Brush and brown wash, over slight traces of black chalk
11-5/8 x 6-9/16 in. (29.5 x 16.7 cm)
Rogers Fund, 1961
Not on view
The historical attribution of this drawing to Romanino is due to the Milanese Eighteenth-century collector and connoisseur Sebastiano Resta, who annotated the sheet on top "Gerolamo Romanino Prattico / Pittore Bresciano" (Resta's autography was recognized by Carmen Bambach and endorsed by Alessandro Nova in 2005, see here Bibliography). Jacob Bean accepted Florence Kossoff's proposal that this might have been a preparatory study for the figure of Adam in the scene of Christ's Descent into Limbo, painted by Romanino between 1534-35 in a fresco cycle for the church of Santa Maria della Neve, Pisogne. The drawing, like the Pisogne fresco, probably dates from the last decade of Romanino's life (the previously published date of ca. 1574 seems incorrect in view of the artist's probable death date). In Carmen Bambach's opinion, the resemblance between the drawing and Pisogne fresco seems generic rather than direct; the poses and physical types of the male figures seem quite different. (Furio Rinaldi, 2014, based on a curatorial remark by Carmen C. Bambach of June, 2005)
Inscription: Recto is annotated in pen and brown ink at upper right, by an early collector, most probably Padre Sebastiano Resta: "Gerolamo Romanino Prattico / Pittore Bresciano." A long annotation in pen and brown ink below this identification of the artist, also at upper right, was erased and appears now illegible.
(Carmen C. Bambach; June 28, 2005)
Padre Sebastiano Resta (Italian, Milan 1635–1714 Rome); Private Collection, London; Hans M. Calmann, 1958; Vendor: H. M. Calmann Gallery (British)
The Metropolitan Museum of Art. "Drawings from New York Collections I: The Italian Renaissance," November 8, 1965–January 9, 1966.
Los Angeles County Museum of Art. "Old Master Drawings from American Collections," April 29, 1976–June 13, 1976.
Castello del Buonconsiglio, Trento. "Romanino: Un pittore in rivolta nel Rinascimento italiano," July 29, 2006–October 29, 2006.
Hans M. Calmann Old Master Drawings. London, 1958, no. 7, repr.
Antonio Morassi "Alcuni disegni inediti del Romanino." in Festschrift Karl M. Swoboda zum 28. Januar 1959. Vienna, 1959, p. 190, fig. 39 (as in private collection, London), ill.
Jacob Bean "The Drawings Collection." The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, vol. 20, New York, 1962, p. 163, fig. 6.
Creighton Gilbert "Una monografia sul Romanino." in Arte Veneta. vol. 16, 1962, p. 201, fig. 232.
Florence Kossoff A new book on Romanino. in Burlington Magazine. Master's thesis, February 1963 pp. 75, 77, fig. 52, fig. no. 52, ill.
Jacob Bean, Felice Stampfle Drawings from New York Collections, Vol. I: The Italian Renaissance. Exh. cat. The Metropolitan Museum of Art, New York, 1965, p. 44, no. 56, ill.
H. A. Peters "Bemerkungen zu Oberitalienischen Zeichnungen des XV. und XVI. Jahrhunderts, 1. Teil." in Wallraf-Richartz-Jahrbuch. Wallraf-Richartz-Museum, vol. 27, Cologne, Germany, 1965, p. 162.
Ebria Feinblatt Old Master Drawings from American Collections. Exh. cat., Los Angeles County Museum of Art. Los Angeles County Museum of Art, Los Angeles, 1976, p. 44, no. 41.
Edward J. Olszewski, Jane Glaubinger The Draftsman's Eye: Late Italian Renaissance Schools and Styles. Exh. cat., Cleveland Museum of Art. March 6 - April 22, 1979. Cleveland, 1981, pp. 137, 146, no. 120.
Jacob Bean, Lawrence Turčić 15th and 16th Century Italian Drawings in the Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, 1982, pp. 220-23, no. 220, repr.
Lia Camerlengo, Francesco Frangi et al. Romanino: Un pittore in rivolta nel Rinascimento italiano. Exh. cat., Castello del Buonconsiglio, monumenti e collezioni provinciali, Trento. Cinisello Balsamo, Milan, 2006, pp. 340-41, no. 74 (entry by Alessandro Nova), ill.
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:The Met Floor 3