{"id":7008,"date":"2012-09-27T17:46:42","date_gmt":"2012-09-27T21:46:42","guid":{"rendered":"http:\/\/pages.vassar.edu\/rosso\/?page_id=7008"},"modified":"2013-06-05T15:10:43","modified_gmt":"2013-06-05T19:10:43","slug":"rd-38","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/rejected-paintings-sculpture\/rd-38\/","title":{"rendered":"RD.38A-C Three Views of the Head of a Woman Wearing a Turban"},"content":{"rendered":"\n\n\n\n\n
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RD.38C Head of a Woman Wearing a Turban<\/p><\/div>\n

RD.38C. Head of a Woman Wearing a Turban Seen from the Left and Tilted Back<\/p>\n

Paris, Louvre, Inv. 19bis.<\/p>\n

Fig.RD.38C<\/a><\/p>\n

Black chalk, 12.5 x 9.4.\u00a0 Inscribed in black chalk at lower left: 7<\/em> and in brown ink: m.Angelo<\/em>.<\/p>\n

PROVENANCE: Emigrant seizure; Louvre (Lugt 1886).<\/p>\n

LITERATURE:<\/p>\n

Morel d\u2019Arleux manuscript, 1793, 185, as Michelangelo.<\/p>\n

Berenson, 1961, no. 605, as Bronzino.<\/p>\n

Viatte, 1988, 33-34, nos. 27 and 28, as closely resembling the hand of Alessandro Allori.<\/p>\n

With the Turin drawing: Bertini, 1958, 61, no. 476, and Fig. 476, as Florentine, 1500-1550, by the same hand as no. 475, \u201cma con un accento pi\u00f9 bronzinesco.\u201d<\/p>\n

Sylvie B\u00e9guin, in Da Leonardo a Rembrandt. Disegni della Biblioteca Reale di Torino<\/em>, edited by Gianni Carlo Sciolla, Turin, 1989, 70, no. 24, 71, Color plate, as by Rosso.<\/p>\n

B\u00e9guin, in Empoli and Volterra<\/em>, 1996 (1994), 94, 217, Figs. 102-104, as by Rosso.<\/p>\n

G. C. Sciolla, \u201c\u2018Schizzi, macchie e pensieri:\u2019 Le dessin dans les textes d\u2019art de la Renaissance au Romantisme,\u201d in A. Petrioli Tofani, S. Prosperi Valenti Rodin\u00f2, Le Dessin, formes, techniques, significations<\/em>, Milan, 1991, p.26, Fig. 19.<\/p>\n

E.-G.\u00a0G\u00fcse, in exh. cat. Zeichnungen aus der Toskana. Das Zeitalter Michelangelos<\/em>, Saarland Museum Saarbr\u00fccken, 28 September \u2013 23 November 1997, n. 78.<\/p>\n

Pilliod, 2001, 243, n. 62, as by Bastiano del Gestra, one of Pontormo\u2019s assistants.<\/p>\n

Cordellier, 2004, 101-105, Figs. 2, 5, 9, as by Cellini, and the head as male.<\/p>\n

 <\/p>\n

B\u00e9guin first attributed the Turin drawing to Rosso in 1989 without any reference to the two related drawings in Paris, mentioning, however, that in 1958 Bertini catalogued the sheet as Florentine, first half of the sixteenth century, with an \u201caccento pi\u00f9 bronzinesco\u201d than no. 475, another head in profile wearing an elaborately ornamented helmet.\u00a0 From the small illustration in Bertini\u2019s volume, it is difficult to recognize, except that both show a head in profile with the mouth open, the conceptual or graphic similarity of these drawings.\u00a0 The suggestion of Bronzino for the head wearing a turban is more to the point and one that already had come up with Viatte\u2019s recognition that the draughtsmanship of the two related drawings in Paris resembles the hand of Alessandro Allori, Bronzino\u2019s most accomplished pupil.\u00a0 In 1994, as published in 1996, B\u00e9guin associated the two drawings in Paris with the drawing in Turin, recognizing all three as by Rosso Fiorentino.\u00a0 Sensing another lineage, Pilliod, in 2001, suggested Pontormo\u2019s heretofore unknown assistant, Bastiano del Gestra, as the author of the three drawings.\u00a0 In 2004, Cordellier gave them to Cellini.<\/p>\n

B\u00e9guin thought the Turin drawing was the finest of the three images and it is with this head seen in profile that she aligned the evidence for the attribution to Rosso.\u00a0 Assuming that she knew the Turin drawing first hand at the time she recognized it as Rosso\u2019s and then as related to the two drawings in the Louvre \u2014 although it is unlikely that she viewed all three together \u2014 the superiority of the Turin drawing may be something of an illusion.\u00a0 The three drawings show the same sculptured head and can be understood as exercises in rendering the same object correctly from three points of view.\u00a0 The Turin drawing may have been the least difficult to make, where foreshortening presented less of a challenge.\u00a0 In both Paris drawings the rendering of the nose and left ear is less successful than in the Turin sheet, where the profile, including the outline of the open mouth, makes a clearer and more memorable effect.\u00a0 But all three drawings need to be used in making the attribution to one artist.<\/p>\n

Cordellier\u2019s argument for attributing the three drawings to Cellini is the most cogent of the several attributions that have been suggested, and the most compelling because of the extent of his carefully chosen comparisons.\u00a0 He does not account for the less successful drawings in Paris, although his comparisons may, especially the one with Cellini\u2019s Juno<\/em>, also in the Louvre.\u00a0 Here there is a similar degree of uncertainty in the rendering of the figure\u2019s foreshortened left hand.\u00a0 Might it be that creating three dimensions of a figure on a flat surface was not an accomplished aspect of this draughtsman\u2019s genius?\u00a0 Conceiving a figure in actual three dimensions was a sculptor\u2019s primary talent.\u00a0 Hence the few surviving drawings by the sculptor Cellini, to which Cordellier suggests the addition of these three.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

RD.38A. Head of a Woman Wearing a Turban In Profile from the Left Turin, Biblioteca Reale, inv. no. 15716\/6. Fig.RD.38A Black chalk and metalpoint (lead?), 10.1 x 6 (from Bertini, 1958, below). PROVENANCE: Lugt 2724: acquired by Carlo Alberto of Savoy in 1845 from the dealer Giovanni Volpato. LITERATURE: See RD.38C. RD.38B. Head of a […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":1357,"menu_order":138,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-7008","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/7008","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=7008"}],"version-history":[{"count":13,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/7008\/revisions"}],"predecessor-version":[{"id":9466,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/7008\/revisions\/9466"}],"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=7008"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}