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拍品專文
The verso of the drawing is connected to the altarpiece of The Last Communion of Saint Francis commissioned by Jaspar Charles for the Church of Saint Francis in Antwerp and now in the Koninklijk Museum voor Schone Kunsten, Antwerp. The picture was paid for on 17 May 1619, but was probably finished slightly earlier. The composition is inspired by Agostino Carracci's Last Communion of Saint Jerome painted in the 1590s for the Bolognese Carthusian monks.
Rubens executed a large series of drawings connected to the altarpiece of which the present one and another in light pen and ink in the Prentenkabinett, Antwerp, are the earliest, L. Burchard and R.A. d'Hulst, op. cit., no. 123. The compositions of these two sketches are close to each other and resemble the picture, apart from the column on the right of this drawing which has been eliminated. Rubens executed further studies of individual figures, for instance that of Saint Francis, in the Fondation Custodia, and the Franciscan supporting the Saint, in a drawing at Chatsworth, L. Burchard and R.A. d'Hulst, op. cit., nos. 124-5.
Burchard and d'Hulst suggested that the Diana and Callisto and Diana at the Bath on the recto were influenced by Titian's pictures of the same subjects that Rubens saw during his time in Spain, now on loan to the National Galleries of Scotland at Edinburgh from the Duke of Sutherland. Rubens executed a picture of Diana and Callisto, now in the Prado, and two drawings, one copying Jacob Cobbe in the British Museum and another in Berlin, L. Burchard and R.A. d'Hulst, op. cit., nos. 11 and 49. Another drawing inspired by Titian's Diana and Callisto is in the J.P. Getty Museum, G. Goldner, European Drawings.1, Catalogue of the Collections, Malibu, 1988, no. 94, sold at Christie's London, 9 December 1982, lot 78.
Rubens executed a large series of drawings connected to the altarpiece of which the present one and another in light pen and ink in the Prentenkabinett, Antwerp, are the earliest, L. Burchard and R.A. d'Hulst, op. cit., no. 123. The compositions of these two sketches are close to each other and resemble the picture, apart from the column on the right of this drawing which has been eliminated. Rubens executed further studies of individual figures, for instance that of Saint Francis, in the Fondation Custodia, and the Franciscan supporting the Saint, in a drawing at Chatsworth, L. Burchard and R.A. d'Hulst, op. cit., nos. 124-5.
Burchard and d'Hulst suggested that the Diana and Callisto and Diana at the Bath on the recto were influenced by Titian's pictures of the same subjects that Rubens saw during his time in Spain, now on loan to the National Galleries of Scotland at Edinburgh from the Duke of Sutherland. Rubens executed a picture of Diana and Callisto, now in the Prado, and two drawings, one copying Jacob Cobbe in the British Museum and another in Berlin, L. Burchard and R.A. d'Hulst, op. cit., nos. 11 and 49. Another drawing inspired by Titian's Diana and Callisto is in the J.P. Getty Museum, G. Goldner, European Drawings.1, Catalogue of the Collections, Malibu, 1988, no. 94, sold at Christie's London, 9 December 1982, lot 78.