Attributed to Filippino Lippi (Italian, Prato ca. 1457–1504 Florence)
Pen and brown ink, brush and brown wash, highlighted with white gouache
Sheet: 6 7/8 x 8 3/4 in. (17.5 x 22.2 cm)
Rogers Fund, 1968
Not on view
This bold, lively sketch of a Madonna and Child, attended by Angels, was probably preparatory for a painted panel of the same subject. Lippi’s mastery at defining shapes and volumes by controlling the intricate and dense network of lines in pen and ink is clearly evident. Given its similarities to other late drawings by the artist done with a similar technique - see for example the double-sided sheet of studies for a Madonna and Child in the British Museum, London inv. 1946,0713.4 (Popham and Pouncey 1950, no. 63) - the present sheet can be dated to shortly before Filippino died in 1504. When it was still in the Cartwright collection at Aynhoe (United Kingdom), the drawing was originally attributed by Philip Pouncey to Filippino's pupil Raffaellino del Garbo (ca. 1476-1527), an attribution followed by Jacob Bean when the study was acquired by the Museum in 1968. The attribution to Flippino was first proposed by Byam Shaw in 1983 and widely accepted by scholars (see here "References" for the most recent bibliography on the drawing). As pointed out by George Goldner (1997), the study belongs to a sequence of late pen-and-ink drawings that are datable to the last fifteen years of Filippino's life. The earliest securely dated example is the study in Lille made for a sibyl on the vault of the Carafa Chapel (See Bambach and Goldner 1997, no. 49). Others produced during the ensuing years include the Dancing Putto and the British Museum studies of the Virgin and Child, as well as the various drawings for the Pietà (originally intended for the never-executed altarpiece in the Certosa of Pavia) and the Washington, D.C., study of an angel for the altarpiece of 1501 in Bologna ( Bambach and Goldner 1997, nos. 86-88, 107). All share with the present work broad pen lines, animated short, often parallel strokes, notational and sometimes eccentric detailing of hands and feet, and broad use of wash; several also display abstract divisions of faces like those that mark the two angels here. It should be noted that none of these elements of style or draftsmanship occurs in any known drawing by Raffaellino. (FR)
Jan Pietersz. Zomer (Dutch, Amsterdam 1641–1699 Amsterdam)- his handwriting identified by Michiel Plomp; Sir Fairfax Cartwright - The Grammar House, Aynhoe, Oxfordshire (sale, Christie's, London, June 25, 1968, lot 62, to Colnaghi.; Christie's, London, June 25, 1968, lot 62, repr.; P. & D. Colnaghi & Co.
The Metropolitan Museum of Art. "The Metropolitan Museum of Art: Notable Acquisitions 1965-1975," December 6, 1975–March 23, 1976.
The Metropolitan Museum of Art. "The Drawings of Filippino Lippi and His Circle," October 28, 1997–January 11, 1998.
New York. The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," July 15–September 29, 2014.
Arthur Ewart Popham, Philip Pouncey Italian Drawings in the Department of Prints and Drawings in the British Museum: The Fourteeth and Fifteenth Centuries.. British Museum, vol. 1, London, 1950, cat. no. 63.
Luisa Vertova "Aste, Christie's e Sotheby's alla Riscossa." Antichità viva. vol. 7, no. 3, Italy, 1968, fig. no. p. 62, p. 62, ill.
Exhibition of Old Master and English Drawings. Exh. cat., May 28 - June 13. P. & D. Colnaghi & Co., London, 1969, cat. no. 2, fig. no. 2, ill.
Jacob Bean "Ninety-ninth Annual Report of the Trustees for the Fiscal Year 1968-1969, Reports of the Departments: Drawings." in The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, n.s. vol. 28, no. 2, New York, October 1969, fig. no. p. 66, pp. 65-67, ill.
Jacob Bean in The Metropolitan Museum of Art: Notable Acquisitions, 1965-1975: Drawings. New York, 1975, p. 59 (as Raffaellino del Garbo), ill.
Jacob Bean Patterns of Collecting: Selected Acquisitions, 1965-1975 Explanatory texts accompanying an exhibition: December 6, 1975 through March 23, 1976. The Metropolitan Museum of Art, New York, 1975, p. 59, ill.
Jacob Bean, Lawrence Turčić 15th and 16th Century Italian Drawings in the Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, 1982, cat. no. 93, fig. no. 93, p. 102, ill.
James Byam Shaw "Review of an exhibition of 15th and 16th Century Italian Drawings in the Metropolitan Museum of Art." Master Drawings. vol. 21, no. 4, New York, Winter 1983-1984, pp. 411-12.
Nicholas Turner, Christopher Lloyd, Mary Anne Stevens, Ian Woodner Master Drawings, The Woodner Collection. Exh. cat., London, Royal Academy of Art. London, 1987, cat. no. 22E, p. 74.
George R. Goldner, Carmen C. Bambach, Alessandro Cecchi, William M. Griswold, J. Nelson, Innis H. Shoemaker, Elizabeth E. Barker The Drawings of Filippino Lippi and His Circle Exh. cat., October 28, 1997 - January 11, 1998. The Metropolitan Museum of Art, New York, 1997, cat. no. 85, fig. no. p. 281, pp. 280-281, ill.
Claudia La Malfa "A New Sketch by Filippino Lippi for the "Assumption of the Virgin" in the Carafa Chapel." Master Drawings. vol. 43, no. 2, 2005, p. 146, n. 11, fig. 6.
Carmen C. Bambach "Tuscan Drawings of the Quattrocento and Cinquecento in the Metropolitan Museum of Art 1998-2005." Invisibile agli occhi: Atti della giornata di studio in ricordo di Lisa Venturini. Ed. by Nicoletta Baldini, Fondazione di Studi di Storia dell'Arte Roberto Longhi, Florence, 2007, p. 89 n.18.
Carmen C. Bambach "'Porre le figure disgrossatamente': gli schizzi di Leonardo e l'immaginazione creativa." Leonardo da Vinci 1452-1519: il disegno del mondo. Ed. by Pietro C. Marani, and Maria Teresa Fiorio, Exh. cat. Milan, Palazzo Reale, 2015, pp. 55, 57, 61n, fig. 12, ill.
Artist: Filippino Lippi (Italian, Prato ca. 1457–1504 Florence)Date: 1457/58–1504Medium: Metalpoint, highlighted with white gouache, on pink prepared paper (recto); metalpoint, on pink prepared paper (verso)Accession: 36.101.1On view in:Not on view
Artist: Filippino Lippi (Italian, Prato ca. 1457–1504 Florence)Date: ca. 1480Medium: Soft metalpoint, highlighted with white gouache (some touches of black chalk probably added by later hand), on ochre prepared paperAccession: 1998.193On view in:Not on view