Catalogue-2014-Jean-Luc-Baroni

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No. 13 Hubert Robert
For Robert’s life after his release from Saint-Lazaire cf., P. de Nolhac, Hubert Robert, Paris, 1910, pp. 78-89 & J. de Cayeux, Hubert
Robert, Paris, 1989, pp. 295-316.
P. de Nolhac, op. cit., pp. 80-82.
Robert’s transformation of this motif is discussed by C. Boulot & J.-P. Cuzin, in J.H. Fragonard e H. Robert a Roma, exhibition
catalogue, Rome (Villa Medici), 1990, p. 101.
ibid., no. 49, p. 100, colour pl. XII on p. 124. For Fischer von Erlach’s reconstruction of the pyramids which were also to influence
Étienne-Louis Boulée cf., R. Middleton & D. Watkin, Neoclassical and 19 th Century Architecture, Milan, 1980, I, p. 66, fig. 74.
Illustrated in Hubert Robert et Saint-Pétersbourg, exhibition catalogue, Valence, 1999, no. 31, p.154.
N. Turner, European Master Drawings from Portuguese Collections, exhibition catalogue, Lisbon, 2000, no. 99, pp. 220-21 and
Sotheby’s London, 8 th July 1998, lot 72.
P. de Nolhac, op. cit., p. 82. The first of the paintings, Captivitas, captivitatis et omnia captivitas, is illustrated between pp. 80 & 81,
while the second, Carcere tandem aperto, is found between pp. 82 & 83.
ibid., p. 87.
From a letter of 11 th March 1806, quoted by J. de Cayeux (op. cit., p. 303), to Pierre-Adrien Pâris who had been Louis XVI’s architect.
A version of the present picture without the female staffage in the middle distance was on the Parisian art market in the mid-1950s.
Sale, Paris, Galerie Charpentier, 5 th December 1955, Lot 46, 53 x 64 cm.
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No. 14 Francesco Guardi
James Byam Shaw, “Some Venetian Draughtsmen of the Eighteenth Century”, Old Master Drawings, March 1933, p.53; reprinted
in J.B.S Selected Writings, Colnaghi London, 1968, pp.74-75.
See Alessandro Bettagno, Francesco Guardi, Vedute Capricci Feste, exhibition catalogue, Venice, Fondazione Cini, 1993, pp.144-145.
See exhibition catalogue, op. cit., 1993, cat. 50
See exhibition catalogue, Alberto Craievich and Filippo Pedrocco, Francesco Guardi, 1712-1793, Venice, Museo Correr, 2012-2013,
see cats.59 and 60.
See Antonio Morassi, Guardi, Venice 1973, cats. 865 and 863, figs.799 and 780. See also Christie’s, London, 3 th July 2012, lot 56.
See exhibition catalogue, op. cit., 2012-13, p.273, cat.100.
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No. 15 Heinrich Fuseli
See painting in the collection of Richard J. Carrott, California, according to the exhibition catalogue, London, Tate Gallery, Henry
Fuseli, 1975, cat.20, p.58.
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No. 16 Felice Giani
Anna Ottani Cavina, email dated 10 th november 2013
Anna Ottani Cavina, Felice Giani e la cultura di fine secolo, Electa, Milan, 1999, vol.2, p.637.
Ibid., p.671, no. D68; private collection, Venice.
No. 18 Filippo Palizzi
See Usi e costumi di Napoli e dintorni, Naples, vol. I and II, 1857.
See Paolo Ricci, I Fratelli Palizzi, Milan 1960, pl. III, “Corricolo Napoletano” in the Galleria d’arte moderna, Rome. See also the
website of the Galleria nazionale d’arte moderna under the title “Antico corridoio napoletano (Cava).
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No. 19 Eugenio Cecconi
Giampaolo Daddi, Eugenio Cecconi, Stefanoni ed., Lecco 1973, p.228, plate 153, as location unknown.
No. 20 Carolus-Duran
Carolus-Duran 1837-1917, Palais des Beaux-Arts Lille and Toulouse, Musée des Augustins, June-September 2003.
Review of the exhibition by William Hauptman, published on the website Nineteenth-Century Art Worldwide, a journal of
nineteenth century visual culture.
See H. B. Weinberg, The Lure of Paris, Nineteenth Century American Painters and their French Teachers, Abbeville Press 1990.
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No. 21 Antonio Mancini
Guido Guida, Antonio Mancini. Il maestro del colore, Roma 1921, p.31.
No. 22 Giovanni Boldini
See Literature, Panconi, p.216.
See Literature, ibid., p.226.
See Jean-Luc Baroni Ltd., Master Drawings and Paintings, 2008, cat.46 and fig.1.
No. 23 Federico Zandomeneghi
F. Dini, Federico Zandomeneghi: la vita e le opere, edizioni Il Torchio, Firenze, 1989, no. 71, p. 415, ill. col. tav. XXXI.
F. Dini, ibid., no. 181, p. 442, ill. col. tav. LXXIX.
E. Piceni, Zandomeneghi, Bramante editrice, Milano 1967, no. 693.
F. Dini, op.cit., p. 545: “Avete ragione di dire che in Italia la cosidetta natura morta è considerata come una frivolezza, e anche
questa stupidità la dobbiamo all’influenza presuntuosa germanica che da molti anni si è infiltrata nello spirito e nelle tradizioni
pagane della nostra razza. Qui almeno i Courbet i Delacroix e il prodigioso Manet e cento altri ci lasciarono modelli imperituri di
superbe nature morte”.
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