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Lot Essay
Related to the central figure of Tibaldi's fresco of Saint John baptising the People painted on the left of the Poggi Chapel in San Giacomo Maggiore, Bologna, V. Fortunati Pietrantonio, Pittura bolognese del '500, Bologna, 1986, II, p. 530, illustrated. Tibaldi painted as well The Annunciation of the coming of Saint John the Baptist on the right of the chapel.
The cycle was dated by Silla Zamboni after Cardinal Poggi's donation of reliquaries to San Giacomo Maggiore in 1552, and before Tibaldi's decoration of the Palazzo Poggi in Bologna datable to 1554-6, S. Zamboni, La Cappella Poggi in 'Il Tempio di S. Giacomo Maggiore Bologna', Bologna, 1967, pp. 147-59.
Vera Fortunati Pietrantonio confirmed Zamboni's dating through documents mentioning Tibaldi's patron, Cardinal Giovanni Poggi, present with the Bolognese Senate to a Mass, held by his nephew Cardinal Cristoforo Poggi on 25 July 1554, the date by which the fresco was probably completed.
Although the figure in the drawing and the fresco are strikingly similar, both in pose and drapery, the differences in details are numerous: in the latter the woman is pointing with only one finger, the hem is less detailed, her head-dress is different and she does not have the drapery on her right shoulder.
A study in pen and ink for the lower part of the fresco is in the Metropolitan Museum of Art, New York, J. Bean and L. Turcic, 15th and 16th Century Italian Drawings, New York, 1982, no. 246, illustrated. It shows a preliminary idea for the kneeling figure with a pentimento of the head of the woman leaning to the left. Another drawing related to the upper part of the picture was in the Normand Collection sold at Christie's Monaco, 20 June 1994, lot 13.
A drawing very close in handling, and probably connected to the fresco of the Palazzo Poggi, was with Katrin Bellinger, Bruno de Bayser and Hazlitt, Gooden & Fox, European Master Drawings, 1994, no. 8.
Raphael's influence on the Poggi cycle is important. The present drawing is a quotation, in reverse, from a figure in Raphael's Transfiguration painted for San Pietro in Montorio.
The present drawing bears an old attribution to Michelangelo in Spanish. It may have been brought to Spain by Tibaldi himself when he worked in the Escorial, near Madrid, from 1588 to 1596.
The cycle was dated by Silla Zamboni after Cardinal Poggi's donation of reliquaries to San Giacomo Maggiore in 1552, and before Tibaldi's decoration of the Palazzo Poggi in Bologna datable to 1554-6, S. Zamboni, La Cappella Poggi in 'Il Tempio di S. Giacomo Maggiore Bologna', Bologna, 1967, pp. 147-59.
Vera Fortunati Pietrantonio confirmed Zamboni's dating through documents mentioning Tibaldi's patron, Cardinal Giovanni Poggi, present with the Bolognese Senate to a Mass, held by his nephew Cardinal Cristoforo Poggi on 25 July 1554, the date by which the fresco was probably completed.
Although the figure in the drawing and the fresco are strikingly similar, both in pose and drapery, the differences in details are numerous: in the latter the woman is pointing with only one finger, the hem is less detailed, her head-dress is different and she does not have the drapery on her right shoulder.
A study in pen and ink for the lower part of the fresco is in the Metropolitan Museum of Art, New York, J. Bean and L. Turcic, 15th and 16th Century Italian Drawings, New York, 1982, no. 246, illustrated. It shows a preliminary idea for the kneeling figure with a pentimento of the head of the woman leaning to the left. Another drawing related to the upper part of the picture was in the Normand Collection sold at Christie's Monaco, 20 June 1994, lot 13.
A drawing very close in handling, and probably connected to the fresco of the Palazzo Poggi, was with Katrin Bellinger, Bruno de Bayser and Hazlitt, Gooden & Fox, European Master Drawings, 1994, no. 8.
Raphael's influence on the Poggi cycle is important. The present drawing is a quotation, in reverse, from a figure in Raphael's Transfiguration painted for San Pietro in Montorio.
The present drawing bears an old attribution to Michelangelo in Spanish. It may have been brought to Spain by Tibaldi himself when he worked in the Escorial, near Madrid, from 1588 to 1596.