Paintings Drawings Sculptures 2016 - Jean Luc Baroni

3 D. Biagi Maino, Gaetano Gandolfi e i volti della scienza. La Pinacotheca Bassiana di Bologna, catalogue of the exhibition, Parma
2016, p. 19.
4 Ibidem, p. 20.
5 Biagi Maino, Gaetano Gandolfi, cit., 1995, p. 372, fig. 120.
6 Biagi Maino, Gaetano Gandolfi, cit., 1995, p. 394, fig. 209.
7 Cfr. D. Biagi Maino, editor, Gaetano e Ubaldo Gandolfi. Opere scelte, catalogue of the exhibition (Cento), Torino 2002, p. 100,
fig. 40.
10 Giuseppe Cades
1 Maria Teresa Caracciolo, Giuseppe Cades, 1750-1799, et la Rome de son temps, Paris 1992, nos. 16, 17 and 18, pp.184-188,
and pp.56-58 and 444 and pl.2 and 3.
2 ‘plusieurs tableaux de quelques grands maîtres des trois écoles. Savoir: Raphaël, Subleyras, Gamelin, Denys, et autres […]. Le
tout venant du cabinet d’un amateur de province’;/ ‘ Cadèse. Deux tableaux pendants: Cornélia, mère des Gracques présentant
ses deux enfants encore jeunes à une dame Campaniène [sic, per Campannienne] en lui disant voilà mes bijoux; composition de
cinq figures; hauteur 22 pouces, largeur 25. L’autre représentant un Sacrifice, composition de plusieurs figures’.
3 M. T Caracciolo, Giuseppe Cades… , op. cit., nos.104, 105, 106, 107, pp.310-322; pp. 115-137.
4 In 1787, Cades was working on a ceiling of the first floor of the Casino Borghese in Porta Pinciana illustrating Il Riconoscimento
di Gualtieri d’Anversa, a protoromantic composition quite ahead of its time. See M. T. Caracciolo, op. cit., no.93, pp.292-295
and pp. 103-106. The work by Tommaso Conca, done in collaboration with Giovanni Battista Marchetti, in the room known as
the Sala del Sileno, is earlier by a decade than the canvas in the Casino by Cades. It is known, however, that before this Casino
ceiling, Cades made other works for the Borghese prince: in 1778, he painted a canvas for the Casino dei Giochi d’acqua in
the villa and in the same year he painted the beautiful pastel portrait of Princess Anna Maria and the children of Marcantonio,
Camillo and Francesco. It may also be recalled that Silenus is the son of Pan (or perhaps, like him, a son of Hermes (Mercury));
the iconography of the two classical divinities is very similar.
5 See most of all, the Bacchanal (so-called Bacchanale Richelieu) painted by the master (versions in the Louvre and the National
Gallery, London) which Roman painters would have known from engravings.
11 François-André Vincent
1 J.-P. Cuzin, with I. Mayer-Michalon, François-André Vincent 1746-1816, entre Fragonard et David, Paris 2013, p.196-199 and
534 P, 476-477 illus.
2 Op. cit., p.198 and E. C. Mansfield, The Perfect Foil, François-André Vincent and the Revolution in French Painting, Minneapolis,
2012, pp.173-185.
3 J.-P. Cuzin, op. cit., 530 D, p.196, illus. and p.476.
4 Op. cit., 2013, 531 P, p.476, illus.
5 Op. cit., 2013, 533 P, p.196-197, illus. and p.476. The only sketch for the entire composition known to this date, this study had
been identified as that mentioned in Meynier’s posthumous sale of 1832 (voir I. Mayer-Michalon, Charles Meynier (1763-1832),
Paris, Arthena, 2008, p. 288). In fact, the present sketch may well be that in Meynier’s collection.
6 Op. cit., 2013, *529 D and *532 P, p.476.
7 Op. cit., 2013, 533 P, p.214-219, illus.
8 Op. cit., 2013, 521 D to 523 D, p.195 and 474, illus..
12 Théodore Géricault
1 According to Philippe Grunchec ‘renseignement que nous n’avons pu vérifier. Nous avons retrouvé la trace de ce portrait dans
la collection du comte de Mandat-Grancey à Dijon. According to the catalogue of the collection of the Duc de Trévise, the
provenance of the portrait entitled Portrait de Jeune Homme au col ouvert ‘viendrait corroborer’ the hypothesis, repeated a
number of times, that the portrait represents the youthful Delacroix (born 1798)
2 See Loïc Vadelorge, ‘… le rôle de Fernane Guey’, Les Musées de Province dans leur environnement, Rouen, no date, pp.50 and 51.
3 See Beaux-Arts, reports for May 1938. La collection du duc de Trévise and Ventes: La Vente de la collection du duc de Trévise:
‘On se doute donc qu’il faut de sérieuses raisons pour se séparer de cette collection … Car,… il vend aussi son incomparable
ensemble de Géricault. Onze toiles qui permettront de juger du talent divers, parfois fougueux, parfois doucement romantique
de celui dont on la trop courte vie …’.
4 See exhibition catalogue, Géricault, Grand Palais, Paris 1992, cat. 172, fig.278 (46 x 37 cm).
5 Ibid. cat.281, fig.308, 60 x 48 cm.
6 Ibid. cat.140, fig.198, 81 x 64.5 cm.
7 Ibid, cat.180, fig.217, 41 x 38 cm.
8 Ibid. cat.129, fig.182. See Provenance, lot 31 and Clément, p.308, cat.124. (45.5 x 37.5 cm)
9 Ibid., cat.128, fig.181, 47 x 38 cm.
10 See Charles Clément, Géricault, A biographical and critical study with a Catalogue raisonné of the Master’s works, (reprint of 3 rd
edition of 1879) New York 1974, p.301, ‘celui qui est tombé, la tête en avant, et appuyé au bord du radeau, Eugène Delacroix.’
And Louis Batissier, Géricault a section from La Revue du dix-neuvième siècle, Rouen [1841], pp.10-11. See also, the preparatory
drawings now in a private collection, kindly brought to our attention by Asher Miller, Bazin, op. cit., vol.VI, p.137, cat.2016 and
that in the Musée des Beaux Arts, Besançon, cat.2017.
11 See Louis Véron, Mémoires d’un bourgeois de Paris, Paris 1854, vol.1, pp.233-238.
12 Quoted by Alfred Robaut in ‘L’oeuvre complet de Eugène Delacroix, peintures dessins gravures lithographies…, Paris 1885, p.
XLV. [his thick black hair … feline eyes covered by thick eyebrows.. his willful, powerful chin giving him a physiognomy of a
wild beauty, strange, exotic, almost unsettling]
13
See the portrait of Léon Pallière by Jean Alaux painted in 1817 or the self portrait by Paulin Guérin thought to date from the same
year. (See comparative illustrations)
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