Paintings Drawings Sculptures 2016 - Jean Luc Baroni

7 Loc. cit., p.40
8 See op. cit., exhibition catalogue, Giovanni Boldini in Impressionist Paris, p.142 and p.143, note 1.
9 See exhibition catalogue, Jill DeVonyar and Richard Kendall, Degas and the Dance, Detroit and Philadelphia, 2003, p.88, fig.94.
20 Antonio Mancini
1 05 opere di Antonio Mancini, Mostra commemorativa sotto gli auspici della Reale Accademia d’Italia, nel decennale della
morte, Turin, March 1940, p. 6.
2 Antonio Mancini 1852-1930, a cura di Bruno Mantura e Elena di Majo, XXXIV Festival dei Due Mondi, Spoleto, 28 June-1
September 1991, Leonardo-De Luca, Rome, 1991, p. 124.
3 Hanna Pennock, Le opere in Olanda di una “Mente geniale”, in Antonio Mancini 1852-1930, 1991, pp. 13-25.
4 Hanna Pennock, Antonio Mancini en Nederland, Dordrechts Museum, 30 May - 20 July 1987, Enschede-Zonen, Haarlem, 1987,
pp. 19-26.
5 Dario Cecchi, Antonio Mancini, Unione Tipografica Editrice Torinese, UTET, Turin, 1966, plate. 43, p. 280.
21 Hans Baldung Grien
1 See John Rowlands, review of Hans Baldung Grien, exhibition Washington and Yale, Burlington Magazine, April 1981, vol. 123,
no.937, p.263.
2 See Christiane Andersson in the Dictionary of Art. See also Carl Koch, Die Zeichnungen Hans Baldung Griens, Berlin 1941.
3 Tilman Falk, Hans Baldung Grien im Kunstmuseum Basel, exhib. cat., Basel Kunstmuseum, 1978, cats.35-40 and figs. 37, 41, 44-
47. The Basel drawings are all watermarked with either a small crown or a bull’s head, while the present sheet bears a watermark
of a bunch of grapes, consistent with a pre 1639 date, according to Peter Bower, (Feldkirch 1539 being a similar example).
4 See Martha Wolff, review of ‘Hans Baldung Grien, Prints and Drawings, Chicago 1981, in Renaissance Quarterly, Summer 1983,
vol.36, no.2, p.253.
5 See John Rowlands, Drawings by German Artists …, The Fifteenth and Sixteenth Century …, British Museum, 1993, vol. I, cat.61,
p.32 and vol. II, pl.61.
6 See Matthias Mende, Hans Baldung Grien, Das Graphische Werk, Unterschneidheim 1978, cat.70.
7 See Joseph Leo Koerner, The Moment of Self-Portraiture in German Renaissance Art, Chicago and London, 1993, pp. 250-251.
22 Girolamo Francesco Maria Mazzola, called Parmigianino
1 See for comparison, Dominique Cordellier et al., Parmigianino, Dessins du Louvre, exhibition catalogue, Musée du Louvre,
2015, cats. 21 and 55 and the website of the Lugt Foundation for L.3612: http://www.fondationcustodia.fr/english/merkenboek/
default.cfm?gr=menu2.
2 See Vasari’s Lives, translated by C. Gaston de Vere, Everyman edition, vol.I, p.933.
3 See exhibition catalogue, op. cit., cat. 61 and introduction by Dominique Cordellier, Parmigianino dans l’œil du miroir, p.18. See
also, Achim Gnann, Parmigianino Die Zeichnungen, Petersburg 2007, cat.308.
4 See A.E. Popham, Catalogue of the Drawings of Parmigianino, Cambridge 1971, cat.498; Dominique Cordellier, op. cit.
5 See Achim Gnann, op. cit., cat.591 and Correggio and Parmigianino, Master Draughtsmen of the Renaissance, London 2000,
cat.96 (where dated to 1526-7).
6 See Achim Gnann, op. cit., cats. 261 to 274.
7 See loc. cit., cat.272.
8 See loc. cit., cats.276 and 277.
9 David Ekserdjian, ‘Parmigianino and the antique’, Apollo, July 2001, pp.42 and 48.
10 See exhib. cat., op. cit., Correggio and Parmigianino, …, London 2000, cat.125.
11 See note 3.
12 Loc. cit. and p.19. ‘In the end, having his mind still set on his alchemy, like every other man who has once grown crazed over
it, and changing from a dainty and gentle person into an almost savage man with long and unkempt beard and locks, a creature
quite different from his other self, Francesco went from bad to worse, became melancholic and eccentric…’ See, Vasari’s Lives,
op. cit., p.942.
13
Henry (Hugh) Reveley, Notices Illustrative of the Drawings and Sketches of some of the most Distinguished Masters in all
Principal School of Design, London 1820, see website of the Lugt Foundation, reference given above in note 1.
23 Raffaellino Motta da Reggio
1 See John Marciari, ‘Raffaellino da Reggio in the Vatican’, Burlington Magazine, Vol.148, no1236, March 2006, pp.187-191.
2 See Giovanni Baglione, Le Vite de’ Pittori…, Rome 1642, ed. J. Hess and H. Röttgen, Vatican City, 1995, pp.25-27.
3 See Marco Simone Bolzoni, ‘The Drawings of Raffaellino Motta da Reggio’, Master Drawings, vol.54, number 2, Summer 2016,
p.147.
4 A number of such drawings are included in Marco Bolzoni’s catalogue of autograph drawings, see the Young Man about to
Sacrifice to Flora in the Nasjonalgalleriet, Oslo (cat. no. A35) and the Orpheus and Eurydice in a private collection (ccat. No.
A48) may be compared with the preparatory drawing for the Borghese Tobias and the Angel in the Gabinetto Disegni e Stampe
degli Uffizi (cat.no. A7).
5 See Bolzoni, op. cit., A55, fig. 84 and A29, figs.78 and 79.
24 Peter De Witte, known as Peter Candid
1 See exhibition catalogue, Pieter de Witte, Pietro Candido, Un pittore del cinquecento tra Volterra e Monaco, Volterra 2009,
Mariagiulia Burresi, p.123.
2 See, Brigitte Volk-Knüttel, Peter Candid (um 1548-1628), Gemälde – Zeichnungen – Druckgraphik, Berlin 2010, cat. G13, fig.84.
3 Ibid., Z5, fig.128.
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