Alessandro Casolani

The Martyrdom of Saint Bartholomew, a preparatory drawing by Alessandro Casolani

Francesco Vanni is one of the last representatives of the long Sienese pictorial tradition. In this masterly composition in pen and ink wash, he presents the Virgin of the Rosary, holding the Child Jesus on her lap, surrounded on her right by Saint Dominic and on her left by Saint Catherine of Siena. The presence of these two emblematic saints of the Dominican order is a reminder of the devotion of this order to the Rosary. 1. Francesco Vanni, a Sienese painter of the Counter-Reformation Francesco Vanni was the most important Sienese painter of the late sixteenth century and a key Italian Counter-Reformation painter. He developed a very specific style, inspired not by Florentine models but rather by the Roman, Bolognese and Marche schools, and in particular by the work of his contemporary Federico Barocci (Urbino 1535 - 1612), despite the two artists never meeting. Francesco Vanni was born in Siena around 1563-1564. His father died in 1567 and his mother remarried Arcangelo Salimbeni (1536 - 1579), then one of Siena’s leading painters. His half-brother Ventura Salembini (1568 - 1613) also became a well-known painter. He continued his apprenticeship in Bologna and Rome, where he joined the painter Giovanni de Vecchi’s (1536 - 1614) studio, where he was greatly influenced, like other Tuscan painters of the time, by the art of Federico Barocci. He devoted himself mainly to religious painting, following the canons of the Counter-Reformation. Travelling between Siena, Rome, Bologna and Parma, in 1604, he settled in Siena, where he ended his life. Vanni was also an important member of the Confraternity of the Sacro Chiodo, renowned for its demanding religious practices. His legacy also includes some important engraved work. 2. Description of the artwork The Virgin is depicted enthroned in majesty, slightly taller than the other figures that she dominates from her pedestal. Her wide robe with marked folds evokes Renaissance statuary. She is crowned by two angels in the sky. These two angels are a reminder of the custom of adding angels to crown 13th century icons which was frequent at Vanni’s time. The Child Jesus is standing on the Virgin’s right knee. With her left hand she holds out a rosary to Catherine of Siena, identifiable by a branch of lily in her hand. In a symmetrical gesture, the Child Jesus also holds out a rosary to St Dominic. Two of St Dominic’s attributes are to be found at the foot of the Virgin: a book and a branch of lilies. Vanni gives particularly delicate treatment to St. Dominic's long and slender hands. The two outstretched rosaries form the link between the heavenly register of the Virgin and the Child Jesus and the earthly register of the two Dominicans who are not crowned with a halo. This and the fact they are followed by a large crowd, indicates that they are both represented as part of the multitude of the living called to pray to the Rosary. According to the classical iconographic tradition, it would be plausible to consider that the figure looking at the viewer on the extreme left of the drawing could be a self-portrait of the painter. Francesco Vanni's face is known to us from a self-portrait kept in the Pinacoteca Nazionale in Siena. The squaring of the drawing suggests that it was used for a larger-scale altarpiece, probably for a church dedicated to St Dominic or for a Dominican convent. As of today, we have not identified the painting for which this drawing served as a preparatory modello. The Madonna of the Rosary in the Cathedral of Pitigliano (painted by Francesco Vanni in 1609) differs quite significantly from our drawing by the addition of Pope Pius V, and the inclusion of St. Dominic and St. Catherine in the celestial register. We believe that our drawing predates this painting because of its more symmetrical composition, and less Baroque influence. The presence of Saint Catherine of Siena, particularly venerated in his native town, to which Francesco Vanni returned frequently from 1590 onwards, leads us to propose a date of around 1590 - 1600 for this drawing. 3. The Rosary and the Dominican Order In order to clarify the iconographic meaning of this artwork, it is worth recalling the role of Saint Dominic in the spread of the Rosary prayer. Dominic Nuñez de Guzman was born around 1170 in Caleruega (near Burgos) in Spain and died in 1221 in Bologna, Italy. He was the founder of the order of friar preachers, commonly known as the Dominicans. He was canonised by the Church in 1234 and has since been celebrated under the name of Saint Dominic. After three days of prayer in the forest of Bouconne, near Toulouse, Dominic is said to have received the Rosary as a means of converting the Cathar population. The Dominicans subsequently made a special effort to promote this form of meditative prayer. Pope Pius V, a Dominican, included the feast of the Rosary (on October 7th) in the liturgical calendar in 1571. Rosary prayer has evolved over the centuries and traditionally consists of the recitation of three rosaries (four since St John Paul II). Each rosary consists of five tens of "Hail Mary...

