Pen and brown ink, black chalk with heightening in white
Sheet: 17 1/8 x 10 5/16 in. (43.5 x 26.2 cm)
Mary Trumbull Adams, Van Day Truex, and Harry G. Sperling Funds, 2011
Not on view
Fréminet, who had built a considerable reputation in Italy, was summoned back to France in 1602 by the French king, Henri IV who, two years later, put him in charge of decorating the vault of the chapel of the Trinity at the château of Fontainebleau. Fréminet’s concept was for a compartmentalized ceiling featuring scenes in oil on plaster within a complex scheme of painted and gilt stucco ornament. This study is preparatory for one of the eight standing figures of kings of Judah and Israel which punctuate the side walls. The figure’s strength and regal bearing are expressed in the lively ink line delineating the musculature and Roman military costume, while the anatomy is further accentuated with a smoky shading in black chalk and touches of white chalk. Drawn as if seen from below, the king stands in contrapposto, his right hand on his hip, recalling the muscular figure types of Michelangelo as well as the ancient statues of warriors and gods that Fréminet studied during his Roman sojourn. Overlaying these elements, is a lush and elegant sensibility derived from the richly textured milieu of the château of Fontainebleau where subjects of mythology, history, and religion were everywhere interwoven with a playful vocabulary of ornament and fantasy.
Inscription: on verso: "Tentoret No. 76"
Vendor: Boquet & Marty de Cambiaire
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," January 9, 2012–March 25, 2012.
Stijn Alsteens, George R. Goldner, Constance C. McPhee, Cora Michael, Samantha Rippner, Perrin Stein "Recent Acquisitions, A Selection: 2010-2012." in The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, vol. 70, no. 2, Fall 2012, p. 31, ill.
Artist: Martin Fréminet (French, Paris 1567–1619 Paris)Date: ca. 1610–15Medium: Black chalk, pen and brown ink, brush and gray wash, heightened with white. The architectural elements along the upper margin, including the cornice and the coat of arms, were drawn on a separate sheet, silhouetted and laid down.Accession: 2000.20On view in:Not on view
Artist: Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome)Date: 1658Medium: Pen and brown ink; brown wash over black chalk; heightened with whiteAccession: 1997.156On view in:Not on view
Artist: Nicolas Poussin (French, Les Andelys 1594–1665 Rome)Date: ca. 1635–36Medium: Pen and brown ink, brush and brown wash, over faint black chalk underdrawingAccession: 1998.225On view in:Not on view