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拍品专文
Dr Paul Joannides has kindly suggested an attribution to Polidoro da Caravaggio, while Nicholas Turner suggests an attribution to a member of Raphael's studio, or perhaps to Raphael himself.
The drawing is close in handling, in format and in the close-spaced squaring in black chalk, to a group of drawings attributed by Konrad Oberhuber to Raphael (K. Oberhuber and A. Gnann, Roma e lo stile classico di Raffaello, exhib. cat., Mantua, Palazzo Te, and Vienna, Albertina, 1999, nos. 95-96, 98-100). Other commentators attribute these drawings to Penni, Perino del Vaga and Polidoro da Caravaggio, or other members of Raphael's studio (see, for example, P. Pouncey and J.A. Gere, Italian Drawings ... in the British Museum: Raphael and his Circle, London, 1962, no. 64). The majority of the drawings in this group are closely related to the frescoes in the vault of the Vatican Loggie, painted by Raphael and his studio in 1516-18, from which the composition of The Sacrifice of Noah is closest to the present drawing. However, as Paul Joannides has noted, the more overtly pagan subject of this drawing would militate against a direct connection. Closer in composition is Perino's grisaille for the lower part of the wall below Raphael's Disputà in the Stanza della Segnatura (E. Parma, Perin del Vaga, L'anello mancante, Genoa, 1986, fig. 231), for which there is a preliminary drawing in the Louvre (E. Parma et al., Perino del Vaga: tra Raffaello e Michelangelo, exhib. cat., Mantua, Palazzo Te, 2001, no. 152). The composition was also developed by Giulio Romano for a medallion in the Sala dei Venti in the Palazzo Te at Mantua, for which there is a drawing in the Louvre (R. Bacou, Autour de Raphael, exhib. cat., Paris, Louvre, 1984, no. 44.).
Paul Joannides further suggests that the present drawing may be a related to one of the scenes of ancient Roman History painted by Perino del Vaga in the Palazzo Baldassini, Rome, in 1520-22. Linda Wolk-Simon agrees with this suggestion, on the basis of a photograph, noting that both the format of the composition and its subject support the connection. Dr Wolk-Simon suggests that while the drawing is clearly by an artist working in Rome in the 1520s, the drawing is not in her opinion by Perino or Polidoro. An alternative attribiuion to Maturino, who Vasari mentions as having assisted Perino at the Palazzo Baldassini, may also be suggested, although this can only be speculation given the almost total absence of drawings by the artist. The majority of the decorations for the palazzo were destroyed by the 19th Century. Traces of the decorative framework and a fragment of the frieze survive in situ (L. Wolk-Simon, 'Two early fresco cycles by Perino del Vaga: The Palazzo Baldassini and the Pucci Chapel', Apollo, March 2002, pp. 11-21). Two further small panels from the frieze survive, transferred to canvas, in the Uffizi (E. Parma, op. cit., 2001, nos. 14-15).
We are grateful to Paul Joannides, Linda Wolk-Simon and Nicholas Turner for their help in preparing this note.
The drawing is close in handling, in format and in the close-spaced squaring in black chalk, to a group of drawings attributed by Konrad Oberhuber to Raphael (K. Oberhuber and A. Gnann, Roma e lo stile classico di Raffaello, exhib. cat., Mantua, Palazzo Te, and Vienna, Albertina, 1999, nos. 95-96, 98-100). Other commentators attribute these drawings to Penni, Perino del Vaga and Polidoro da Caravaggio, or other members of Raphael's studio (see, for example, P. Pouncey and J.A. Gere, Italian Drawings ... in the British Museum: Raphael and his Circle, London, 1962, no. 64). The majority of the drawings in this group are closely related to the frescoes in the vault of the Vatican Loggie, painted by Raphael and his studio in 1516-18, from which the composition of The Sacrifice of Noah is closest to the present drawing. However, as Paul Joannides has noted, the more overtly pagan subject of this drawing would militate against a direct connection. Closer in composition is Perino's grisaille for the lower part of the wall below Raphael's Disputà in the Stanza della Segnatura (E. Parma, Perin del Vaga, L'anello mancante, Genoa, 1986, fig. 231), for which there is a preliminary drawing in the Louvre (E. Parma et al., Perino del Vaga: tra Raffaello e Michelangelo, exhib. cat., Mantua, Palazzo Te, 2001, no. 152). The composition was also developed by Giulio Romano for a medallion in the Sala dei Venti in the Palazzo Te at Mantua, for which there is a drawing in the Louvre (R. Bacou, Autour de Raphael, exhib. cat., Paris, Louvre, 1984, no. 44.).
Paul Joannides further suggests that the present drawing may be a related to one of the scenes of ancient Roman History painted by Perino del Vaga in the Palazzo Baldassini, Rome, in 1520-22. Linda Wolk-Simon agrees with this suggestion, on the basis of a photograph, noting that both the format of the composition and its subject support the connection. Dr Wolk-Simon suggests that while the drawing is clearly by an artist working in Rome in the 1520s, the drawing is not in her opinion by Perino or Polidoro. An alternative attribiuion to Maturino, who Vasari mentions as having assisted Perino at the Palazzo Baldassini, may also be suggested, although this can only be speculation given the almost total absence of drawings by the artist. The majority of the decorations for the palazzo were destroyed by the 19th Century. Traces of the decorative framework and a fragment of the frieze survive in situ (L. Wolk-Simon, 'Two early fresco cycles by Perino del Vaga: The Palazzo Baldassini and the Pucci Chapel', Apollo, March 2002, pp. 11-21). Two further small panels from the frieze survive, transferred to canvas, in the Uffizi (E. Parma, op. cit., 2001, nos. 14-15).
We are grateful to Paul Joannides, Linda Wolk-Simon and Nicholas Turner for their help in preparing this note.