{"id":5947,"date":"2012-06-22T11:20:03","date_gmt":"2012-06-22T15:20:03","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=5947"},"modified":"2012-12-21T14:04:01","modified_gmt":"2012-12-21T19:04:01","slug":"rp-10","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/rejected-paintings-sculpture\/rp-10\/","title":{"rendered":"RP.10 Madonna and Child with the Young St. John the Baptist"},"content":{"rendered":"
\"\"<\/a>

RP.10 Madonna and Child and St. John<\/p><\/div>\n

Frankfurt, St\u00e4delsches Kunstinstitut und St\u00e4dtische Galerie, no. 952.<\/p>\n

Poplar panel, 88.5 x 73, enlarged on all sides.1<\/sup><\/a>\u00a0 As visible in the picture itself and from the two other versions of it, the top of the panel was originally just above the head of the Virgin, the sides just beyond the elbows of the children, and the bottom immediately below the lower tip of the cross.<\/p>\n

Fig.RP.10a<\/a>
\nFig.RP.10b<\/a> bw<\/p>\n

The painting is much repainted and dirty, and is now under restoration (1991).\u00a0 The Virgin\u2019s dress is red-orange, her cloak dark green.\u00a0 There is green drapery in the background.<\/p>\n

PROVENANCE: Florence, Cerini Gallery.\u00a0 1852, acquired from E. Jeannin de Coindos in Spain.<\/p>\n

LITERATURE:<\/p>\n

Berenson, 1896, 129, as Rosso.<\/p>\n

Weizs\u00e4cker, Heinrich, Katalog der Gem\u00e4ldegallerie des St\u00e4delschen Kunstinstituts in Frankfurt am Main<\/em>, I, Frankfurt am Main, 1900, 289, no. 14, as Rosso.<\/p>\n

Berenson, 1901, as Rosso.<\/p>\n

Goldschmidt, 1911, 48, as not by Rosso.<\/p>\n

Phillips, 1911-1912, 145, as Rosso.<\/p>\n

Kusenberg, 1931, 20, 128, 185, n. 46, as Rosso, around 1522.<\/p>\n

Berenson, 1932, 495, as Rosso.<\/p>\n

Venturi, IX, 5, 1932, 230, as Rosso (?).<\/p>\n

Kusenberg, 1935, 62, as Rosso, around 1522.<\/p>\n

Becherucci, 1944 (1949), 28, as Rosso, of uncertain date.<\/p>\n

Barocchi, 1950, 85, 250, Fig. 57, as not by Rosso but by a follower of Sarto.<\/p>\n

Longhi, 1951, 59 (1976, 99-100), criticized Barocchi for taking it from Rosso \u201ccon troppo tranquillit\u00e0.\u201d<\/p>\n

Shearman, 1957, I, 224, II, 215, n. 2, 216-217, n. 91, as earliest work by Rosso, his hand unmistakable \u201cin the hatching of the impasti.\u201d<\/p>\n

Barocchi, 1958, 237, as not by Rosso, but goes back to an original Rosso dating from before the Dei Altarpiece.<\/p>\n

Berenson, 1963, 195, as Rosso.<\/p>\n

Freedberg, 1963, II, 227, the composition also known from a painting sold at Christie\u2019s, London, 14 November 1952, as Rosso.<\/p>\n

Shearman, 1965, I, 166, as probably Rosso\u2019s earliest surviving painting, about 1515; Shearman thought it might be the Madonna with St. John<\/em> that Vasari said Rosso painted for \u201cMaestro Jacopo\u201d at the Annunziata.<\/p>\n

Shearman, BM<\/em>, 1966, 171, n. 33, as Rosso, about 1515, and showing an \u201caccomplished reuse of the pose of one of the Sistine Ignudi<\/em>.\u201d<\/p>\n

See Shearman, ZfK<\/em>, XXV, 1962, 46, n. 76, as Rosso, c. 1515.<\/p>\n

Freedberg, 1971, 484, n. 21, as a sure early work by Rosso close in style to his Assumption<\/em> and not necessarily earlier than it.<\/p>\n

Carroll, 1987, 33, n. 16, as not by Rosso.<\/p>\n

Ciardi and Mugnaini, 1991, 21, 23, 60-61, no. 8, with Fig., as Rosso, 1518-1521.<\/p>\n

Franklin, 1994, 272, n. 61, as not by or after Rosso.<\/p>\n

Ciardi, 1994, 25, 27, Fig. (detail), 58, 71, 81, as by Rosso and related to the Madonna and Child<\/em> at Marignolle.<\/p><\/blockquote>\n

There are three other versions of this picture (and perhaps others):<\/p>\n

London, Christie, Manson, & Wood, November 14, 1952, lot 164, as by Sarto in the sales catalogue (Fig.RP.10, London<\/a>).\u00a0 99 x 73.7.\u00a0 Bought by Tomkin.\u00a0 In 1980 this picture was on the market in New York at Spencer A. Samuels & Company, Ltd.\u00a0 The picture had by this time been restored, with the blue drapery falling across the Virgin\u2019s left elbow extended over John\u2019s arm and genitals and through his left hand (as appears in the Vienna version; see below).\u00a0 From a transparency, the Virgin is dressed in red with blue drapery over her arm and falling down at her side.\u00a0 Her headdress is lavender; the pillow on which the Baptist sits, red; the banderole around his cross, white.\u00a0 The flowers on the ledge are violet, white, and red.\u00a0 The flesh tones are reddish.\u00a0 The background is gray, greenish at the upper right, with a reddish vertical passage suggesting drapery that is unfinished.\u00a0 LITERATURE: Freedberg, 1963, II, 227, as not by Sarto; a copy of the picture in Frankfurt attributed to Rosso.<\/p>\n

