DOI Page / Citation link:
https://doi.org/10.11588/diglit.52600#0156
no
BARTOLOMEO MONTAGNA
In the lower right corner the mutilated inscription : Bartolomeo Mon.
On greenish blue paper ; brush and Indian ink, heightened with white
0.380 X 0.271. Collections, Count Gelozzi or Gelosi (mark), Stengel.
Formerly ascribed to Fra Bartolomeo. The attribution to Montagna
was proposed by Morelli (Ivan Lermolieff, op. cit. p. 153). Reproduced
in Schmidt, Handzeichnungen alter Meister im Koniglichen Kupferstich-
kabinet zu Milnchen, vii. pl. 135.
The draperies and the hands are decidedly Mon-
tagnesque ; yet there is such a faultiness of proportion
in the build of the Virgin’s interminable body, such a
poorness in her type, that it is perhaps more prudent
to consider it the work of some follower of our artist.
Oxford. Library of Christ Church College. Head
of the Virgin.
Full face head of the Madonna under a hood, inclined to the left.
Marked in the lower right corner : f. 16. On paper ; black chalk.
0.290 x 0.208. Stained by grease. Collection, Guise. Formerly
attributed to Francia. Restored by Morelli to Montagna (Ivan Lermo-
lieff, op. cit. p. 153 sqi). Reproduced in Colvin, Drawings of the Old
Masters in the University Galleries and in the Library of Christ Church,
Oxford, ii. pl. 31.
A work of great softness in treatment and expression,
coming close in type, costume and the inclination of
the head to many of Montagna’s Madonnas, although
it does not exactly correspond with any one of them.
Paris. Louvre. No. 1981. Three Ladies in
Conversation.
The chief figure is that of a young lady who stands turning her head
towards another young lady standing to the right of her. The former
is indicating with her right hand something happening outside the
scene, while her companion raises her right hand in astonishment.
Both wear elegant costumes. Between these two figures is seen the
bust of an old woman, looking at the spectator with a somewhat malicious
expression. In the left upper corner is written : “ Dosso da Ferrara ” ;
and above the chief figure : “ la duchessa.” The drawing has been cut
above to the right. On greenish paper ; brush and bistre; heightened
with white. 0.316 x 0.230. Collection, Jabach (mark). Ascribed by
the Louvre authorities to Dosso Dossi. Morelli recognised in it the
BARTOLOMEO MONTAGNA
In the lower right corner the mutilated inscription : Bartolomeo Mon.
On greenish blue paper ; brush and Indian ink, heightened with white
0.380 X 0.271. Collections, Count Gelozzi or Gelosi (mark), Stengel.
Formerly ascribed to Fra Bartolomeo. The attribution to Montagna
was proposed by Morelli (Ivan Lermolieff, op. cit. p. 153). Reproduced
in Schmidt, Handzeichnungen alter Meister im Koniglichen Kupferstich-
kabinet zu Milnchen, vii. pl. 135.
The draperies and the hands are decidedly Mon-
tagnesque ; yet there is such a faultiness of proportion
in the build of the Virgin’s interminable body, such a
poorness in her type, that it is perhaps more prudent
to consider it the work of some follower of our artist.
Oxford. Library of Christ Church College. Head
of the Virgin.
Full face head of the Madonna under a hood, inclined to the left.
Marked in the lower right corner : f. 16. On paper ; black chalk.
0.290 x 0.208. Stained by grease. Collection, Guise. Formerly
attributed to Francia. Restored by Morelli to Montagna (Ivan Lermo-
lieff, op. cit. p. 153 sqi). Reproduced in Colvin, Drawings of the Old
Masters in the University Galleries and in the Library of Christ Church,
Oxford, ii. pl. 31.
A work of great softness in treatment and expression,
coming close in type, costume and the inclination of
the head to many of Montagna’s Madonnas, although
it does not exactly correspond with any one of them.
Paris. Louvre. No. 1981. Three Ladies in
Conversation.
The chief figure is that of a young lady who stands turning her head
towards another young lady standing to the right of her. The former
is indicating with her right hand something happening outside the
scene, while her companion raises her right hand in astonishment.
Both wear elegant costumes. Between these two figures is seen the
bust of an old woman, looking at the spectator with a somewhat malicious
expression. In the left upper corner is written : “ Dosso da Ferrara ” ;
and above the chief figure : “ la duchessa.” The drawing has been cut
above to the right. On greenish paper ; brush and bistre; heightened
with white. 0.316 x 0.230. Collection, Jabach (mark). Ascribed by
the Louvre authorities to Dosso Dossi. Morelli recognised in it the