![]() However, this statue postdates Tintoretto’s drawings. ![]() The anonymous collector who annotated the Rotterdam sheet with the name of Giambologna (1529-1608) was the first to recognize a contemporary Mannerist source, probably in view of its general likeness to his monumental bronze statue of Neptune on the fountain in Bologna, erected in 1564-66, which also has a bent knee and an outstretched arm, with the head turned left. ![]() This drawing and those by Tintoretto or members of his workshop on five sheets, now in Oxford, Copenhagen, Berlin and Lausanne, record a statuette studied from different angles. Earlier authors, including Tietze/Tietze-Conrat (1944) and Rossi (2011), rightly considered the recto drawing without the compositional sketch, which is the weaker of the two, as workshop material. Marciari (2018) relates this little sketch, which he rightly considers autograph, to paintings of the early 1550s. It represents a seated figure accompanied by a reclining figure, within a drawn cadre, with an additional reclining figure to the left, which may have been considered less attractive and distracting attention from the main figure. Perhaps the present verso was chosen to be laid down because it has a small indistinct compositional sketch at the right, recognizable when the sheet is turned 90 degrees to the right. This makes one wonder why Giuseppe Vallardi (1784-1861), whose mark is the oldest on this side of the sheet, or a collector before him preferred the weaker version. It is the same muscular nude male figure as on the recto, with identical pose in frontal view, but much stronger in execution, in Tintoretto’s typical black-and-white chiaroscuro style. When this sheet was removed from its old backing paper in the 1990s, a very similar drawing on the verso was revealed. 8 (recto, autograph) Byam Shaw 1976, under no. Tekeningen uit eigen bezit, 1400-1800 (1952)ĭe Collectie Twee - wissel II, Prenten & Tekeningen (2009) van Beuningen (1877-1955), Rotterdam, acquired with the Koenigs Collection in 1940 and donated to the Foundation Museum BoymansĪmsterdam 1929, no. Koenigs (1881-1941, L.1023a), Haarlem, acquired in 1928 from the Simonetti heir via art dealer Nicolaas Beets (Jacopo Tintoretto) D.G. Koenigs (L.1023a on the removed backing paper) Locarno (L.1691 on the removed backing paper), Galleria Simonetti (L.2288bis on the removed backing paper), F.W. ![]() Bologna' (below right, pencil, crossed out), '1153' (verso, below left, pencil), 'Tintoretto' (verso, below right, purple pencil), '90' (verso, below right, encircled, blue pencil), '89' (verso, below right, red pencil) Workshop of: Jacopo Tintoretto (Jacopo Comin, Jacopo Robusti)īruikleen / Loan: Stichting Museum Boijmans Van Beuningen 1940 (voormalige collectie / former collection Koenigs)Ĭannot be determined due to insufficient transparency (vH, 8P) ![]()
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