Mattia Preti (1613-1699)

An angel blowing a trumpet (recto); The Madonna and Child with kneeling saints (verso)

细节

Mattia Preti (1613-1699)
An angel blowing a trumpet (recto); The Madonna and Child with kneeling saints (verso)
numbered '101'
red chalk (recto); black chalk (verso)
7¾ x 91/8 in. (197 x 233 mm.)

来源

A. Maggiori (L. 3005a), with inscription 'Aless° Maggiori comprò a Bologna il giorno 3 di feb. del 1793' (verso).
H.C. Drayton.
with P. & D. Colnaghi, Old Master Drawings, June 1965, no. 16, pl. V.

出版

A.M. de Barca, Catalogo de la collection de dibujos originales de la Biblioteca Nacional, Madrid, 1906, p. 605.
W. Vitzthum, I disegni dei Maestri: Il barocco a Napoli e nell'italia meridionale, Milan, 1970, p. 89, fig. 19 (recto).
C. Ippoliti in Mattia Preti disegno e colore, Catanzaro, 1991, pp. 118 and 253, illustrated.
E. Corace, Mattia Preti dal segno al colore, Rome, 1995, p. 80, fig. 36.
J.T. Spike, Mattia Preti, Catalogo Ragionato dei Dipinti, Florence, 1999, p. 188.

展览

Edinburgh, Merchants' Hall, Italian 17th Century Drawings from British Private Collections, 1972, no. 91, illustrated.

拍品专文

Walter Vitzthum was the first to point out that the recto is connected with the angel over Saint Jerome in the fresco in the cupola of the church of San Biagio in Modena, J.T. Spike, op. cit., p. 187, illustrated.
The church of San Biagio, previously called Santa Maria del Carmine, was rebuilt by Cristoforo Malagola between 1650 and 1653. Preti worked in the church after he had finished the frescoes in San Andrea della Valle in Rome in April 1651, and documents show that the work in Modena was finished as early as March 1652, J. T. Spike, op. cit., p. 187. The Modena commission included the decoration of the church's cupola, the pendentives and the vault of the apse. One of Preti's most important commissions, it was described at length by his biographer B. de Dominici in 1742-5.
John Spike lists seven other drawings relating to that commission, in the Louvre, the Accademia, Venice, two at Capodimonte, Naples, two in the Metropolitan Museum of Art, and another in a private collection in Rome, J. T. Spike, op. cit., pp. 188-9, nos. d1-d8.