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Drawings from New York Collections. Vol. 2, The Seventeenth Century in Italy

Drawings from New York Collections. Vol. 2, The Seventeenth Century in Italy

Bean, Jacob, and Felice Stampfle
1967
228 pages
140 illustrations
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This exhibition is the second in a comprehensive series inaugurated in November 1965, which illustrates the art of drawing through the resources of public and private collections located in New York City and its suburbs. Organized jointly by The Pierpont Morgan Library and The Metropolitan Museum of Art, the exhibitions alternate between the two institutions, the first, of the Italian Renaissance, having been shown at The Metropolitan Museum of Art, the second now taking place at the Morgan Library. Each exhibition is commemorated in a catalogue, in which every drawing is fully described and illustrated.

This series was a cooperative venture in which the Metropolitan's late Director, James J. Rorimer, took particular pleasure, participating actively in its planning, reading with a close critical eye the printer's proof of the first catalogue, and presiding at the inaugural exhibition. We shall carry on the projected series, but with a deep sense of loss.

Italian painting of the seventeenth century aroused little enthusiasm among Americans in the first half of the twentieth century. It is all the more gratifying that we have been able to assemble so representative a selection of drawings of the period from within our immediate area. To be sure, we have been fortunate as before in being able to borrow from collectors who began their buying as Europeans, but it is also evident that recently in this country museums and their patrons increasingly appreciate seventeenth-century Italian drawings and paintings.

Met Art in Publication

Martyrdom of a Female Saint (Agnes?), Camillo Procaccini  Italian, Charcoal, brush and gray wash, highlighted with white gouache, on brown paper; ruled lines in pen and brown ink
1605–9
The Holy Family with Angels, Pomarancio (Cristoforo Roncalli)  Italian, Black chalk highlighted with white chalk on blue paper
1603–5
The Last Communion of Saint Jerome, Ludovico Carracci  Italian, Pen and brown ink, brush and brown wash, over traces of black chalk; squared in red chalk
1555–1619
Landscape with Jacob Sleeping, Annibale Carracci  Italian, Pen and two tones of brown ink, brush and gray-brown wash, over traces of leadpoint or black chalk
1560–1609
Anteros Victorious, Annibale Carracci  Italian, Red chalk
1560–1609
Study for an Angel (recto); Study of a Cushion (verso), Annibale Carracci  Italian, Charcoal or soft black chalk, highlighted with white chalk, on blue paper; several scattered stains of rose-colored paint at lower left (recto); black chalk with some white chalk highlights (verso)
1600–1602
The Reclining Headless Body of Holofernes; Study of Female Semi-Nude Figure (on a small separate, unrelated sheet of blue paper, pasted onto the lower left of the large sheet), Guido Reni (the study of Holofernes only) Italian, Black chalk on brownish paper that may have been originally blue (Holofernes); black chalk on blue paper (female figure)
1625–40
Seated Apostles and Putti, Giovanni Lanfranco  Italian, Red chalk
1637–38
The Martyrdom of the Apostle Thomas, Giovanni Lanfranco  Italian, Pen and brown ink, brush and brown wash, spots of red wash at upper right and left
1638–1646
Joseph Sold by His Brethren, Giovanni Battista Discepoli ("Il Zoppo")  Italian, Brush and red wash, highlighted with white, over red chalk, on red-washed paper
1590–1660
Youth Kneeling before a Prelate (recto); Another Study of a Youth Kneeling before a Prelate (verso), Guercino (Giovanni Francesco Barbieri)  Italian, Pen and brown ink, brush and light brown wash (recto and verso)
ca. 1620
Standing Youth Seen from Behind Holding a Bowl (Ganymede?), Guercino (Giovanni Francesco Barbieri)  Italian, Red chalk
ca. 1635–45
Fireworks in a Piazza, Guercino (Giovanni Francesco Barbieri)  Italian, Pen and brown ink, brush with gray and brown wash, over traces of leadpoint (?)
ca. 1618–23
The Triumph of Nature Over Art (design for an engraving of 'De Florum Cultura'), Pietro da Cortona (Pietro Berrettini)  Italian, Pen and brown ink, brush and brown wash, over black chalk
ca. 1633
Design for a Thesis Print with an Allegory of Knowledge and Portrait of Cardinal Antonio Barberini the Younger (1607–1671), Pietro da Cortona (Pietro Berrettini)  Italian, Pen and brown ink, brush and brown wash, highlighted with white, over black chalk, on brown paper
ca. 1635
Study for the Age of Bronze, Pietro da Cortona (Pietro Berrettini)  Italian, Pen and brown ink, over black chalk
1637
A Wind God, Pietro da Cortona (Pietro Berrettini)  Italian, Black chalk, highlighted with white, on brownish paper
1669
Study for Angels Sealing the Foreheads of the Children of Israel in Saint Peter's Basilica, Pietro da Cortona (Pietro Berrettini)  Italian, Black chalk, brush with brown and gray wash, highlighted with white gouache, on three sheets of brownish paper glued with overlapping joints
1652
Saint Sebastian Clubbed to Death, Andrea Camassei  Italian, Red chalk, over some faint traces of black chalk
1602–49
God the Father Appearing to Jacob, Giovanni Benedetto Castiglione (Il Grechetto)  Italian, Brush with colored oil paint and touches of brown ink; paper partly saturated with oil
ca. 1635–45
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