| Museums in Genoa

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Titolo dell'opera:

Head of Saint Vitale

Acquisizione:

Marcello Durazzo

Autore:

Barocci, Federico

Object Type:

drawing

Epoca:

Inventario:

D 2242

Misure:

Unità di misura: mm; Altezza: 309; Larghezza: 228

Tecnica:

carboncino

Ultimi prestiti:

Mostra di Federico Barocci - Bologna - 1975
Maestri del disegno - Genova - 1990

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Head of Saint Vitale

Descrizione:

F. Malaguzzi Valeri (1911) recognised this drawing as one of the preparatory drawings for the large altarpiece of the 'Martyrdom of St. Vitale', painted by Barocci between 1580 and 1583 for the monks of the basilica of San Vitale in Ravenna, which is now in the Brera Art Gallery. (BOCCARDO, 1999) Head of St Vitale.

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Titolo dell'opera:

Immaculate Madonna in glory

Acquisizione:

Marcello Durazzo

Autore:

Baciccio, Giovanni Battista Gaulli

Object Type:

drawing

Epoca:

Inventario:

D 2494

Misure:

Unità di misura: mm; Altezza: 285; Larghezza: 316

Tecnica:

quadrettatura a matita nera

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Immaculate Madonna in glory

Descrizione:

Immaculate Madonna in glory.

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Titolo dell'opera:

Saint Jerome in the act of writing

Acquisizione:

Giorgio Passano

Autore:

Magnasco, Alessandro

Object Type:

drawing

Epoca:

Inventario:

D 2457

Misure:

Unità di misura: mm; Altezza: 223; Larghezza: 190

Tecnica:

pennello e inchiostro acquarellato

Ultimi prestiti:

Mostra del 700 Italiano - Venezia - 1929

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Saint Jerome in the act of writing

Descrizione:

Saint Jerome in the act of writing.

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Titolo dell'opera:

Two female portraits

Acquisizione:

Marcello Durazzo

Autore:

Leoni, Ottavio

Object Type:

drawing

Epoca:

Inventario:

D2408

Misure:

Unità di misura: mm; Altezza: 209; Larghezza: 147; Varie: inv. D2408 a (ritratto di giovane vedova). Solo questo primo foglio, dei due incollati sullo stesso controfondo, ha anche segni a pietra rossa; Unità di misura: mm; Altezza: 209; Larghezza: 149; Varie: inv. D2408 b (ritratto della cantatrice Adriana Basile)

Tecnica:

pietra rossa

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Two female portraits

Descrizione:

The two sheets, one (inv. D2408b) from 1619 and the other (inv. D2408a) from 1625, were glued together on a single mount at a later date, during their history as part of a collection. The identity of the subject of the later portrait (D2408a), of a young widow (Primarosa 2017, cat. 553 p. 591), is unknown, although it can be inferred from the transparency that the woman's name was indicated on the reverse when the sheets were reorganised in the Borghese collection after Leoni's death. In the portrait (D2408b), on the other hand, it has been possible to interpret the inscription on the back and identify the figure as the opera singer Adriana Basile, well known in her day, celebrated as the “siren of Posillipo”, remembered in the rhymes of Giovan Battista Marino and appreciated by the Italian courts, from Naples to Florence (Primarosa 2017, cat. 408 pp. 501-502). Two female portraits.

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Titolo dell'opera:

Cupid deprived of weapons

Acquisizione:

Marcello Durazzo

Autore:

Zuccaro, Federico

Object Type:

drawing

Epoca:

Inventario:

D 2845

Misure:

Unità di misura: mm; Altezza: 249; Larghezza: 176

Tecnica:

matita nera

Ultimi prestiti:

Maestri del disegno - Genova - 1990

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Cupid deprived of weapons

Descrizione:

The scene depicted in the drawing has been interpreted as the moment when some of Diana's nymphs surprise sleeping Cupid and take advantage of it to burn his arrows. While the traditional attribution of the work is to Francesco Salviati (GROSSO, PETTORELLI, 1910) and for others (DI GIAMPAOLO) it would instead be Taddeo Zuccaro, the ascription to the latter's brother, Federico Zuccaro, seems to be supported by the similarities found in another drawing attributed to him and conserved in the Royal Library of Turin, depicting the Allegory of Redemption. (BOCCARDO, 1999) The drawing depicts Cupid asleep, surrounded by nymphs.

