Ceiling Design with the Presentation in the Temple
Gregorio de' Ferrari (Italian, Porto Maurizio 1647–1726 Genoa)
Pen and brown ink, brush and brown wash, highlighted with white, over traces of black chalk, on blue-gray paper
20-3/4 x 16-1/4 in. (52.7 x 41.3 cm)
The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1955
Not on view
Gregorio de Ferrari's virtuosity as a designer of illusionistic fresco paintings can be appreciated with particular immediacy in his numerous extant compositional drawings. Their mastery of perspective and architecture were particularly admired by his contemporaries (see Soprani-Ratti 1768-69, vol. 2, p. 115).
As in the present drawing, the artist often projected his figural narratives in steep 'sotto in su' (seen from below) perspective, framing them with delightful fictive architectural detailing. Mary L. Myers attributed the Metropolitan Museum's sheet to Gregorio (New York 1975, no. 22), an attribution reinforced by a related drawing in the print room of the Palazzo Rosso, Genoa (inv. no. 2130), which is drawn in the same medium and depicts another Marian subject, the Immaculate Conception (Newcome 1973-74, pp. 82-83; Gruitrooy 1987, pp. 431-32, 458-59). Both figural designs are set within irregular fields, punctuated at the corners with richly embellished pendentives spanning a grated, arched window, and share a theatrical exuberance of light and linear rhythm.
Before coming to Genoa, the city which became his home and which he greatly enriched with his art, Gregorio de Ferrari immersed himself in the works of Correggio in Parma, where he lived for several years. It is often noted that his study of Correggio was decisive for his development of an exuberant lyricism, bravura effects of light and color, and sweeping, rhythmic compositions. These qualities identify the author of this formerly anonymous drawing as Gregorio.
(Carmen C. Bambach)
The Metropolitan Museum of Art. "Genoa: Drawings and Prints, 1530-1800," April 23, 1996–July 10, 1996.
Mary L. Myers Architectural and Ornament Drawings: Juvarra, Vanvitelli, The Bibiena Family & Other Italian Draughtsmen. Exh. cat. The Metropolitan Museum of Art, New York, 1975, cat. no. 22, fig. no. 22, pp. 19-20, ill.
Jacob Bean, Lawrence Turčić 17th century Italian Drawings in The Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, 1979, cat. no. 169, fig. no. 169, p. 133, ill.
Carmen C. Bambach, Nadine Orenstein, William M. Griswold, Allegra Pesenti Genoa: Drawings and Prints, 1530-1800 Exh. cat. The Metropolitan Museum of Art, New York, 1996, cat. no. 73, p. 64.
Artist: Gregorio de' Ferrari (Italian, Porto Maurizio 1647–1726 Genoa)Date: ca. 1670–90Medium: Pen and brown ink, brush and brown wash, over traces of black chalk (recto); rinceaux in red chalk (verso)Accession: 67.95.9On view in:Not on view
Artist: Gregorio de' Ferrari (Italian, Porto Maurizio 1647–1726 Genoa)Date: 1647–1726Medium: Pen and brown ink, highlighted with white, over black chalk, on brownish paperAccession: 64.284On view in:Not on view
Artist: Attributed to Gregorio de' Ferrari (Italian, Porto Maurizio 1647–1726 Genoa)Date: 1647–1726Medium: Pen and brown ink, over traces of black chalk or graphiteAccession: 49.19.59On view in:Not on view