DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61523#0016
12
Exhibition of Drawings and Sketches.
Lorenzo di CREDI.
Painter: Florentine School: b. 1459, d. 1537: pupil of Verrocchio : worked
at Florence.
29. Portrait-study: head of a lad in full face.
Siver-point heightened with white.
From the Richardson and Lawrence collections.
A very fine and expressive example of the most frequent and best class of
the master’s extant studies (M. 24).
30. Portrait-study: head of a lad looking up.
Silver-point heightened with white on (yellow) prepared ground.
From the Richardson and Lawrence collections.
A somewhat less interesting and highly-wrought example of the same class
31. Sheet of studies for compositions of the Virgin and Child
with angels, &c.
Pen and bistre on paper slightly tinted with bistre wash.
From the Vasari, P. J. Mariette, and Payne-Knight collections.
These studies, for two different compositions of an altar-piece of the Virgin
and Christ with angels in adoration, are perhaps the freest and finest in
execution of any by the master that have been preserved. The slighter
sketches below show how much Lorenzo was influenced by, and how
nearly he could sometimes approach, the manner of his more gifted fellow-
pupil Leonardo da Vinci (B.M.).
32. Sheet with two studies for the drapery of a kneeling Virgin.
Silver-point heightened with white on (pink) prepared ground.
From the Richardson, West, and Dimsdale collections.
The technical resemblance of the workmanship of this and the following
study with that of no. 19 is obvious. The design of the figure and
drapery, especially in the upper study of the two, corresponds generally
with that of the kneeling Virgin in the preceding number, 31 (M. 22).
33. Study of drapery cast over the knees of a seated figure.
Silver-point heightened with white on (pink) prepared ground.
From the de Fries and Lawrence collections.
This study exactly repeats in another material a well-known one at the
Louvre, which is executed in umber heightened with white on dark-grey
linen, and has always been attributed to Leonardo. The class of studies
to which the Louvre drawing belongs is a puzzling one (see below,
no. 35); but it is possible that both attributions may be right, and in
that case the present Malcolm drawing will be a copy made by Lorenzo
di Credi from Leonardo’s original in the Louvre (M. 23).
Domenico GHIRLANDAIO (Domenico di Tommaso Bigordi).
Painter: Florentine School: b. 1449, d. 1494: pupil of Alessio Baldovinetti :
formed under the influence of Andrea del Castagno, Masaccio, and
Verrocchio: worked chiefly at Florence, also in Rome.
34. Study for a figure in the frescoes of Sta Maria Novella.
Pen and bistre.
The figure is that usually identified as a portrait of Ginevra de’ Benci in
the fresco of the Visitation, in the famous series executed by the master
in the choir of Sta Maria Novella. The method of work is quite charac-
teristic of the master.
Exhibition of Drawings and Sketches.
Lorenzo di CREDI.
Painter: Florentine School: b. 1459, d. 1537: pupil of Verrocchio : worked
at Florence.
29. Portrait-study: head of a lad in full face.
Siver-point heightened with white.
From the Richardson and Lawrence collections.
A very fine and expressive example of the most frequent and best class of
the master’s extant studies (M. 24).
30. Portrait-study: head of a lad looking up.
Silver-point heightened with white on (yellow) prepared ground.
From the Richardson and Lawrence collections.
A somewhat less interesting and highly-wrought example of the same class
31. Sheet of studies for compositions of the Virgin and Child
with angels, &c.
Pen and bistre on paper slightly tinted with bistre wash.
From the Vasari, P. J. Mariette, and Payne-Knight collections.
These studies, for two different compositions of an altar-piece of the Virgin
and Christ with angels in adoration, are perhaps the freest and finest in
execution of any by the master that have been preserved. The slighter
sketches below show how much Lorenzo was influenced by, and how
nearly he could sometimes approach, the manner of his more gifted fellow-
pupil Leonardo da Vinci (B.M.).
32. Sheet with two studies for the drapery of a kneeling Virgin.
Silver-point heightened with white on (pink) prepared ground.
From the Richardson, West, and Dimsdale collections.
The technical resemblance of the workmanship of this and the following
study with that of no. 19 is obvious. The design of the figure and
drapery, especially in the upper study of the two, corresponds generally
with that of the kneeling Virgin in the preceding number, 31 (M. 22).
33. Study of drapery cast over the knees of a seated figure.
Silver-point heightened with white on (pink) prepared ground.
From the de Fries and Lawrence collections.
This study exactly repeats in another material a well-known one at the
Louvre, which is executed in umber heightened with white on dark-grey
linen, and has always been attributed to Leonardo. The class of studies
to which the Louvre drawing belongs is a puzzling one (see below,
no. 35); but it is possible that both attributions may be right, and in
that case the present Malcolm drawing will be a copy made by Lorenzo
di Credi from Leonardo’s original in the Louvre (M. 23).
Domenico GHIRLANDAIO (Domenico di Tommaso Bigordi).
Painter: Florentine School: b. 1449, d. 1494: pupil of Alessio Baldovinetti :
formed under the influence of Andrea del Castagno, Masaccio, and
Verrocchio: worked chiefly at Florence, also in Rome.
34. Study for a figure in the frescoes of Sta Maria Novella.
Pen and bistre.
The figure is that usually identified as a portrait of Ginevra de’ Benci in
the fresco of the Visitation, in the famous series executed by the master
in the choir of Sta Maria Novella. The method of work is quite charac-
teristic of the master.