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拍品專文
This highly finished and refined drawing can be compared to drawings of circa 1600 such as the Three Marys at the tomb in the Albertina, Vienna (Jacques de Bellange, exhib. cat., Rennes, 2001, no. 2) and the Female Saint holding a palm in the Bibliothèque nationale, Paris (Rennes, 2001, op. cit., no. 4), with their long and careful vertical and parallel hatchings ib red chalk. The use of red chalk only for the head, as in the present drawing, can be seen in a few of his studies of costumes for ballets drawn between 1603 and 1616, as in the study of a Woman carrying a child on her back on the verso of the famous drawing representing A Bohemian with two chidren (Rennes, 2001, op. cit., no. 34; see also in the same catalogue nos. 33, 35 and 36).
The combination of black and red chalk, together with the drawing's refined handling, may explain the old attribution to Federico Zuccaro.
This drawing may have been a first study for the representation of Saint John the Baptist in the print series of Jesus and the Apostles (Rennes, 2001, op. cit., no. 28.4) although the print differs in many aspects and seems of a later conception. Strangely the present drawing is closer in iconography to the etching of Saint John the Baptist by Jacques Callot in his series of Large Apostles (Lieure 1304).
The combination of black and red chalk, together with the drawing's refined handling, may explain the old attribution to Federico Zuccaro.
This drawing may have been a first study for the representation of Saint John the Baptist in the print series of Jesus and the Apostles (Rennes, 2001, op. cit., no. 28.4) although the print differs in many aspects and seems of a later conception. Strangely the present drawing is closer in iconography to the etching of Saint John the Baptist by Jacques Callot in his series of Large Apostles (Lieure 1304).