King Solomon Beholds the Ark of the Covenant Being Brought to the Temple
Andrea Vicentino (Andrea Michieli) (Italian, Venice 1542–1618 Venice)
Pen and brown ink, brush and brown wash, highlighted with white gouache, over traces of black chalk, on blue paper
18-1/2 x 12-3/4 in. (47.2 x 32.7 cm)
Gift of William S. Lieberman, in memory of Jacob Bean, 1997
Not on view
Representing an episode in the reign of King Solomon of the Old Testament (First Book of Kings), this large, highly finished composition is executed in a dense, painterly brush technique on blue paper that is typical of North-Italian practice. The drawing dates from the artist's late period, and may have been intended as a demonstration piece for a patron to show the design of a monumental canvas or fresco with an arched shape. As identified only recently by Stefania Mason (June 2013), the drawing is in fact a preparatory modello for the organ shutters of the Church of San Zulian (San Giuliano) in Venice, painted by Il Vicentino in 1604. A drawing in the Musée des Beaux-arts, Nantes, has also been identified as the preparatory modello for the organ shutters at San Zulian (see: Ettore Merkel, "Le portelle di Andrea Vicentino per l'antico organo di San Zulian: un recupero avventuroso," Arte Veneta, no. 46, 1994, pp. 104-105).
Little is known about Vicentino, a superbly fluent draftsman, who assimilated the Venetian tradition of painting from his training in the workshop of Alessandro Maganza. Originally from the city of Vicenza, as this drawing vividly attests, Vicentino's pictorial vocabulary emerged from the "grand manner" of Jacopo Tintoretto and Palma il Giovane, but the style in this sheet also evokes closely that of Paolo Farinati, Vicentino's near contemporary from neighboring Verona.
Lester Avnet; Donor: William S. Lieberman (American, Paris 1923–2005 New York)
Linda Wolk-Simon, Carmen C. Bambach An Italian Journey. Drawings from the Tobey Collection: Correggio to Tiepolo. Exh. cat., The Metropolitan Museum of Art, New York (May 12 - August 15, 2010). New York, 2010, p. 106, under no. 29, fig. 29.2 (entry by Carmen C. Bambach).
Artist: Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483–1520 Rome)Date: 1508–10Medium: Pen and brown ink over black chalk, partially incised with a stylus (recto); rubbed with black chalk for transfer (verso)Accession: 1997.153On view in:Not on view
Artist: Stefano da Verona (Stefano di Giovanni) (Italian, Verona (?) 1374/75–?ca. 1438 Castel Bragher)Date: 1435–38Medium: Pen and brown ink, over traces of charcoal or black chalk (recto); pen and brown ink, brush with touches of brown wash, over traces of charcoal or black chalk (verso)Accession: 1996.364a, bOn view in:Not on view
Artist: Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise)Date: 1510–1513Medium: Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing outline in pen and brown ink at upper right (not by Leonardo)Accession: 51.90On view in:Not on view
Artist: Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise)Date: 1480–85Medium: Silverpoint, partly reworked by the artist with pen and dark brown ink on pink prepared paper; lines ruled with metalpoint (recto); pen and brown ink (verso)
Accession: 17.142.1On view in:Not on view