{"id":2637,"date":"2011-12-13T18:31:15","date_gmt":"2011-12-13T22:31:15","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/"},"modified":"2012-08-16T16:02:23","modified_gmt":"2012-08-16T20:02:23","slug":"d-63a-b-copies-death-of-adonis-for-the-gallery-of-francis-i-fontainebleau","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/drawings\/d-63a-b-copies-death-of-adonis-for-the-gallery-of-francis-i-fontainebleau\/","title":{"rendered":"D.63A, B (COPIES) Death of Adonis"},"content":{"rendered":"

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

1536<\/p>\n

\"\"<\/a>

D.63A (COPY) Death of Adonis, Cambridge<\/p><\/div>\n

D.63A. Cambridge, Mass., Harvard University Art Museums, Fogg Museum, no. 946.1933.<\/strong><\/p>\n

Fig.D.63A<\/a><\/p>\n

Pen and ink and brown wash, the wash very faded and only really visible behind the front scrolls of the chariot, 25.7 x 36.2; laid down (?) and with (another?) backing removed around the edges; wm?; the four corners cut and added; a short tear at the upper center and a long one to the right of center, and two short vertical tears at the lower right, all repaired; creased down the center and across the top; the drawing is stained in several places.\u00a0 On the verso<\/em> of the backing, several inscriptions: in the center, in pencil: Raphael<\/em>, and below this: attribue a Marc Antoine Raimondi<\/em> beneath which: Mort d\u2019Adonis<\/em>; also: RB<\/em> and A2000<\/em> [?] (or A<\/em> over 2<\/em> and, separately, 2000<\/em>); in red pencil: 2<\/em> (or A<\/em> over 2<\/em>) and Le Rosso <\/em>above voir les dessins du Louvre<\/em>; at the right: No.32<\/em>; Ecole de …[?]<\/em>; Ew<\/em>[?]; Et<\/em>; G. Roman<\/em>; below, in brown ink: J. Cousiny <\/em>[?] ; at the lower right: Et<\/em> [underlined]; forect Collon<\/sup> Lenoir <\/em>[?]; 135<\/em>.<\/p>\n

PROVENANCE: Valori (Lugt 2500); Wauters (Lugt 911); Frederik Muller; Paul J. Sacks.\u00a0 The J. Cousin [?] on the verso<\/em> could be the first conservator of the Mus\u00e9e Carnavalet in Paris (see under Lugt, Suppl\u00e9ment<\/em>, 432 c-d).\u00a0 Lenoir could refer to Mme Veuve Ph. Lenoir, n\u00e9e Jusserand, whose collection was left to the Louvre in 1874 (see Lugt, p. 345, under no. 1886).<\/p>\n

LITERATURE:<\/p>\n

Mongan and Sachs, 1946, I, 299, no. 568, II, Fig. 286, as a copy of Rosso\u2019s fresco or of a study for it, and as by Boyvin, according to Kusenberg.<\/p>\n

Barocchi, 1950, 146, Fig. 139, as a copy by Boyvin of Rosso\u2019s fresco.<\/p>\n

B\u00e9guin, 1966, 58, as Boyvin.<\/p>\n

B\u00e9guin and Pressouyre, 1972, 130, as Boyvin, and related, with variations of details, to Rosso\u2019s fresco.<\/p>\n

Carroll, 1987, 244, and n. 1, under no. 76, as a copy of a lost drawing by Rosso.<\/p><\/blockquote>\n

\"\"<\/a>

D.63B (COPY) Death of Adonis, Dresden<\/p><\/div>\n

D.63B. Formerly Dresden, Gasch (dealer).<\/strong><\/p>\n

Fig.D.63B<\/a><\/p>\n

Pen and ink, 26.5 x 37.\u00a0 The drawing is badly damaged, especially at the top and left side where much of the sheet is missing; a tear at the lower left and a few holes here and there; most of the pen lines have bled.<\/p>\n

