Virgin Adoring the Christ Child with Saint John the Baptist (recto); The Holy Family with Saint John the Baptist (verso).
Master of Santo Spirito (Italian (Florentine), 16th century)
Pen and brown ink, brush and brown wash, over traces of black chalk, on off-white paper washed pale ochre-pink
sheet: 7 7/16 x 5 1/4in. (18.9 x 13.4cm) maximum; upper corners cut
Harry G. Sperling Fund, 2001
Not on view
Acquired by the Metropolitan Museum of Art in 2001, a double-sided sheet of quickly drawn 'Madonna' composition sketches was convincingly attributed by George R. Goldner to the Master of Santo Spirito ("Maestro di Santo Spirito") who is to be identified with either Agnolo, or less probably Donnino di Domenico del Mazziere. The exhibition "Maestri e botteghe. Pittura a Firenze alla fine del Quattrocento" held in 1992 at the Palazzo Strozzi (a project that presented singular contributions by Lisa Venturini and her extraordinary colleagues) was of crucial significance in advancing the state of connoisseurship of Florentine Renaissance paintings and drawings, not the least because it published new archival research on some under-studied artists, and among them the brothers Del Mazziere, Agnolo (1466-1513) and Donnino di Domenico del Mazziere (1460-after 1515).
Due to the precise documentary research by Anna Padoa Rizzo, the oeuvre of the so-called Master of Santo Spirito can be generally identified with that of the brothers Del Mazziere; while the evidence seems to favor Agnolo as the more innovative artist and presumably also the better draftsman, over his older brother, caution nevertheless dictates that presently both artists names be retained at least regarding cases in which attributions can only be made on the basis of style. A corpus of drawings can now also be connected to the Master of Santo Spirito (whose graphic techniques demonstrate the influence of Fillipino Lippi, Piero di Cosimo, Lorenzo Credi, fra' Bartolomeo, Leonardo, and the young Michelangelo), based on some of the proposals by Catherine Monbeig Goguel in 1992-1994. The comparisons securing the attribution of the Metropolitan drawing are most apparent in four sheets that can be unquestionably accepted to be by the Master of Santo Spirito: two double-sided sheets in Paris (Musee du Louvre, inv. nos. 5 and 2704), one sheet in Braunschweig (Herzog Anton Ulrich-Museum, inv. Z 1694), and another in Liverpool (Central Library).
The motif of the Virgin Adoring the Christ Child on the recto of the Metropolitan Sheet is evocative of at least two pictures attributed to the Master of Santo Spirito by Everett Fahy, while the verso, I would add, in portraying the Madonna with the two kissing holy infants at the lower left (the Christ Child and St. John the Baptist), seems to record a lost invenzione by Leonardo, from the late 1480s or 1490s, which was most often replicated by Leonardo's Lombard followers, and thus one can suppose that it probably became accessible to Florentine artists only after 1500-1501, on Leonardo's return to Florence. The verso of the Metropolitan sheet recalls especially the typology of the figures in the altarpiece by the brothers Del Mazziere today in the Pinacoteca at Volterra, which scholars agree is primarily by Agnolo. To judge based on style and the delightfully confident graphic technique, the newly identified Metropolitan double-sided sheet dates to 1503-1513 (Agnolo was inscribed in the Compagnia di San Luca in 1503, and died in 1513); the verso of one of the Paris sheets by the Master of Santo Spirito (Louvre, inv. 2704 verso) portrays physiognomic studies directly inspired by Leonardo's idealized and grotesque profiles from these years, ca. 1503-1513. Like the new Metropolitan drawing by the Master of Santo Spirito, the other four securely autograph sheets in Paris, Braunschweig, and Liverpool are drawn in a nearly identical technique of loose, but dense hatching in pen and ink, on off-white paper which is tinted with ochre-pink wash.
(Carmen C. Bambach, 2007)
Inscription: Annotated at upper left in pen and brown ink: ".R.V"; presumably an incorrect reference to Raphael.
Katrin Bellinger Kunsthandel, Munich; Vendor: Katrin Bellinger Kunsthandel, Munich
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. 90-91., pp. 79, 89 n.21., 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
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: Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome)Date: ca. 1510–11Medium: Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso)Accession: 24.197.2On view in:Not on view