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拍品專文
Dorigny, son-in-law and pupil of Simon Vouet (1590-1649), was renowned for his activity as engraver, while his graphic oeuvre includes just over 150 drawings according to Damien Tellas (Michel Dorigny 1616-1665, Cahier du dessin français, n° 21, Paris, 2019, p. 9).
This nude belongs to a group of figure studies showing pupilless eyes, with enhanced outlines and heavy hatching, largely heightened with white, in the manner of Vouet, of which an example is in The Getty Museum, Los Angeles (inv. 87.GB.104; G. Goldner & L. Hendrix, European Drawings. Catalogue of the Collection, Los Angeles, 1992, II, no. 77, ill.). Sheets by Dorigny similar in handling can be found in a private collection (A male figure, half length, leaning to the right; D. Tellas, op. cit., no. 7, ill.) and in the École des Beaux-Arts, Paris (Christ Saviour of the world; inv. MAS 1279 ; ibid., no. 16, ill.). Tellas suggests dating the drawing towards the end of Dorigny’s career, between 1663-1665, when he joined the Académie Royale and before becoming a teacher the following year.
We are grateful to Damien Tellas for supporting the attribution to Dorigny on the basis of a digital photograph. The drawing will be included in his forthcoming catalogue raisonné of the artist’s works.
This nude belongs to a group of figure studies showing pupilless eyes, with enhanced outlines and heavy hatching, largely heightened with white, in the manner of Vouet, of which an example is in The Getty Museum, Los Angeles (inv. 87.GB.104; G. Goldner & L. Hendrix, European Drawings. Catalogue of the Collection, Los Angeles, 1992, II, no. 77, ill.). Sheets by Dorigny similar in handling can be found in a private collection (A male figure, half length, leaning to the right; D. Tellas, op. cit., no. 7, ill.) and in the École des Beaux-Arts, Paris (Christ Saviour of the world; inv. MAS 1279 ; ibid., no. 16, ill.). Tellas suggests dating the drawing towards the end of Dorigny’s career, between 1663-1665, when he joined the Académie Royale and before becoming a teacher the following year.
We are grateful to Damien Tellas for supporting the attribution to Dorigny on the basis of a digital photograph. The drawing will be included in his forthcoming catalogue raisonné of the artist’s works.