![]() I 69 and I 398, also from the Koenigs Collection, the latter now in Moscow Elen 1989, no. According to Davis (1984), there are only two antique models used by Tintoretto, recorded in drawings: the bust of Caesar (no longer considered antique) and the head of the emperor Vitellius, to which the head of Laocoon (Vatican Museums) can be added (inv. This Roman sculpture was bequeathed by the cardinal Domenico Grimani to the Venetian Republic in 1523 it was on show in the Palazzo Ducale from 1525 and is now in the Museo Archeologico Nazionale, inv. 33 (as a modern copy) reproduced in an engraving by Giovanni Antonio Faldini in Anton Maria Zanetti’s Delle antiche statue greche e romane, che nell'antisala della Libreria di San Marco, e in altri luoghi pubblici di Venezia si trovano, vol. Mentioned in the inventory of the Contarini Bequest of 1714 (bequeathed by Giacomo’s descendant Bertucci Contarini) Hochmann 1987, p. The verso was, on the other hand, referred to by Jaffé (1962) as ‘a splendid example of the master’s drawing after the same antique head as the recto, only at a slightly different angle and by another cast of light’. Remarked by John Marciari during a visit to the museum in September 2017. The drawing is stylistically close to several of Jacopo’s drawings after the Vitellius bust, of which over twenty survive. Less convincing, though, is the indistinct rendering of the hair on the temples of the otherwise bald head. The sensitivity with which the facial features are described, by heavily hatched shading in black chalk, combined with highlights in white, imbue the image with a remarkable quality of presence, as if the model were alive. The heavy shadows, especially in the eye sockets, indicate that it was lit from above. Our recto drawing is the finest of a small group of five surviving drawings after the same sculpture, all confined to the head, and is the only one by Jacopo himself. He may even have owned a cast of this sculpture, as was the case with a classical bust of the eighth Roman emperor, Vitellius (15-69 AD). Tintoretto must have had access to this bust when it was in the collection of the influential Venetian patrician Giacomo Contarini (1536-1601). Bianco was a Tuscan sculptor, working in Venice in the 1530s and ‘40s and renowned among collectors in the Veneto and beyond for his classicizing portrait busts. The sculptural model, now in the Museo Archeologico Nazionale in Venice, was a small marble bust, purportedly of the Roman emperor Julius Caesar (100-44 BC), which was long supposed to be a classical sculpture but is now considered a contemporary marble bust all’antica by Simone Bianco (1480/1490-after 1533). The present double-sided sheet bears witness to this educational practice it has two drawings of the same model, the one on the recto being an original by Jacopo, the other on the verso a weak copy, possibly even made after another copy of Jacopo’s example. These drawings probably date from the time his children were in their teens, around 1570-80. This explains the varying artistic quality of these drawings after sculptural models, which were unsigned and kept together in the heterogeneous workshop stock, and the resultant difficulty in distinguishing between Jacopo’s hand and that of his talented students. ![]() In addition, they would study and copy existing drawings made earlier by the master himself, and even copies after such copies, sometimes working up offprints of chalk drawings. Sitting in a semi-circle, they used to draw after small-scale casts of antique and contemporary sculptures as still models, which were observed from different angles with a strong light source casting shadows. Jacopo Tintoretto involved his apprentices, including his son Domenico (1560-1635) and daughter Marietta Robusti (c.1554-1590), in drawing sessions in order to improve their skills in disegno. I (Roman digit, verso, JT?) Byam Shaw 1976, p. Italiaanse tekeningen in Nederlands bezit (1962)ĭe Collectie Twee - wissel I, Prenten & Tekeningen (2009) van Beuningen (1877-1955), Rotterdam, acquired with the Koenigs Collection in 1940 and donated to the Foundation Museum BoymansĪmsterdam 1934, no. Koenigs (1881-1941, L.1023a), Haarlem, acquired in 1928 (?) from the Simonetti heir via art dealer Nicolaas Beets D.G. (?) Attilio Simonetti (1843-1925), Galleria Simonetti, Rome (L.2288bis deest) Franz W. Tintoretto’ (below left, pen and brown ink) Unidentifiable (below left, on P2 of 7P, vH) Loan Stichting Museum Boijmans Van Beuingen (former collection Koenigs), 1940 Draughtsman: Jacopo Tintoretto (Jacopo Comin, Jacopo Robusti)
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