{"id":2595,"date":"2011-12-13T18:16:40","date_gmt":"2011-12-13T22:16:40","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/"},"modified":"2012-08-16T14:49:41","modified_gmt":"2012-08-16T18:49:41","slug":"d-55-copy-the-unity-of-the-state-for-the-fresco-in-the-gallery-of-francis-i-fontainebleau","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/drawings\/d-55-copy-the-unity-of-the-state-for-the-fresco-in-the-gallery-of-francis-i-fontainebleau\/","title":{"rendered":"D.55 (COPY) Unity Of The State"},"content":{"rendered":"
\"\"<\/a>

D.55 (COPY) Unity of the State<\/p><\/div>\n

For the Fresco in the Gallery of Francis I, Fontainebleau<\/strong><\/p>\n

c. 1531\/1532-1534<\/p>\n

Paris, Louvre, Inv. 8884.<\/p>\n

Fig.D.55a<\/a>
\nFig.D.55b<\/a> bw<\/p>\n

Pen and ink, point of brush, wash, heightened with white on yellow-tan tinted paper, 25.4 x 39.2.<\/p>\n

LITERATURE:<\/p>\n

Carroll, 1961, 450, n. 18, as related graphically to several other copies after Rosso [on which see below].<\/p>\n

B\u00e9guin and Pressouyre, 1972, 137, Fig. 204, as, given variations, either a copy of a lost project for Rosso\u2019s Unity of the State<\/em>, or a personal interpretation of the painting.<\/p>\n

Carroll, 1987, 274, n. 1, under no. 86, as a free copy of a lost drawing by Rosso.<\/p><\/blockquote>\n

The drawing shows Rosso\u2019s Unity of the State<\/em> in the same direction as the fresco in the Gallery of Francis I (Fig.P.22, VI S a<\/a>), but the composition is spatially opened up at the left.\u00a0 The proportions of the figures are elongated and the figure at the far left is shown briskly walking into the scene.\u00a0 A variety of details in the drawing – the lion\u2019s head at the shoulder of the central figure (not so central in the drawing), the armor of the soldier seen from the back at the left, the costume of the kneeling figure, the line of the hem of the garment of the figure in the right foreground – suggest that the drawing is not derived from the fresco.\u00a0 Nor is it copied from Fantuzzi\u2019s reversed etching (Fig.E.66<\/a>) or from the Vienna tapestry (Fig.P.22, VI S,Tapestry, a<\/a>).\u00a0 The drawing must, therefore, go back to a lost drawing by Rosso, details of which were changed when the scene was painted in the gallery.\u00a0 As the Unity of the State<\/em> seems to have been invented in the first period of Rosso\u2019s activity on the decorations of the Gallery of Francis I, the lost drawing would have been done between c. 1531\/1532 and 1534 (see P.22).<\/p>\n

It is probable that the lost drawing was executed in pen and ink and wash, heightened with white, on dark washed paper, resembling Rosso\u2019s drawing for his early version of the Scene of Sacrifice<\/em> (Fig.D.50B<\/a>).\u00a0 Thus it would seem that the copy preserves something of the technique of the lost original.\u00a0 But otherwise the copy gives almost no indications of Rosso\u2019s draughtsmanship, which has been largely displaced by the personal graphic style of the copyist.\u00a0 This might lead one to suspect that the differences of details of the drawing from the fresco, print, and tapestry are due also to the draughtsman, but these details are themselves quite within the possibilities of Rosso\u2019s art and give no indication of any willful distortion of it.<\/p>\n

The drawing is given to Biagio Pupini in the Louvre, an attribution not accepted by B\u00e9guin and Pressouyre.\u00a0 However, the drawing does resemble the Adoration of the Magi<\/em> (Fig.Pupini, Windsor<\/a>) at Windsor Castle (0314) attributed by Popham to Pupini (Popham and Wilde, 1949, 306, no. 782, Pl. 98).\u00a0 The graphic style of the copy also resembles that of two copies of two lost studies for Rosso\u2019s Christ in Glory<\/em> (Fig.D.27A<\/a> and Fig.D.28<\/a>), and of a partial copy of Caraglio\u2019s Hercules Shooting Nessus<\/em> (Fig.Uffizi, 450S recto<\/a>).<\/p>\n","protected":false},"excerpt":{"rendered":"

For the Fresco in the Gallery of Francis I, Fontainebleau c. 1531\/1532-1534 Paris, Louvre, Inv. 8884. Fig.D.55a Fig.D.55b bw Pen and ink, point of brush, wash, heightened with white on yellow-tan tinted paper, 25.4 x 39.2. LITERATURE: Carroll, 1961, 450, n. 18, as related graphically to several other copies after Rosso [on which see below]. […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":820,"menu_order":59,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2595","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2595","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/comments?post=2595"}],"version-history":[{"count":13,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2595\/revisions"}],"predecessor-version":[{"id":6491,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2595\/revisions\/6491"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/820"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=2595"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}