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Paintings Drawings Sculptures 2016 - Jean Luc Baroni

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captured and the informality of the visible part of the<br />

woman’s dress make it improbable that this is a study<br />

for a formal portrait and most likely it is a depiction<br />

of a woman Raffaellino held in his affection. The<br />

curious manner in which the hair is depicted, in tight<br />

ringlets by the ears and with a peaked element of curls<br />

above the forehead, appears as an oft repeated feature<br />

in Raffaellino’s drawings of women, a Morellian<br />

convention highly typical of the artist.<br />

Bolzoni describes Raffaellino as combining diverse<br />

artistic experiments with élan: the elegant formal<br />

refinements of Correggio and Parmigianino, … and the<br />

compositional manner of the brothers …Zuccaro. He<br />

identifies a method in Raffaellino’s draughtsmanship:<br />

the silhouettes being sketched in chalk and then gone<br />

over in pen and ink to define and give greater detail,<br />

...with the use of wash to define shadows, often applied<br />

in broad bands of colour, the confidently rounded pen<br />

strokes; and the long, distinctive crosshatching that<br />

recurs in all the artist’s autograph works, almost as a<br />

signature. Raffaellino’s drawings were clearly admired<br />

and preserved during and after his lifetime; the architect<br />

Ottaviano Masarino, who probably worked alongside<br />

the artist in the Vatican, gathered together an album of<br />

Raffaellino’s drawings some years after his death and<br />

bequeathed it, with part of his estate to the Accademia<br />

di S. <strong>Luc</strong>a, although at the time the will was executed<br />

the album was in the house of the painter Lavinia<br />

Fontana to whom Mascarino had lent it. The album<br />

is now considered lost but record of it demonstrates<br />

the esteem in which Raffaellino’s preparatory work<br />

was held. The present work was clearly also lost from<br />

Raffaellino’s oeuvre, believed, as the inscription in red<br />

chalk testifies, to be a drawing by Federico Zuccaro.<br />

It’s recent discovery amongst a group of Italian 16 th<br />

century drawings owned by the Florentine painter<br />

Giulio Piatti, adds a highly distinctive and fascinating<br />

sheet to the drawn works of this remarkable artist.<br />

102<br />

enlarged detail

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