Art/ Collection/ Art Object
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Saint John the Evangelist (recto; Cartoon for a Fresco); Saint Mark (verso; Cartoon for a Fresco).

Artist:
Francesco Salviati (Francesco de' Rossi) (Italian, Florence 1510–1563 Rome)
Date:
1548–49
Medium:
(Recto and verso) Charcoal, highlighted with white chalk, on blue paper; outlines heavily stylus-incised on recto, and partly so on verso
Dimensions:
Overall: 20 7/16 x 9 5/8 in. (51.9 x 24.4 cm)
Classification:
Drawings
Credit Line:
Purchase, Lila Acheson Wallace and Leon D. and Debra R. Black Gifts, 2001
Accession Number:
2001.409a, b
Not on view
This rare, bold, and large drawing was a preparatory cartoon (full-scale drawing), for a fresco painting of 1548-49 in the cappella del Pallio, a small private chapel of the Cardinal Alessandro Farnese (1520-1589) in the Palazzo della Cancelleria in Rome. It is a design for St. John the Evangelist, painted on the underside of the main arch over the altar of the chapel, and is the only surviving cartoon by Salviati. The artist posed the deeply expressive male figure in a relief-like plane, with an elegant contrapposto (the turning of the body and its limbs in counterpoints of form), to create suggestive profile and frontal views that enhance the visual power of the image. The drawing is executed with very dynamic contrasts of finish and unfinish, in which the charcoal is at times seamlessly blended for polished, highly luminous effects, while at other times the bold strokes of the charcoal applied in parallel and cross-hatching are left evident for expressive effects. As a final step, Salviati traced the outlines of the figure with a fine metal point, a quicker way to transfer the design onto the plaster fresco surface, than the technique of pricking and pouncing the outlines with a sharp point. A sixteenth-century collector annotated the sheet at lower right with Salviati’s nickname: "Cichin[o] Salviati."
(Carmen C. Bambach)
Inscription: The recto of the sheet was annotated at lower right by a sixteenth-century hand, in pen and dark brown ink script: "Cichin[o] Salviati."
Collection Gourgaud, Paris; Sale 1216: TajanApril 5, 2001, lot 16; Katrin Bellinger Kunsthandel, Munich; Vendor: Katrin Bellinger Kunsthandel, Munich
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," January 8, 2007–March 25, 2007.

The Metropolitan Museum of Art. "The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions," October 24, 2008–February 1, 2009.

The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," August 27, 2013–November 18, 2013.

The Metropolitan Museum of Art. "Paper Chase: Two Decades of Collecting Drawings and Prints," December 9, 2014–March 16, 2015.

Catherine Monbeig Goguel, Michel Hochmann, Philippe Costamagna Francesco Salviati et la Bella Maniera. Actes des Colloques de Rome et de Paris (1998). Rome, 2001, pp. 6, 719.

Carmen C. Bambach Renaissance Drawings: Material and Function Heilbrunn Timeline of Art History. New York, October 2002.

Carmen C. Bambach, Michiel C. Plomp, Colta Ives, Perrin Stein "Recent Acquisitions, A Selection: 2001-2002." in The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, vol. 60, no. 2, Autumn 2002, p. 15, ill.

Catherine Monbeig Goguel "Attualità della ricerca su Francesco Salviati, dieci anni dopo la monografia di Luisa Mortari." Per la storia dell'arte in Italia e in Europa. Ed. by Mimma Pasculli Ferrara, 2004, pp. 203-204, figs. 1a-c, both recto and verso repr.

John Marciari "Review of Francesco Salviati et la Bella Maniera: Actes des colloques de Rome et de Paris" Master Drawings. vol. 43, no. 3, 2005, pp. 381, 383 notes 11-12.

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, fig. no. 96-97., pp. 82, 92 n.42., ill.

Carmen C. Bambach "Disegno, pittura e l'ideale del "ben finito cartone"." Il Primato del Disegno. I disegni dei grandi maestri a confronto con i dipinti della Pinacoteca di Brera: dai Primitivi a Modigliani. Ed. by Sandrina Bandera, Exh. cat. Pinacoteca di Brera, Milan, 2015, p. 21, note 51, figs. 4-5 (recto and verso repr.).



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