Ciardi and Mugnaini, 1991, 23, list two other versions: Sale, Sotheby\u2019s, Florence, 21 October 1970, and Sarah Campbell Blaffer Foundation, New York, one or both of which might be related to the Christie\u2019s painting.<\/p>\n

Vienna, Academy (formerly), no. 220 (Fig.RP.10, Vienna<\/a>).\u00a0 Poplar, 100 x 76.\u00a0 Destroyed during World War II (see below).\u00a0 There is a photograph at the Kunsthistorisches Institut in Florence.<\/p>\n

LITERATURE: Robert Eigenberger, Die Gem\u00e4ldegalerie der Akademie der bildenden K\u00fcnste in Wien<\/em>, 1927, 138, as Rosso.\u00a0 (Kusenberg, 1931, 131, gave wrong reference to no. 220).<\/p>\n

This version shows drapery over the groin and thigh of the Baptist.<\/p>\n

Ciardi and Mugnaini, 1991, 23, also list a version in Vienna, Kunsthistorisches Museum, deposit.\u00a0 This could just possibly be the Academy painting, if it was not actually destroyed.<\/p>\n

Florence, Ufficio Esportazione della Soprintendenza, 1956.\u00a0 Mentioned by Barocchi, 1958, 237.<\/p>\n

The picture sold at Christie\u2019s is very similar to the Frankfurt painting but perhaps of lesser quality, although I thought the Frankfurt painting a copy of the other.\u00a0 From a photograph, the Vienna version seems inferior.\u00a0 The appearance of the third version is not known.<\/p>\n

I see no reason to attribute the Frankfurt painting to Rosso, either of around 1515 or later.\u00a0 Neither in morphology, composition, or color can it be specifically related to works by Rosso, such as the Assumption<\/em> of 1513-1514 or the S. Maria Nuova Altarpiece of 1518.\u00a0 Shearman pointed out a reference to the Sistine Ignudi<\/em> in the figure of the Baptist, possibly an unlikely occurrence in a picture by Rosso done before 1524.\u00a0\u00a0 Shearman and Freedberg dated it before Rosso\u2019s Roman period.\u00a0 It cannot be related to the lost early painting done for \u201cmaestro Giacopo frate de\u2019Servi\u201d mentioned by Vasari, as Shearman thought, because that picture, according to Vasari, showed all the figures half-length and Saint John the Evangelist, not the Baptist.\u00a0 That picture seems to be known from two copies (see P.2).<\/p>\n

While the influence of the Sistine Ignudi<\/em> is recognizable, I am inclined to see it as having taken place later.\u00a0 Barocchi\u2019s suggestion that it is by a \u201critardatario sartesco\u201d gives, I believe, a more plausible indication of its origins.\u00a0 It seems to be a picture of the 1530s.\u00a0 It could be by the same hand as a red chalk drawing in the Louvre that copies a figure in Michelangelo\u2019s Battle of Cascina<\/em> cartoon.2<\/sup><\/a>\u00a0 The formation of the hands in the drawing very much resembles that of the Baptist in the painting.\u00a0 I have thought that this drawing might be by the young Salviati.<\/p>\n

\n

 <\/p>\n

\n
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<\/a>1<\/sup> These are the dimensions given by Kusenberg, 1931, and sent to me by the museum, which also appear in the catalogue of 1900.\u00a0 Barocchi, 1951, gave 112 x 75 (see below, the dimensions of the version formerly in the Academy, Vienna).\u00a0 Shearman, 1957, gave the original dimensions as 39 1\/8 x 29 1\/4 inches (99.1 x 74.3 cm.).<\/p>\n<\/div>\n

\n

<\/a>2<\/sup> Inv. 10915, as Anonymous Florentine.\u00a0 Red chalk over very slight traces of black chalk, and traces of white chalk, 24.5 x 15.5; stained at the figure\u2019s right elbow and in the center of his waist.\u00a0 Inscriptions on the back of the drawing indicate that it has been attributed to Pontormo, Lappoli, and Jacopo Sansovino.\u00a0 The drawing was brought to my attention by Janet Cox-Rearick.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Frankfurt, St\u00e4delsches Kunstinstitut und St\u00e4dtische Galerie, no. 952. Poplar panel, 88.5 x 73, enlarged on all sides.1\u00a0 As visible in the picture itself and from the two other versions of it, the top of the panel was originally just above the head of the Virgin, the sides just beyond the elbows of the children, and […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":1357,"menu_order":11,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5947","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/5947","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=5947"}],"version-history":[{"count":9,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/5947\/revisions"}],"predecessor-version":[{"id":7971,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/5947\/revisions\/7971"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/1357"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=5947"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}