DOI Page / Citation link:
https://doi.org/10.11588/diglit.52600#0157
DRAWINGS
in
style of Montagna (Ivan Lermolieff, Die Galerie zu Berlin, p. 100).
Ph. Giraudon.
We are distinctly reminded of the female figures
and the style of drapery in the later work of Montagna,
as exemplified by the fresco in the Scuola del Santo
at Padua and the altar-pieces at Santa Corona and
the Duomo at Vicenza. The action of the figures
reveals a close kinship with the group of women to
the right in the first-mentioned work ; we have perhaps
here a study for it, which was abandoned when the
composition received its final shape.
Paris. Louvre. The Risen Saviour.
Attributed in the Louvre to Bartolomeo Montagna. See infra, p. 137,
under Benedetto Montagna.
Paris. Louvre. Collection His de La Salle. No.
71. Studies for a Christ at the Column, &c.
Officially labelled “ Bartolomeo Montagna.” See infra, p. 204, under
Buonconsiglio.
Turin. Royal Library. St. Sebastian.
The saint stands tied to a tree with his arms bound in front of his
body. Crying with pain, he looks towards heaven. Rocky ground.
On vellum ; pen and bistre ; washed with bistre. Ph. Anderson.
The reasons why I think that this drawing may be
ascribed to Montagna are : the head of the saint is
conceived very much like that of the angel to the left
in the Pietd in the ancona of SS. Nazaro e Celso at
Verona ; the structure of the body reminds us of our
painter, as does also the technique.
Windsor. Royal Library. Head of the Virgin.
On paper; black chalk; heightened with white. 0.345 x 0.250.
This and the following drawing were first given to Montagna by Morelli
(Ivan Lermolieff, Die Galerien zu Miinchen und Dresden, p. 154). Re-
produced in Ricci, “ I disegni di Oxford ” in Rassegna ddarte, v. 77.
in
style of Montagna (Ivan Lermolieff, Die Galerie zu Berlin, p. 100).
Ph. Giraudon.
We are distinctly reminded of the female figures
and the style of drapery in the later work of Montagna,
as exemplified by the fresco in the Scuola del Santo
at Padua and the altar-pieces at Santa Corona and
the Duomo at Vicenza. The action of the figures
reveals a close kinship with the group of women to
the right in the first-mentioned work ; we have perhaps
here a study for it, which was abandoned when the
composition received its final shape.
Paris. Louvre. The Risen Saviour.
Attributed in the Louvre to Bartolomeo Montagna. See infra, p. 137,
under Benedetto Montagna.
Paris. Louvre. Collection His de La Salle. No.
71. Studies for a Christ at the Column, &c.
Officially labelled “ Bartolomeo Montagna.” See infra, p. 204, under
Buonconsiglio.
Turin. Royal Library. St. Sebastian.
The saint stands tied to a tree with his arms bound in front of his
body. Crying with pain, he looks towards heaven. Rocky ground.
On vellum ; pen and bistre ; washed with bistre. Ph. Anderson.
The reasons why I think that this drawing may be
ascribed to Montagna are : the head of the saint is
conceived very much like that of the angel to the left
in the Pietd in the ancona of SS. Nazaro e Celso at
Verona ; the structure of the body reminds us of our
painter, as does also the technique.
Windsor. Royal Library. Head of the Virgin.
On paper; black chalk; heightened with white. 0.345 x 0.250.
This and the following drawing were first given to Montagna by Morelli
(Ivan Lermolieff, Die Galerien zu Miinchen und Dresden, p. 154). Re-
produced in Ricci, “ I disegni di Oxford ” in Rassegna ddarte, v. 77.