Annibale Carracci Bologne 1560 – Rome 1609 11 Étu<strong>de</strong> d’un moine Sanguine <str<strong>on</strong>g>sur</str<strong>on</strong>g> papier légèrement teinté <strong>de</strong> lavis <strong>de</strong> sanguine. Porte une attributi<strong>on</strong> <str<strong>on</strong>g>sur</str<strong>on</strong>g> l’ancien m<strong>on</strong>tage à la plume et encre brune : di Anibale Caraci. 197 x 144 mm (7 ¾ x 5 ¾ in) Provenance M<strong>on</strong>sieur Deseraux (inscripti<strong>on</strong> au cray<strong>on</strong> au verso du m<strong>on</strong>tage : M<strong>on</strong>sieur Deseraux à M<strong>on</strong>sieur Le C...) ; Sotheby’s New York, 27 janvier 2021, lot 15. Annibale Carracci, avec s<strong>on</strong> frère Agostino et s<strong>on</strong> cousin Lodovico, initia à Bologne à la fin du XVIe siècle une révoluti<strong>on</strong> dite naturaliste, qui fit du <strong>de</strong>ssin un moyen d’étu<strong>de</strong> et d’expressi<strong>on</strong> indépendant <strong>de</strong> la peinture. Cette aut<strong>on</strong>omie du <strong>de</strong>ssin s’exprime dans les sujets d’étu<strong>de</strong> choisis par ces artistes et leurs suiveurs, <strong>de</strong>s paysages, <strong>de</strong>s scènes <strong>de</strong> l’intimité et du quotidien, <strong>de</strong>s portraits, <strong>de</strong>s caricatures. 1. A. Carracci, Homme portant <strong>de</strong>s lunettes, un livre à la main, The Royal Collecti<strong>on</strong>, Windsor Castle. In Bologna at the end of the 16 th century, Annibale Carracci, al<strong>on</strong>g with his brother Agostino and cousin Lodovico, initiated a so-called Naturalist revoluti<strong>on</strong> that established drawing as a means of study and expressi<strong>on</strong> in<strong>de</strong>pen<strong>de</strong>nt of painting. The aut<strong>on</strong>omy of drawing was expressed in the subjects studied by these artists and their followers: landscapes, intimate scenes, daily life, portraits and caricatures. The practice of drawing nourished their ability to see, observe and record reality and in return, close observati<strong>on</strong> of landscapes and everyday scenes provi<strong>de</strong>d new motifs and subjects for study that could enrich and stimulate artistic activity. This new preoccupati<strong>on</strong> is evi<strong>de</strong>nt very early in the career of the Carracci, particularly for Annibale, whose work <strong>de</strong>m<strong>on</strong>strates a striking realism. The sense of reality observed, nourished by the regular practice of drawing, was passed <strong>on</strong> to Annibale’s stu<strong>de</strong>nts in Bologna and to others in Rome where he was invited in 1595 to paint the Palazzo Farnese camerino and, most significantly, the gallery ceiling. Annibale’s Bologna pupils – Domenichino, Guido Reni and Francesco Albani – produced these types of studies as well as artists who were indirectly influenced by him such as Pier Francesco Mola, Albani’s pupil in Rome and even Guercino. The naturalist directi<strong>on</strong> did not prevent these artists from simultaneously pursuing the i<strong>de</strong>al of beauty, informed by the study of antiquity and the great Renaissance masters as well as after nature. A compulsive draftsman, it was Annibale who ma<strong>de</strong> this kind of drawing wi<strong>de</strong>spread, capturing moments <strong>on</strong> the spot like snapshots before their time: a man sleeping, a family in fr<strong>on</strong>t of the fire or a young woman singing. In our sketch, emerging from a door or a wall, the m<strong>on</strong>k intimates silence with a quickly sketched gesture. The artist’s mark making is flexible and fast; he strives to restore the memory of a thing seen or rec<strong>on</strong>stituted in his mind 56
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Jean-Luc Baroni & Marty de Cambiair
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François Boucher Paris 1703 - 1770
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Marie Leczinska. Le souffle épique
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Hubert Robert Paris 1733 - 1808 24
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notre dessin. Si la feuille de Besa
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en effet l’habitude de préparer
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peintre de montrer le nu, plaisant
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l’instantané-matrice conservé a
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Pablo Picasso Malaga 1881 - Mougins
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Il existe également une étude de
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Brothers in Renaissance Rome, The J
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Vouet, Paris, RMN, 1987, n° 50, il
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Photographies Alberto Ricci et arch