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Titolo dell'opera:

Studies of figures and hands / Saint Ignatius of Loyola \ Study of figures / Saint Ignatius of Loyola

Acquisizione:

Anselmo Foroni Lo Faro

Autore:

Maratti, Carlo

Object Type:

drawing

Epoca:

Inventario:

D 5831

Misure:

Unità di misura: mm; Altezza: 380; Larghezza: 271

Tecnica:

Matita rossa

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Studies of figures and hands / Saint Ignatius of Loyola \ Study of figures / Saint Ignatius of Loyola

Descrizione:

As the collector had well understood, this is the preparatory study for the altarpiece depicting 'The Madonna and Child with Saints Charles Borromeo and Ignatius', made by Maratti around 1674 for the Roman church of Santa Maria della Vallicella. (BOCCARDO, 1999) Studies of figures and hands / Saint Ignatius of Loyola \ Study of figures / Saint Ignatius of Loyola

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Titolo dell'opera:

Eurydice bitten by snake

Acquisizione:

Marcello Durazzo

Autore:

Gandolfi, Ubaldo

Object Type:

drawing

Epoca:

Inventario:

D2336

Misure:

Unità di misura: mm; Altezza: 260; Larghezza: 162

Tecnica:

carta bianca scurita applicata su altra carta

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Eurydice bitten by snake

Descrizione:

This is a preparatory study for the large painting, now in a private collection, that Gandolfi executed in 1770 as part of a series of six destined to decorate Palazzo Marescalchi, formerly Armi, in Bologna. (BOCCARDO, 1999) The drawing depicts Eurydice standing, having just been bitten by the snake in front of her on the ground, with a cherub beside her.

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Titolo dell'opera:

Frontispiece of Dante's Paradiso

Acquisizione:

Giorgio Passano

Autore:

Pinelli, Bartolomeo

Object Type:

drawing

Epoca:

Inventario:

D 50

Misure:

Unità di misura: UNR (= Unita' Non Rilevata)

Tecnica:

matita grafite

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Frontispiece of Dante's Paradiso

Descrizione:

The Drawings and Prints Cabinet at Palazzo Rosso preserves most of the graphic models created by painter and engraver Bartolomeo Pinelli in preparation for the publication of his illustrated Divine Comedy, of which the museum's collection also includes the three volumes of engravings. The illustrations for the three canticles were created by the Roman artist between 1824 and 1826, with a selection of the most significant episodes accompanied by the corresponding tercets from Dante's poem. These drawings are of particular interest as they allow us to retrace the author's creative process, enabling a direct comparison between the quickly sketched pencil drawings and the published prints. In this case, in the engraved version, Pinelli chose to eliminate the text of the two inscriptions initially planned in the preparatory sheet. Illustrating the otherworldly journey, the artist imagines himself as Dante's companion and inserts his portrait in several episodes, including the frontispieces (Priarone 2024, pp. 51-52). Here he chose to depict himself in antique clothing, with a book in his hands, his gaze turned towards the bust of the poet and his inseparable dogs beside him, creating an image that ironically combines a lofty register with the almost colloquial attitude with which he seems to address the great poet whose work he is illustrating. Graphite pencil drawing on white paper depicting the frontispiece of Dante's third canticle, containing a portrait of the author, who is depicted in ancient clothing, leaning on a bust of the Supreme Poet, accompanied by two dogs. In the background is a river, crossed on the right by Charon's boat and on the left, inside a cave, Cerberus.

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Titolo dell'opera:

The return of Jacob

Acquisizione:

Marcello Durazzo

Autore:

Grechetto, Giovanni Benedetto Castiglione

Object Type:

drawing

Epoca:

Inventario:

D 2035

Misure:

Unità di misura: mm; Altezza: 245; Larghezza: 290

Tecnica:

pennello

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The return of Jacob

Descrizione:

The scene depicts the episode from Genesis (32:4) in which Jacob joins his brother Esau after leaving his father-in-law Laban. It is a beautiful oil on paper drawing, a technique that was only rarely practised in Genoa and possibly derived from the examples of Rubens and Van Dyck that the artist was able to see in the city, which allowed Grechetto to render effects of greater or lesser transparency in the graphic medium depending on the amount of binder used from time to time. Due to the number of sheets produced in this manner and their quality, it is generally accepted that these are not preparatory sketches, but finished works. (BOCCARDO, 1999) The return of Jacob

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Titolo dell'opera:

Back bust in armour, head with helmet and hand gripping the hilt of a sword \ Studies of hands and arms

Acquisizione:

Marcello Durazzo

Autore:

Strozzi, Bernardo

Object Type:

drawing

Epoca:

Inventario:

D 2906

Misure:

Unità di misura: mm; Altezza: 282; Larghezza: 386

Tecnica:

matita nera

Ultimi prestiti:

La pittura del Seicento a Venezia - Venezia - 1959
Maestri del disegno - Genova - 1990
Bernardo Strozzi - Genova - 1995

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Back bust in armour, head with helmet and hand gripping the hilt of a sword \ Studies of hands and arms

Descrizione:

The drawing is related to the frescoes Strozzi painted on the vault of the room with the 'Triumph of David' in the palace then owned by the brothers Gio. Stefano and Gio. Batta Doria, located in Genoa between piazza San Matteo and vico Falamonica. The two Dorias were first cousins of Gio. Carlo, the painter's protector at the time. (BOCCARDO, 1999) The drawing is a rough sketch of two soldiers, including a study of their hands holding swords.

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