DOI article:
Fabiański, Marcin: The Madonna and Child in Frombork and her Artistic Sources
DOI Page / Citation link:https://doi.org/10.11588/diglit.20613#0114
11. Correggio, Madonna del latte. Budapest, Szepmuveszeti Muzeum (from Pigler)
Only one preparatory drawing for the van Dyck
picture has been indicated so far. There the artist,
having already devised the ultimate layout, still
hesitated how to paint the main group37. However,
scholars have overlooked the fact that in search of the
right solution to this problem he could find the right
pose for the Child in another of his sketches (Fig. 10),
apparently madę during his Italian sojourn after 1621
following Correggio’s famous Madonna del latte
(Fig. II)38. The unconstrained sprawling body had
apparently had an appeal to the young artist.
37 Cf. H. Vey, Die Zeichnungen Anton van Dycks, Brussel 1962,
pp. 185-—186, no. 117.
38 Ibidem, pp. 219—220, no. 149. Formerly in the Tobias
Christ Collection in Basie, sold Sotheby’s April 9th, 1981, lot 23.
39 In his sacra conversazione in the church of San Giacomo
Maggiore, Bologna, painted in 1565. See C. Hóper, Bartolomeo
Passarotti (1529-1592) (Manuskripte fur Kunstwissenschaft in der
Wemerschen Yerlagsgesellschaft, 12, IV), Worms 1987, 1, p. 10 and
No w it seems obvious that both Sabatini and
Aretusi (Figs. 6, 7) were inspired by Correggio’s
Madonnas. They combined the Del latte Child with
an approximation of the Madonna di San Giorgio.
Thus they both, accompanied by Bartolommeo Pas-
serotti (1529—1592) with his altarpiece39, anticipated
the Correggio-revival in Bologna, as exemplified in
the Carracci oeuvre from c. 1573 on40.
It is possible, too, that Piętro da Cortona, while
painting his sacra conversazione (Fig. 3) had the
Madonna del latte in mind. Cortona is known to have
2, pp. 4—6, no. G4; A. Ghirardi, s. v. [in:] Fortunati, o. c. (as in
n. 25), pp. 543—544.
40 Thus C. Fischer ([Review of] Correggio e il suo lascito
(Kunstchronik, 37, 1984, p. 481)) is wrong in saying that „Carra-
cci’s sudden and deep interest for Correggio’s art around 1573
seems revolutionary, for there was nothing in Bolognese art of the
time which prepared for it”.
110
Only one preparatory drawing for the van Dyck
picture has been indicated so far. There the artist,
having already devised the ultimate layout, still
hesitated how to paint the main group37. However,
scholars have overlooked the fact that in search of the
right solution to this problem he could find the right
pose for the Child in another of his sketches (Fig. 10),
apparently madę during his Italian sojourn after 1621
following Correggio’s famous Madonna del latte
(Fig. II)38. The unconstrained sprawling body had
apparently had an appeal to the young artist.
37 Cf. H. Vey, Die Zeichnungen Anton van Dycks, Brussel 1962,
pp. 185-—186, no. 117.
38 Ibidem, pp. 219—220, no. 149. Formerly in the Tobias
Christ Collection in Basie, sold Sotheby’s April 9th, 1981, lot 23.
39 In his sacra conversazione in the church of San Giacomo
Maggiore, Bologna, painted in 1565. See C. Hóper, Bartolomeo
Passarotti (1529-1592) (Manuskripte fur Kunstwissenschaft in der
Wemerschen Yerlagsgesellschaft, 12, IV), Worms 1987, 1, p. 10 and
No w it seems obvious that both Sabatini and
Aretusi (Figs. 6, 7) were inspired by Correggio’s
Madonnas. They combined the Del latte Child with
an approximation of the Madonna di San Giorgio.
Thus they both, accompanied by Bartolommeo Pas-
serotti (1529—1592) with his altarpiece39, anticipated
the Correggio-revival in Bologna, as exemplified in
the Carracci oeuvre from c. 1573 on40.
It is possible, too, that Piętro da Cortona, while
painting his sacra conversazione (Fig. 3) had the
Madonna del latte in mind. Cortona is known to have
2, pp. 4—6, no. G4; A. Ghirardi, s. v. [in:] Fortunati, o. c. (as in
n. 25), pp. 543—544.
40 Thus C. Fischer ([Review of] Correggio e il suo lascito
(Kunstchronik, 37, 1984, p. 481)) is wrong in saying that „Carra-
cci’s sudden and deep interest for Correggio’s art around 1573
seems revolutionary, for there was nothing in Bolognese art of the
time which prepared for it”.
110