Fig. 3 Domenichino, St. Mark, drawing, Madrid, Academia de Bellas Artes de San Fernando. Fig. 4 Domenichino, St. Matthew, drawing, Madrid, Academia de Bellas Artes de San Fernando. in 1734, his widow Rosalia O’Moore sold a group of drawings to the San Fernando Royal Academy approximately between 1772 and 1778 10 . Am<strong>on</strong>g the sheets from this group, there are drawings by Carlo Maratta, Andrea Procaccini, Andrea Sacchi, Lanfranco and Domenichino. They include two studies by Domenichino, very similar to the present sheets, which are preparatory for the pendentives showing the other two evangelists: Saint Mark (Fig. 3) (D 2387, 475 x 553, red chalk, squared for transfer) and Saint Matthew (Fig. 4) (D 2388, 427 x 510 mm, red chalk, squared for transfer). These two drawings, just like our two sheets, were part of the lot of four drawings from the Maratta collecti<strong>on</strong> preparatory to “Quattro Angoli di S. Andrea della Valle.” All four have been separated from their original mounts which were inscribed by an 18 th century hand: original del Domíníquíno, and numbered n° 185 and n° 186 11 . The same inscripti<strong>on</strong> can be found <strong>on</strong> other drawings in the Real Academia de Bellas Artes de San Fernando, such as a caricature by Domenichino and sheets by Andrea Sacchi and Carlo Maratta. Alf<strong>on</strong>so Perez Sanchez observes that the inscripti<strong>on</strong>, in Spanish, always provides accurate attributi<strong>on</strong>s 12 . It may have been executed by <strong>on</strong>e of Andrea Procaccini’s heirs as an inventory record, possibly in preparati<strong>on</strong> of the sale to the Royal Academy of San Fernando or other sales. The present drawings were probably sold by Procaccini’s heirs to other Spanish collectors, such as Céan Bermudez, Valentin Cardera or Jose de Madrazo, who owned a number of drawings by Maratta, which are now in the Madrid Nati<strong>on</strong>al Library and the Academia de Bellas Artes. The use of red chalk, emphasized in the Raspantino and Maratta inventories, is remarkable as most designs for the apse are in black chalk. The references to Correggio and Parmigianino, besides the more obvious motives inspired by Michelangelo, have been menti<strong>on</strong>ed by John Pope-Hennessy, for whom, for example, the overall compositi<strong>on</strong> of the pendentive representing Saint Luke is reminiscent of that of the pendentives with Saint Luke and Saint Ambrose in the church of San Giovanni Evangelista in Parma. Moreover, the face of Saint John is similar to that painted by Correggio in the lunette of the same church; both figures, with the head cast upward and locks of hair thrown back, resemble the bust of Alexander the Great dying 13 . The use of red chalk for large-scale preparatory pendentive designs also reveals the search for smoothness, also reminiscent of Correggio’s graphic and painted work. Drawings by Domenichino are extremely rare outside instituti<strong>on</strong>s, and in view of their important provenance and c<strong>on</strong>necti<strong>on</strong> with arguably Domenichino’s most successful achievement as an artist, as well as their sheer quality, c<strong>on</strong>siderable dimensi<strong>on</strong>s and unpublished status, the present sheets are to be c<strong>on</strong>sidered as the most significant drawings by Domenichino to come to light in recent years. Reduced detail 28
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- Page 1 and 2: Jean-Luc Baroni & Marty de Cambiair
- Page 3 and 4: Works On Paper 201
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- Page 8: Bernardino Lanino Vercelli or Morta
- Page 12: Federico Zuccaro Sant’Angelo in V
- Page 16: Jacopo Ligozzi Verona 1547- Florenc
- Page 20: Rutilio Manetti 1571-1639 Siena 5 A
- Page 24: Domenico Za_mpieri, called Il Domen
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- Page 34 and 35: Simon Vouet Paris 1590 - 1649 8 Hea
- Page 36 and 37: Claude Gellée, called le Lorrain C
- Page 38 and 39: Eustache Le Sueur Paris 1616 - 1655
- Page 40 and 41: E. Le Sueur, St. Gervasius, detail,
- Page 42 and 43: Fig. 2 E. Le Sueur, Study for St. G
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- Page 52: Giovanni Antonio Canal, called Cana
- Page 55 and 56: This superbly preserved and grandly
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Pietro Giacomo Palmieri Bologna 173
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Actual size
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Théodore Géricault Rouen 1791 - P
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Fig. 2 T. Géricault, Six Horses Go
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Actual size
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Carlo Bossoli Lugano 1815 - Turin 1
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William Etty York 1787 - 1849 30 Po
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Édouard Manet Paris 1832 - 1883 31
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Reconstruction of Manet’s waterco
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Édouard Manet Paris 1832-1883 32
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Edgar Degas Paris 1834 - 1917 33 Le
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However, these notations are rarely
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Sir William Orpen, R.H.A., R.A. Sti
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Amedeo Modigliani Livorno 1884 - Pa
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Amedeo Modigliani Livorno 1884 - Pa
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Repin’s Paris Sketchbook 1872-187
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Study for Un café parisien : portr
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of mainstream Western painting, Rep
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Complete List of the Drawings Openi
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26 -30: Sketch for Sadko; various c
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89. Sketch for Paris Café; Man sea
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F G H I J C E F G H I J D
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Study for Slavic Composers: A Stand
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Studies of Figures, probably for Wa
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Study for A Paris Café : A Seated
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Study for A Paris Café : A Woman S
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Study for A Paris Café : A Seated
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Study for A Paris Café : Man in a
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Study for A Paris Café : Man in a
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7 8 9 10 11 12 Jacob Jordaens 1 J.
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2 Mémoires secrets pour servir à
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35 36 37 Sir William Orpen, R.H.A.,
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Index Bossoli, C. Boucher, F. Canal
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Jean-Luc Baroni London Marty de Cam