This vigorous drawing has long been attributed to Polidoro da Caravaggio: The Abduction of the Sabine Women is one of the scenes that Polidoro depicted between 1525 and 1527 on the façade of the Milesi Palazzo in Rome. However, the proximity to another drawing inspired by this same façade, kept at the Ecole des Beaux-Arts, and to other drawings inspired by Polidoro kept at the Musée du Louvre, leads us to propose an attribution to Biagio Pupini, a Bolognese artist whose life remains barely known, despite the abundant number of drawings attributed to him. 1. Biagio Pupini, a Bolognese artist in the light of the Roman Renaissance The early life of Biagio Pupini, an important figure of the first half of the Cinquecento in Bologna - Vasari mentions him several times - is still poorly known. Neither his date of birth (probably around 1490-1495) nor his training are known. He is said to have been a pupil of Francesco Francia (1450 - 1517) and his name appears for the first time in 1511 in a contract with the painter Bagnacavallo (c. 1484 - 1542) for the frescoes of a church in Faenza. He then collaborated with Girolamo da Carpi, at San Michele in Bosco and at the villa of Belriguardo. He must have gone to Rome for the first time with Bagnacavallo between 1511 and 1519. There he discovered the art of Raphael, with whom he might have worked, and that of Polidoro da Caravaggio. This first visit, and those that followed, were the occasion for an intense study of ancient and modern art, as illustrated by his abundant graphic production. Polidoro da Caravaggio had a particular influence on the technique adopted by Pupini. Executed on coloured paper, his drawings generally combine pen, brown ink and wash with abundant highlights of white gouache, as in the drawing presented here. 2. The Abduction of the Sabine Women Our drawing is an adaptation of a fresco painted between 1525 and 1527 by Polidoro da Caravaggio on the façade of the Milesi Palace in Rome. These painted façades were very famous from the moment they were painted and inspired many artists during their stay in Rome. These frescoes are now very deteriorated and difficult to see, as the palace is in a rather narrow street. The episode of the abduction of the Sabine women (which appears in the centre of the photo above) is a historical theme that goes back to the origins of Rome and is recounted both by Titus Livius (Ab Urbe condita I,13), by Ovid (Fasti III, 199-228) and by Plutarch (II, Romulus 14-19). After killing his twin brother Romus, Romulus populates the city of Rome by opening it up to refugees and brigands and finds himself with an excess of men. Because of their reputation, none of the inhabitants of the neighbouring cities want to give them their daughters in marriage. The Romans then decide to invite their Sabine neighbours to a great feast during which they slaughter the Sabines and kidnap their daughters. The engraving made by Giovanni Battista Gallestruzzi (1618 - 1677) around 1656-1658 gives us a good understanding of the Polidoro fresco, allowing us to see how Biagio Pupini reworked the scene to extract this dynamic group. With a remarkable economy of means, Biagio Pupini takes over the left-hand side of the fresco and depicts in a very dense space two main groups, each consisting of a Roman and a Sabine, completed by a group of three soldiers in the background (which seems to differ quite significantly from Polidoro's composition). The balance of the drawing is based on a very strongly structured composition. The drawing is organised around a median vertical axis, which runs along both the elbow of the kidnapped Sabine on the left and the foot of her captor, and the two main diagonals, reinforced by four secondary diagonals. This diamond-shaped structure creates an extremely dynamic space, in which centripetal movements (the legs of the Sabine on the right, the arm of the soldier on the back at the top right) and centrifugal movements (the arm of the kidnapper on the left and the legs of the Sabine he is carrying away, the arm of the Sabine on the right) oppose each other, giving the drawing the appearance of a whirlpool around a central point of support situated slightly to the left of the navel of the kidnapper on the right. 3. Polidoro da Caravaggio, and the decorations of Roman palaces Polidoro da Caravaggio was a paradoxical artist who entered Raphael's (1483 - 1520) workshop at a very young age, when he oversaw the Lodges in the Vatican. Most of his Roman work, which was the peak of his career, has disappeared, as he specialised in facade painting, and yet these paintings, which are eminently visible in urban spaces, have influenced generations of artists who copied them abundantly during their visits to Rome. Polidoro Caldara was born in Caravaggio around 1495-1500 (the birthplace of Michelangelo Merisi, known as Caravaggio, who was born there in 1571), some forty kilometres east of Milan. According to Vasari, he arrived as a mason on the Vatican's construction site and joined Raphael's workshop around 1517 (at the age of eighteen according to Vasari). This integration would have allowed Polidoro to work not only on the frescoes of the Lodges, but also on some of the frescoes of the Chambers, as well as on the flat of Cardinal Bibiena in the Vatican. After Raphael's death in 1520, Polidoro worked first with Perin del Vaga before joining forces with Maturino of Florence (1490 - 1528), whom he had also known in Raphael's workshop. Together they specialised in the painting of palace façades. They were to produce some forty façades decorated with grisaille paintings imitating antique bas-reliefs. The Sack of Rome in 1527, during which his friend Maturino was killed, led Polidoro to flee first to Naples (where he had already stayed in 1523), then to Messina. It was while he was preparing his return to the peninsula that he was murdered by one of his assistants, Tonno Calabrese, in 1543. In his Vite, Vasari celebrated Polidoro as the greatest façade decorator of his time, noting that "there is no flat, palace, garden or villa in Rome that does not contain a work by Polidoro". Polidoro's facade decorations, most of which have disappeared as they were displayed in the open air, constitute the most important lost chapter of Roman art of the Cinquecento. The few surviving drawings of the painter can, however, give an idea of the original appearance of his murals and show that he was an artist of remarkable and highly original genius. 4. The façade of the Milesi Palace Giovanni Antonio Milesi, who commissioned this palace, located not far from the Tiber, north of Piazza Navona, was a native of the Bergamo area, like Polidoro, with whom he maintained close friendly ties. Executed in the last years before the Sack of Rome, around 1526-1527, the decoration of Palazzo Milesi is considered Polidoro's greatest decorative success. An engraving by Ernesto Maccari made at the end of the nineteenth century allows us to understand the general balance of this façade, which was still well preserved at the time. The frescoes were not entirely monochrome, but alternated elements in chiaroscuro simulating marble bas-reliefs and those in ochre simulating bronze and gold vases...