LITERATURE:<\/p>\n

Gasch, catalogue, Ackermann Sale, 27-28 April 1911, no. 132; at the Witt Library a note with the reproduction from this catalogue indicates that the reproduction, now filed under Rosso, was formerly kept under Giulio Romano.<\/p>\n

Carroll, 1987, 244, and n. 1, under no. 76, as a copy of a lost drawing by Rosso.<\/p>\n

 <\/p>\n

These two drawings are derived from a lost study by Rosso for his Death of Adonis<\/em> in the Gallery of Francis I (Fig.P.22, III S a<\/a>).\u00a0 As discussed in P.22 and in Chapter VIII, the two drawings show exactly the same composition except for two very small details.\u00a0 The cross-bar of Adonis\u2019s couch is not identical in both, but it would seem to be simply mistakenly copied by the draughtsman of the Dresden drawing.\u00a0 Also, there is parallel shading behind the volute of Venus\u2019s chariot in the Dresden drawing.\u00a0 This may reflect shading, but of a wash and not pen lines.\u00a0 It is in this area that a wash is most evident in the Fogg drawing, suggesting perhaps that the Dresden drawing is copied from it rather than from the lost original.<\/p>\n

The composition of the drawings differs from Rosso\u2019s fresco in the design of the wheel of Venus\u2019s chariot and of the leg of Adonis\u2019s couch.\u00a0 These differences indicate that the drawings were not derived from the painting.\u00a0 A comparison with the fresco shows, however, that both drawings have been cut at the left and right especially, and, in the case of the Fogg drawing, also at the bottom.<\/p>\n

Graphically, both drawings reflect very specifically the kind of penmanship that appears in Rosso\u2019s Annunciation<\/em> in the Albertina (Fig.D.43a<\/a>) and his Petrarch drawing at Christ Church (Fig.D.47a<\/a>), and it resembles the handling of the pen here more than the swifter manipulation of it in the Pandora and Her Box<\/em> (Fig.D.67a<\/a>).\u00a0 As copies – for the two drawings are too weak and coarse to be autograph works by Rosso – they indicate a lost original drawing that was very studied in its draughtsmanship.\u00a0 There is, however, no authentic drawing by Rosso that is executed as a line drawing with almost no shading.\u00a0 Thus it is likely that the lost drawing also showed the extensive use of washes, which are now only slightly apparent in the Fogg drawing and by the pen hatching in the Dresden copy.\u00a0 But it is also possible that the lost drawing had a dark ground and white highlights like the Annunciation<\/em> and Petrarch drawings, and like the study, known from faithful copies, for the early version of the Scene of Sacrifice<\/em> in the gallery (Fig.D.50Ca<\/a>).<\/p>\n

Rosso\u2019s lost drawing would have been done between late August and November 1536 when the composition of the Death of Adonis<\/em> was designed for the gallery (see P.22).\u00a0 This drawing seems to have been preceded by another from which Fantuzzi\u2019s print was devised (see below).<\/p>\n

The attribution of the Fogg drawing to Boyvin is not very probable.\u00a0 This engraver never reproduced this scene.<\/p>\n

PRINT: Fantuzzi, E.76 (Fig.E.76<\/a>).\u00a0 Etching derived from D.63, or, more probably, from a slightly earlier lost drawing showing a few small differences (see E.76).<\/p>\n","protected":false},"excerpt":{"rendered":"

For the Gallery of Francis I, Fontainebleau 1536 D.63A. Cambridge, Mass., Harvard University Art Museums, Fogg Museum, no. 946.1933. Fig.D.63A Pen and ink and brown wash, the wash very faded and only really visible behind the front scrolls of the chariot, 25.7 x 36.2; laid down (?) and with (another?) backing removed around the edges; […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":820,"menu_order":67,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2637","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2637","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=2637"}],"version-history":[{"count":14,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2637\/revisions"}],"predecessor-version":[{"id":6504,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/2637\/revisions\/6504"}],"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=2637"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}