Monday, January 1, 2018

Inigo Jones, among other 17th-century draughtsmen

Daniel Seiter
Archangel Michael rousing the Dead on Judgement Day
1690s
drawing on blue paper
British Museum

Daniel Seiter
Virgin and Child appearing to St Geneviève
1690s
drawing on blue paper
British Museum

Giacomo Cortese
Conversion of Paul
before 1675
drawing
British Museum

Domenichino
Landscape with two shepherds
ca. 1600-1620
drawing
British Museum

"The pentimento for the left leg of the left-hand shepherd as well as the other, fainter passages of black chalk underdrawing speak for Domenichino's authorship.  The corrections in grey-black ink seem at first sight to be later retouches, but they are surely by the same hand as the rest of the drawing.  The penwork recalls the technique of the landscape drawings of both Annibale and Agostino Carracci and would imply a date from the first or possibly second decade of the seventeenth century.  As Robinson noted, a weaker version is in the Royal Library, Windsor Castle.  This was formerly placed in the volumes of drawings by Domenichino, but was catalogued by Kurz as Grimaldi, following Pope-Hennessy's observation that it is connected with one of the artist's etchings, which reverses the design.  Although the print is signed 'Gio. Fran.co grimaldi fecit' the composition must have been derived, with substantial elaborations in the background, from Domenichino's design.  The likelihood that the Windsor copy provided the model is suggested by the meaningless empty space between the two shepherds in both works, a passage which is treated more intelligently in the British Museum drawing.  The question as to whether the Windsor drawing is itself by Grimaldi must, however, remain open.  A free copy by Giacinto Calandrucci of the central motif of the two shepherds and the goats butting is in the Kunstmuseum, Düsseldorf.  Since it is in the same direction as the British Museum and Windsor drawings, it must have been taken from one or other of these rather than from Grimaldi's print."

 notes by Nicholas Turner from Italian Drawings in the British Museum : Roman Baroque Drawings, ca. 1620-ca. 1700 (British Museum Press, 1999)

Domenichino
Study of model posed as St John with book
before 1641
drawing
Royal Collection, Windsor

François Duquesnoy
Studies of Infants
before 1643
drawing
British Museum

François Duquesnoy
Four Putti
before 1643
drawing
British Museum

Aniello Falcone
Deborah and Barak
ca. 1640-42
drawing
Royal Collection, Windsor

Aniello Falcone
Entombment
ca. 1640
drawing
Cooper Hewitt, Smithsonian Design Museum

Inigo Jones
Head of child, possibly after Rubens
before 1652
drawing
British Museum

Inigo Jones (1573-1652) successfully imported the classical language of architecture from Italy into England, and has ever since his death been piously remembered with the title of honor, 'Vitruvius Britannicus'.  "He was born to a clothworker in Smithfield in London, and was baptised on 19 July 1573.  Not much is known about his early life.  According to George Vertue, Christopher Wren had information that Jones had served as an apprentice to a joiner in St. Paul's churchyard.  At some point he became painter to the Manners family, for in June 1603 he was paid £10 as a 'picture maker' to Roger Manners, 5th Earl of Rutland (1576-1612).  Jones's pupil John Webb noted that the architect was 'particularly taken notice of for his skill in the practice of landscape painting'.  His early years are shadowy, and his travels uncertain.  It is possible he accompanied Roger's brother Francis Manners, Lord Roos (1578-1632) on a tour of Europe in 1598, and he may well have made his first visit to Italy in 1601: there is a worn inscription placing him in Venice on that date written on a flyleaf of his now-famous 1601 edition of Palladio's I quattro libri dell'architettura (held at Worcester College, Oxford).  In Jones's only publication, a book on Stonehenge produced posthumously by Webb in 1653 from 'some few indigested notes', Jones (or Webb writing for him) echoed Palladio's opening lines when reporting at the outset: 'Being naturally inclined in my younger years to study the Arts of Design, I passed into forrain parts to converse with the great Masters thereof in Italy, where I applied myself to search out the ruines of those ancient Buildings, which in despight of Time itself, and violence of the Barbarians, are yet remaining.  Having satisfied myself in these, and returning to my native Country, I applied my minde more particularly to the study of Architecture.' 

from Inigo Jones: The Architect of Kings by Vaughan Hart (Yale University Press, 2011)

Inigo Jones
Head of old man in profile
before 1652
drawing
British Museum

Inigo Jones
Sheet of studies
before 1652
drawing
British Museum

Inigo Jones
Study of two heads, possibly after Polidoro da Caravaggio
before 1652
drawing
British Museum

Inigo Jones
Three studies of female heads
before 1652
drawing
British Museum

Inigo Jones
Three studies of heads
before 1652
drawing
British Museum