A Putto Seated on a Frame, Girolamo Mazzola Bedoli (Italian, Viadana ca. 1505–ca. 1570 Parma), Pen and brown ink, brush and brown wash, highlighted with white gouache, over traces of leadpoint or black chalk.

A Putto Seated on a Frame

Girolamo Mazzola Bedoli (Italian, Viadana ca. 1505–ca. 1570 Parma)
ca. 1538–40
Pen and brown ink, brush and brown wash, highlighted with white gouache, over traces of leadpoint or black chalk.
sheet: 4 3/4 x 2 9/16 in. (12 x 6.5 cm)
Credit Line:
Gift of Philippe and Edith de Montebello, 2008
Accession Number:
Not on view
Due to his expeditious production of paintings, Girolamo Mazzola Bedoli became a painter of note in the competitive artistic arena of Parma during the late 1530s and 40s. A native of Viadana (like Parmigianino, his better-known master and kinsman by marriage), Bedoli was considered Parmigianino's successor in the Parmese school, according to Giorgio Vasari, Bedoli's first biographer (1568). This rapidly executed drawing fragment is typical of the artist. He was a particularly gifted draftsman, perhaps more so than as a painter, evident here from his luminous use of wash and his bold control of line, as well as his ease in portraying the foreshortened pose of the putto. As has recently been proposed, this delightful drawing is connected to one of Bedoli's most important projects, the frescoes in the choir of Parma Cathedral of about 1538-40, which represent a dazzling composition of figures set within illusionistically painted architecture.
(Carmen C. Bambach, 2009)
Victor Sordan; sale, Sotheby's, New York (American), October 22, 1970, lot 1; Yvonne Tan Bunzl, London, March 16 - April 3, 1971, cat. no. 1; Donor: Philippe de Montebello
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," April 13, 2009–July 12, 2009.

Benedict Nicolson "Current and forthcoming exhibitions." Burlington Magazine. vol. 113, March 1971,. London, March 1971, p. 166 (as Girolamo Mazzola Bedoli).

Arthur Ewart Popham, Mario Di Giampaolo Disegni di Girolamo Bedoli. Viadana, 1971, p. 60, no. 49.

Giovanni Godi "Anselmi, Sojaro, Gambara, Bedoli: Nuovi disegni per una corretta attribuzione degli affreschi in Steccata." Parma nell'Arte. vol. 8, Parma, 1976, p. 78, no. 48 (as Girolamo Mazzola Bedoli).

Diane DeGrazia Correggio and His Legacy, Sixteenth Century Emilian Drawings. Exh. cat. National Gallery of Art, Washington D.C., Washington, DC, 1984, pp. 230, 232, no. 6 (unconvincingly attributed to Innocenzo Martini).

Mary Vaccaro "New Attributions for Drawings by Girolamo Mazzola Bedoli for Parma Cathedral." Master Drawings. vol. 51, 2013, p. 174, fig. 23 (as Girolamo Mazzola Bedoli).