{"id":6986,"date":"2012-09-27T17:40:03","date_gmt":"2012-09-27T21:40:03","guid":{"rendered":"http:\/\/pages.vassar.edu\/rosso\/?page_id=6986"},"modified":"2013-06-05T15:09:05","modified_gmt":"2013-06-05T19:09:05","slug":"rd-27","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/rejected-paintings-sculpture\/rd-27\/","title":{"rendered":"RD.27 Right Half of a Figured Frame (Cartouche) with a Term"},"content":{"rendered":"
\"\"<\/a>

RD.27 Right Half of a Figured Frame<\/p><\/div>\n

Paris, Ensba, no. 1628 recto<\/em> (formerly lot no. 22787 recto<\/em>).<\/p>\n

Fig.RD.27<\/a><\/p>\n

Pen and ink with colored washes, light blue in large blank area left of center and in matching narrow strip at right edge, darker blue behind mask at lower left and behind torso of term, and a rich brown behind term and in small areas to left and right of the bottom of the term, over slight traces of red chalk, 28.2 x 21.3.\u00a0 The sheet is torn at the upper left and repaired, slightly ragged along the left edge, and stained in the upper and lower left corners. For inscriptions on the verso<\/em> of the drawing, see D.57 (Fig.D.57<\/a>).\u00a0 Brugerolles and Guillet, 1994 (see below), believe the watercolor was added later by another hand; they also give the opinion of P. Fuhring that the drawing may be a \u201ccalque\u201d after a lost drawing.<\/p>\n

PROVENANCE: Gift of Le Soufach\u00e9 in 1891.<\/p>\n

LITERATURE:<\/p>\n

B\u00e9guin, in EdF<\/em>, 1972, 186, Fig., 187, 189, no. 213, as by Rosso, wrongly indicating this as my opinion, and, as I suggested, that the other half of the composition is preserved in a drawing in New York [on which, see below]. \u00a0B\u00e9guin also pointed out that the drawing is attributed to Rosso in the inventory of the \u00c9cole des Beaux-Arts.<\/p>\n

Raggio, 1974, 74, as Rosso, and for the Gallery of Francis I.<\/p>\n

Nielson, 1974, 169, as Rosso.<\/p>\n

Laskin, 1974, 256, as not certainly by Rosso.<\/p>\n

L\u00e9v\u00eaque, 1984, 162, Fig., as Rosso.<\/p>\n

\u00c9manuelle Brugerolles, in Renaissance<\/em>, Quebec, 1984, 325, with Fig., as attributed to Rosso.<\/p>\n

Brugerolles and Guillet, 1994, 42-45, no. 16, Fig., as Circle of Rosso, for Fontainebleau or another residence.<\/p>\n

B\u00e9guin, 1995, 192, as by Thiry.<\/p>\n

 <\/p>\n

What is almost certainly the composition of the left half of this figured frame appears in a drawing in the Metropolitan Museum of Art (Fig.New York, Cartouche<\/a>).1<\/sup><\/a>\u00a0 The two drawings are not, however, by the same hand.\u00a0 Together the shape of the central area of this frame is almost square, indicating that it cannot be related to the decoration of the long walls of the Gallery of Francis I, nor, of course, to the end walls that had oval paintings at their centers.\u00a0 Furthermore, the outer sides of both the New York and Paris drawings seem to indicate, by the continuation of the lines and bars of the scheme, by the repetition of the garlands, and by the appearance of the putto at the upper right of the New York drawing (which is missing from the matching location of the Paris drawing) that together they do not form an independent frame but rather a section of a frieze, and showing, it would seem, only its stucco parts.\u00a0 Above the female term in the New York drawing is the indication of the beam of a flat ceiling.\u00a0 The breadth of this beam suggests that the decoration beneath it is smaller than what appears in the Gallery of Francis I.\u00a0 A few discrepancies between the two drawings, especially the height of the heads and the exact positions of the baskets on their heads in relation to the ceiling that would have been above them, indicate that the two drawings are not actually derived from a single drawing but from separate drawings that gave slight variations on the arrangement of this frieze.<\/p>\n

Although the figural and decorative vocabulary of the Paris drawing, and of the matching one in New York, is related to Rosso\u2019s as found in the Gallery of Francis I and elsewhere, as in his Holy Family in a Cartouche <\/em>of c. 1538 (Fig.D.75A<\/a>), the specific character of the terms of these drawings does not point to Rosso as the author of these compositions.\u00a0 The ill proportions of the terms and their utter stiffness find no counterparts in any work that can be securely attributed to him.\u00a0 The phallic details that accompany the female term are not found in any work surely by Rosso.\u00a0 The putti, the nude youths, and the garlands are closer to his style.\u00a0 But the drawings as a whole are composites, with parts perhaps copying quite closely figures by him, and other parts, the terms in particular, being quite unlike what he would have done.2<\/sup><\/a>\u00a0 While Thiry\u2019s name might be brought up here, as B\u00e9guin has done for the Paris sheet, I do not recognize his hand in any of its modes in either drawing.<\/p>\n

The draughtsmanship of both drawings also imitates his with the kind of regularity that appears in almost all the copies of lost drawings done for the Gallery of Francis I.\u00a0 The New York drawing is the less sure of the two and would seem to be a copy of a drawing that would have graphically resembled more the Paris sheet.<\/p>\n

The fact that the verso<\/em> of the Paris drawing (Fig.D.57<\/a>) is a copy of a lost drawing by Rosso for the East Wall of the Gallery of Francis I would not necessarily mean that the recto<\/em> is also derived from a drawing by him.\u00a0 It would have been in the context of copying his drawings that such a composite as appears on the recto<\/em> would have been made.\u00a0 It seems reasonable to suppose that the Paris and New York compositions were designed for a specific place, which need not have been at Fontainebleau.\u00a0 They may well have been made after Rosso\u2019s death.<\/p>\n

 <\/p>\n

\n
\n
\n

<\/a>1<\/sup> Print Room, no. 55.632.8, as School of Fontainebleau, Gift of Harry G. Friedman.\u00a0 Pen and brown ink and gray wash, 28.9 x 19.6.\u00a0 Inscribed in pencil on the verso<\/em>: 184<\/em> and ? V Dut Gb no 195<\/em>; a note on the mat states: R.B. <\/em>[Berliner?]: Very important drawing. NOT Italian. NOT French<\/em>.\u00a0 This drawing was kindly brought to my attention by Janet S. Byrne.\u00a0 Brugerolles and Guillet, 1994, 42, Fig., 44.<\/p>\n<\/div>\n

\n

<\/a>2<\/sup> The male term in the New York drawing is somewhat related to a term in a cartouche by Du Cerceau (Grands Cartouches<\/em>, First set, Herbet, IV, 1900, 301 [1969, 151] no. 10; New York, 62.525, p.51), but that term is also not closely related to Rosso.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Paris, Ensba, no. 1628 recto (formerly lot no. 22787 recto). Fig.RD.27 Pen and ink with colored washes, light blue in large blank area left of center and in matching narrow strip at right edge, darker blue behind mask at lower left and behind torso of term, and a rich brown behind term and in small […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":1357,"menu_order":127,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-6986","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/6986","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=6986"}],"version-history":[{"count":8,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/6986\/revisions"}],"predecessor-version":[{"id":9455,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/6986\/revisions\/9455"}],"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=6986"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}