DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61523#0018
14
Exhibition of Drawings and Sketches.
School of LEONARDO DA VINCI.
40. Study of a youthful head looking down.
Silver-point, pen, and bistre-wash on (dark green) prepared paper.
From the Lely collection.
This beautiful head bears a somewhat close resemblance, alike in pose,
modelling, and expression, to that of the Virgin in the Vierge aux Rochers
(especially in the National Gallery version of the picture). It is a
thoroughly Leonardesque type, but lacks the freedom and fire of touch
(with shading from left to right, consequent on his habitual use of the
left hand) which are inseparable from the true work of the master; and
the peculiar hard outlines and emphatic, somewhat bony modelling with
the heavy eyelids are not his. It belongs to a considerable group of
pupil’s work, which has been variously attributed to Ambrogio de Predis
and Bernardino de’ Conti, and seems most closely allied to that of the
former artist, as represented by his signed portrait in the possession of
Mr. Fuller Maitland (M. 39).
Il SODOMA (Giovanni Antonio BAZZI).
PaintOr: b. 1477, d. 1549: pupil of Leonardo da Vinci, afterwards in-
fluenced by Raphael: worked at Milan, Siena, and Rome.
Head of a young man.
Black chalk, slightly touched with white.
From the Lely and Wellesley collections.
This nobly drawn portrait head, converted into that of a saint by the
(apparently later) addition of a nimbus and the letters I.O., is one of the
finest extant examples of the Milanese school of Leonardo: and from
internal evidence, especially the modelling of the mouth, and form and
expression of the eyes, may almost certainly be attributed to Bazzi
(M. 323).
School of LEONARDO DA VINCI.
42. Head of an old man.
< Silver-point touched with white on (bluish) prepared paper.
From tne Lely and Richardson collections.
Modelled with a masterly if somewhat dry minuteness and precision by
anotljdi? pupil of Leonardo, whose works form a group by themselves, and
i ^n^dsually attributed to the master (B.M.).
4/BZBuidy of drapery for a design of the Resurrection.
Ds Silver-point heightened with white on (bluish) prepared ground.
* From the Lawrence collection.
I To all appearance an original study for the picture in the Berlin Museum
(90a). The cold and minute precision of handling in the drapery, which
looks as if dipped in plaster and pinned into the desired forms, with the
ignorant drawing of the arm and shoulders, and the character of the
head imitated from the antique Laocoon, stamp it unmistakably as the
work of an imitator and not of the master (M. 47).
Remaining on the North side of the Apennines, and moving downwards
from Lombardy towards the Adriatic, we come to the Schools of Venice and
Padua, and find materials for a study of the styles of drawing and sketching
in practice there during the same period, about 1460-1510. The prevalence of
pen-work over other methods is noticeable.
Exhibition of Drawings and Sketches.
School of LEONARDO DA VINCI.
40. Study of a youthful head looking down.
Silver-point, pen, and bistre-wash on (dark green) prepared paper.
From the Lely collection.
This beautiful head bears a somewhat close resemblance, alike in pose,
modelling, and expression, to that of the Virgin in the Vierge aux Rochers
(especially in the National Gallery version of the picture). It is a
thoroughly Leonardesque type, but lacks the freedom and fire of touch
(with shading from left to right, consequent on his habitual use of the
left hand) which are inseparable from the true work of the master; and
the peculiar hard outlines and emphatic, somewhat bony modelling with
the heavy eyelids are not his. It belongs to a considerable group of
pupil’s work, which has been variously attributed to Ambrogio de Predis
and Bernardino de’ Conti, and seems most closely allied to that of the
former artist, as represented by his signed portrait in the possession of
Mr. Fuller Maitland (M. 39).
Il SODOMA (Giovanni Antonio BAZZI).
PaintOr: b. 1477, d. 1549: pupil of Leonardo da Vinci, afterwards in-
fluenced by Raphael: worked at Milan, Siena, and Rome.
Head of a young man.
Black chalk, slightly touched with white.
From the Lely and Wellesley collections.
This nobly drawn portrait head, converted into that of a saint by the
(apparently later) addition of a nimbus and the letters I.O., is one of the
finest extant examples of the Milanese school of Leonardo: and from
internal evidence, especially the modelling of the mouth, and form and
expression of the eyes, may almost certainly be attributed to Bazzi
(M. 323).
School of LEONARDO DA VINCI.
42. Head of an old man.
< Silver-point touched with white on (bluish) prepared paper.
From tne Lely and Richardson collections.
Modelled with a masterly if somewhat dry minuteness and precision by
anotljdi? pupil of Leonardo, whose works form a group by themselves, and
i ^n^dsually attributed to the master (B.M.).
4/BZBuidy of drapery for a design of the Resurrection.
Ds Silver-point heightened with white on (bluish) prepared ground.
* From the Lawrence collection.
I To all appearance an original study for the picture in the Berlin Museum
(90a). The cold and minute precision of handling in the drapery, which
looks as if dipped in plaster and pinned into the desired forms, with the
ignorant drawing of the arm and shoulders, and the character of the
head imitated from the antique Laocoon, stamp it unmistakably as the
work of an imitator and not of the master (M. 47).
Remaining on the North side of the Apennines, and moving downwards
from Lombardy towards the Adriatic, we come to the Schools of Venice and
Padua, and find materials for a study of the styles of drawing and sketching
in practice there during the same period, about 1460-1510. The prevalence of
pen-work over other methods is noticeable.