340 mm. and is drawn in pen and wash on white paper. The indication in pencil at the </p><p>upper left, La Giusticia unita con la Pace, is recog- nizably in the same handwriting as the inscriptions on the Fermo and Venice sheets. </p><p>The two Virtues are lightly outlined and skillfully set before the background of a brilliantly illuminated </p><p>sky. Peace, represented in profile, gracefully holding an olive branch in her left hand, resembles the Arch- </p><p>angel Gabriel in the Annunciation at the Staatliche </p><p>Graphische Sammlung in Munich,5 the Rape of Dejanira in a Paris private collection,6 and the Pru- dence of one of the sheets at Fermo. Justice with her characteristic attributes of sword and scales, her head </p><p>slightly bent forward like the Aurora of the Cini col- </p><p>lection, is very close to the Correr Virtues and to the Fermo Faith and at the same time seems to anticipate the Fortitude, in a private collection, which has been restored to Gian Antonio by Morassi.7 The little angel emerging with part of his body at the extreme right can easily be found again in the drawings at Fermo, Munich, and Venice and in various painted composi- tions of the master. </p><p>1. A. Del Massa, Maestri italiani del disegno dal secolo XV al secolo XVIII, Rome, 957, pl. cxvi. </p><p>2. A. Morassi, "A Signed Drawing by Antonio Guardi and the Problem of the Guardi Brothers,' Burlington Magazine, xcv, 1953, PP. 260-67. PE Zampetti, Cata- logo della Mostra dei Guardi, Venice, I965, p. 307. </p><p>3. T. Pignatti, I Disegni dei Guardi, Florence, 1967, no. VII. </p><p>4. L. Dania, "Three Drawings by Gian Antonio Guardi' Master Drawings, iv, 1966, pp. 293-94. </p><p>5. A. Morassi, op. cit., p. 264. B. Degenhart in Hundert </p><p>Meisterzeichnungen aus der Staatlichen Graphischen Sammlung, Munich, I958, p. 8I, pl. oo. </p><p>6. A. Morassi, op. cit., p. 264. </p><p>7. A. Morassi, "Antonio Guardi ai servigi del Feld- maresciallo Schulenburg' Emporium, cxxxi, no. 784 (April, 1960), pp. i47-64. </p><p>nale at Fermo which I published in this quarterly in </p><p>I966.4 Like them, the drawing is a preliminary design for the decoration of a Venetian palace. It is executed with immediacy and elegance of line, and with inven- tive and compositional freedom. In perfect condition, it measures 229 x 340 mm. and is drawn in pen and wash on white paper. The indication in pencil at the </p><p>upper left, La Giusticia unita con la Pace, is recog- nizably in the same handwriting as the inscriptions on the Fermo and Venice sheets. </p><p>The two Virtues are lightly outlined and skillfully set before the background of a brilliantly illuminated </p><p>sky. Peace, represented in profile, gracefully holding an olive branch in her left hand, resembles the Arch- </p><p>angel Gabriel in the Annunciation at the Staatliche </p><p>Graphische Sammlung in Munich,5 the Rape of Dejanira in a Paris private collection,6 and the Pru- dence of one of the sheets at Fermo. Justice with her characteristic attributes of sword and scales, her head </p><p>slightly bent forward like the Aurora of the Cini col- </p><p>lection, is very close to the Correr Virtues and to the Fermo Faith and at the same time seems to anticipate the Fortitude, in a private collection, which has been restored to Gian Antonio by Morassi.7 The little angel emerging with part of his body at the extreme right can easily be found again in the drawings at Fermo, Munich, and Venice and in various painted composi- tions of the master. </p><p>1. A. Del Massa, Maestri italiani del disegno dal secolo XV al secolo XVIII, Rome, 957, pl. cxvi. </p><p>2. A. Morassi, "A Signed Drawing by Antonio Guardi and the Problem of the Guardi Brothers,' Burlington Magazine, xcv, 1953, PP. 260-67. PE Zampetti, Cata- logo della Mostra dei Guardi, Venice, I965, p. 307. </p><p>3. T. Pignatti, I Disegni dei Guardi, Florence, 1967, no. VII. </p><p>4. L. Dania, "Three Drawings by Gian Antonio Guardi' Master Drawings, iv, 1966, pp. 293-94. </p><p>5. A. Morassi, op. cit., p. 264. B. Degenhart in Hundert </p><p>Meisterzeichnungen aus der Staatlichen Graphischen Sammlung, Munich, I958, p. 8I, pl. oo. </p><p>6. A. Morassi, op. cit., p. 264. </p><p>7. A. Morassi, "Antonio Guardi ai servigi del Feld- maresciallo Schulenburg' Emporium, cxxxi, no. 784 (April, 1960), pp. i47-64. </p><p>[30] [30] </p><p>NOTES NOTES </p><p>This content downloaded from 128.235.251.160 on Sun, 21 Dec 2014 10:47:10 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>LU"; </p><p>r*" </p><p>? .2 </p><p>Plate 12 GIAN ANTONIO GUARDI. Peace and Justice. Paris, Private Collection (30) </p><p>I~. '.' .. </p><p>I </p><p>*.. </p><p>. N, . </p><p>, i . .1 . t,I </p><p>ii ... .~? </p><p>P_- </p><p>This content downloaded from 128.235.251.160 on Sun, 21 Dec 2014 10:47:10 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p><p>Article Contentsp. 30p. [71]</p><p>Issue Table of ContentsMaster Drawings, Vol. 6, No. 1 (Spring, 1968), pp. 1-108Front Matter [pp. 1 - 59]Two Composition Drawings by Bergognone [pp. 3 - 61]NotesGiulio Mazzoni as a Draughtsman [pp. 21 - 64]Palma Giovane in the Scuola di S. Maria della Giustizia [pp. 24 - 66]Some Drawings around Dirck van Baburen [pp. 27 - 70]Another Drawing by Gian Antonio Guardi [pp. 30 - 71]Drawings by Francisco and Ramn Bayeu [pp. 31 - 81]Unpublished Studies for "The Oath of the Horatii" by Jacques-Louis David [pp. 37 - 90]</p><p>Letter [pp. 42 - 91]Reviews of Books and Exhibitionsuntitled [pp. 44 - 93]untitled [pp. 47 - 50]untitled [pp. 50 - 53]untitled [pp. 53 - 54]</p><p>Publications Received [pp. 55 - 57]Letter [p. 57]Back Matter [pp. 94 - 108]</p></li></ul>