We would like to thank Juliette Parmentier-Courreau of the Custodia Foundation for her welcome and support during the consultation of Glomy’s Journal des Ouvrages. This spectacularly large "feuille de desseins ajustés" commissioned by François Boucher from Jean-Baptiste Glomy is emblematic of the painter's art and mastery of rocaille. It is also fully representative of the taste of this period in the field of decorative arts. The largest of these three drawings, placed at the bottom of the composition, is particularly interesting: dating from around 1756, it constitutes a modello (apparently unpublished) for the frontispiece of the "Catalogue des tableaux de Monsieur de Julienne"), preserved in the Morgan Library in New York. 1. François Boucher, the master of French rocaille The extraordinary career of Francois Boucher was unmatched by his contemporaries in versatility, consistency and output. For many, particularly the writers and collectors who led the revival of interest in the French rococo during the last century, his sensuous beauties and plump cupids represent the French eighteenth century at its most typical. His facility with the brush, even when betraying the occasional superficiality of his art, enabled him to master every aspect of painting – history and mythology, portraiture, landscape, ordinary life and, as part of larger compositions, even still life. He had been trained as an engraver, and the skills of a draftsman, which he imbued in the studio of Jean-Francois Cars (1661 – 1738), stood him in good stead throughout his career; his delightful drawings are one of the most sought-after aspects of his oeuvre. As a student of Francois Lemoyne (1688 - 1737), he mastered the art of composition. The four years he spent in Italy, from 1727-1731, educated him in the works of the masters, classics and history, that his modest upbringing had denied him. On his return to Paris in 1734, he gained full membership of the Royal Academy of Painting and Sculpture with his splendid Rinaldo and Armida (Paris, Musée du Louvre). Although, throughout his career, he occasionally painted subjects taken from the Bible, and would always have considered himself first as a history painter, his own repertoire of heroines, seductresses, flirtatious peasant girls and erotic beauties was better suited to a lighter, more decorative subject matter. His mastery of technique and composition enabled him to move from large scale tapestry...

