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拍品专文
Suggéré par une annotation en bas à gauche de la feuille, l'attribution à Sodoma a été confirmée par Marco Ciampolini qui relie l'étude à La Sainte Famille et Saint Léonard du Palais Public de Sienne (E. Carli, Il Sodoma, Milan 1979, p. 64, pl XXXVII). Parmi les travaux les plus célèbres de l'artiste, encensé par Annibale Carracci, cette peinture date des années 1530-1535 et était à l'origine installée dans la cathédrale de Sienne, tel un tableau d'autel pour orner la chapelle San Callisto (Carli, op. cit., p. p. 69). Œuvre attestant de la maturité de l'artiste à la fin de sa période siennoise, cette étude de tête qui associe subtilement la pierre noire et la sanguine évoque également le chiaroscuro léonardesque.
Bearing an attribution to Sodoma, the present work has been confirmed to the artist by Marco Ciampolini, who linked it to The Holy Family and Saint Leonard in the Palazzo Pubblico, Siena (E. Carli, Il Sodoma, Milan 1979, p. 64, pl XXXVII). Among the artist’s most celebrated works - and praised by Annibale Carracci - this painting dates to 1530-1535 and was originally installed in the Cathedral of Siena as the main altarpiece of the Chapel of San Callisto (Carli, op. cit., p. p. 69). Attesting Sodoma’s mature style in his late Sienese period, the sheet is carefully executed with a strong Leonardeque chiaroscuro and combination of red and black chalks. We are grateful to Marco Ciampolini for confirming the attribution to Sodoma and for his assistance during the cataloguing of the present work.
Bearing an attribution to Sodoma, the present work has been confirmed to the artist by Marco Ciampolini, who linked it to The Holy Family and Saint Leonard in the Palazzo Pubblico, Siena (E. Carli, Il Sodoma, Milan 1979, p. 64, pl XXXVII). Among the artist’s most celebrated works - and praised by Annibale Carracci - this painting dates to 1530-1535 and was originally installed in the Cathedral of Siena as the main altarpiece of the Chapel of San Callisto (Carli, op. cit., p. p. 69). Attesting Sodoma’s mature style in his late Sienese period, the sheet is carefully executed with a strong Leonardeque chiaroscuro and combination of red and black chalks. We are grateful to Marco Ciampolini for confirming the attribution to Sodoma and for his assistance during the cataloguing of the present work.