.jpg?w=1)
.jpg?w=1)
Provenant de la collection Himmelheber
PIETRO BERRETTINI, DIT PIETRO DA CORTONA (CORTONE 1596-1669 ROME)
Figure en pied accoudée sur une balustrade, et reprise de deux études de tête
细节
PIETRO BERRETTINI, DIT PIETRO DA CORTONA (CORTONE 1596-1669 ROME)
Figure en pied accoudée sur une balustrade, et reprise de deux études de tête
pierre noire, traces de craie blanche, sur papier brun
38,2 x 25,7 cm (15 ¼ × 10 1⁄8 in.)
Figure en pied accoudée sur une balustrade, et reprise de deux études de tête
pierre noire, traces de craie blanche, sur papier brun
38,2 x 25,7 cm (15 ¼ × 10 1⁄8 in.)
来源
Philipp Herrmann (1899-1968), Karlsruhe (L. 1352a), puis par descendance,
Bernhard Himmelheber (1898-1966), Karlsruhe, puis par descendance.
Bernhard Himmelheber (1898-1966), Karlsruhe, puis par descendance.
更多详情
PIETRO BERRETTINI, CALLED PIETRO DA CORTONA, A FIGURE LEANING ON A FENCE, WITH TWO SUBSIDIARY STUDIES OF THE HEAD, BLACK AND WHITE CHALK ON LIGHT-BROWN PAPER
This large study of a man leaning on his elbow, followed by a soldier wearing a helmet, is a preparatory sketch for one of the frescoes decorating the vault of the grand gallery of the Doria Pamphili Palace, located in Rome's Piazza Navona, commissioned by Pope Innocent X. The decoration depicting the story of Aeneas was created around 1651-1654 by Pietro da Cortona, who had returned to Rome after his stay in Florence. This is a detail from the episode of the Death of Turnus, Prince of the Rutuli, who fights against Aeneas (fig. 1; G. Briganti, Pietro da Cortona o della Pittura Barocca, Florence, 1982, no. 117, fig. 257).In a study of the overall composition, in pen and brown ink, the position of the man leaning on his elbow, and in particular the way his legs are crossed, is slightly different from that in the fresco and more closely corresponds to the present drawing (fig. 2; London, Royal Collection, inv. RCIN 904524; A. Blunt, H.L Cooke, The Roman Drawings of the XVII and XVIII Centuries in the Collection of Her Majesty The Queen at Windsor Castle, London, 1960, no. 605).Pierre de Cortone's graphic style is typical here: black chalk is used in broad, rapid strokes, with some corrections visible along the left forearm of the main figure and also around the profile of his face, with its very characteristic almond-shaped eyes and straight, pronounced nose bridge.The drawing is mounted on an 18th-century backing, watercoloured on the reverse with two faux frames, one green and the other black, and a pink ribbon labelled “Pietro da Cortona”, which would have framed two earlier drawings by the artist on the reverse of this study, probably a page from an album.We are grateful to Jorg Merz for confirming the attribution after examining photographs of the work and for his assistance in writing this note.
This large study of a man leaning on his elbow, followed by a soldier wearing a helmet, is a preparatory sketch for one of the frescoes decorating the vault of the grand gallery of the Doria Pamphili Palace, located in Rome's Piazza Navona, commissioned by Pope Innocent X. The decoration depicting the story of Aeneas was created around 1651-1654 by Pietro da Cortona, who had returned to Rome after his stay in Florence. This is a detail from the episode of the Death of Turnus, Prince of the Rutuli, who fights against Aeneas (fig. 1; G. Briganti, Pietro da Cortona o della Pittura Barocca, Florence, 1982, no. 117, fig. 257).In a study of the overall composition, in pen and brown ink, the position of the man leaning on his elbow, and in particular the way his legs are crossed, is slightly different from that in the fresco and more closely corresponds to the present drawing (fig. 2; London, Royal Collection, inv. RCIN 904524; A. Blunt, H.L Cooke, The Roman Drawings of the XVII and XVIII Centuries in the Collection of Her Majesty The Queen at Windsor Castle, London, 1960, no. 605).Pierre de Cortone's graphic style is typical here: black chalk is used in broad, rapid strokes, with some corrections visible along the left forearm of the main figure and also around the profile of his face, with its very characteristic almond-shaped eyes and straight, pronounced nose bridge.The drawing is mounted on an 18th-century backing, watercoloured on the reverse with two faux frames, one green and the other black, and a pink ribbon labelled “Pietro da Cortona”, which would have framed two earlier drawings by the artist on the reverse of this study, probably a page from an album.We are grateful to Jorg Merz for confirming the attribution after examining photographs of the work and for his assistance in writing this note.
荣誉呈献
Hélène Rihal
Head of Department
查阅状况报告或联络我们查询更多拍品资料