In this lively and fresh drawing, probably taken from one of the artist's notebooks, Pajou presents us with a composition freely inspired by antiquity, as a souvenir of a visit to th...

This masterly frontispiece study, executed with a very sure hand, testifies to the survival of the great Baroque taste in 18th century Venice. It could be one of the very last works by Giovanni Antonio Pellegrini: the few lines that cross the papal arms evoke those of Benedict XIV, who became pope in 1740, one year before the artist's death. 1. Giovanni Antonio Pellegrini and the European influence of Venetian history painting in the 18th century Giovanni Antonio Pellegrini was born in Venice in 1675 and trained in the studio of the Milanese painter Paolo Pagani (1655 - 1716). Pagani, who had been living in Venice since 1667, took him to Moravia and Vienna from 1690 to 1696. After a stay in Rome from 1699 to 1701, Pellegrini married Angiola Carriera in 1704, the sister of the great pastelist Rosalba Carriera. From 1708 onwards, Pellegrini left Venice and began an extensive tour of Europe: he worked in England between 1708 and 1713, where he met great success, particularly at Kimbolton Castle and Castle Howard. He then worked in Germany and the Netherlands, then in Bohemia and Austria, before returning briefly to England in 1719. In 1720 he was in Paris where he decorated the ceilings of the Royal Bank for John Law...

This brilliant study sheet, of which we present here a counterproof, is a souvenir of Fragonard's return journey from Italy. Between April and September 1761, he accompanied the abbot of Saint-Non on his way back to France. Three studies after the masters taken from the Pitti Palace’s gallery in Florence are gathered on this sheet. Although The Ecstasy of Saint Margaret...

Pen, ink and wash Framed dimensions: 9 ½ x 11 ¼ inches Drawn c. 1763 This small, powerful study shows St Jerome contemplating the bible with a cross and sk...

Pen, ink and wash Framed dimensions: 13 x 11 ¼ inches Drawn c.1765 Verso: a study of a hanged man Mortimer has filled this small sheet with action, depicting in the top right, Apollo and Artemis...

Inscribed: 3. una Madonna che va in Egitto, verso, and Madonna che va in Egitto, recto Provenance: Private Collection, UK, since 1999 This expressive and boldly executed drawing is the work of Luca...

Provenance: Elsie de Woolfe, Lady Mendl, Paris; by whom given in 1950 to: Arlene Dahl, New York (until 2021) Inventive, whimsical, and fantastic; delightful, imaginative, and maca...

Provenance: Private Collection, UK After initial training under Justus Suttermans and Vincenzo Dandini, in 1673 Anton Domenico Gabbiani embar...

Provenance: Unidentified collector’s mark “D.G.R,” lower right (Lugt 757b) Wilhelm Suida (1877–1959), New York; by descent to: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA This impressive drawing of the Assumption of the Virgin is the work of the Genoese artist Giovanni Battista Paggi. The son of a nobleman, Paggi received a humanist education and was a self-taught artist. According to Paggi’s first biographer, Raffaele Soprani, it was only after encountering Luca...