Drawings by Parmigianino
by A. E. Popham
Pages 1 | 2
| Français | Introduction
l Printed in A. O. Quintavalle, II Parmigianino, Milan, 1948,
p. 183, note 86.
2 See Sydney J. Freedberg, Parmigianino His Works in Painting, Cambridge,
Mass., 1950, pp. 187, 188 and
Addenda, p. 254.
3 A. E. Popham, The Drawings of Parmigianino, London, 1953,
PI. LXVIa. Freedberg, op. cit., p. 188, claims that the
Louvre drawing no.6384 (his Fig. 86) may be an early idea for the Madonna
daI collo lungo, but I fail to see any connection. The case for
Louvre no.6387 (Freedberg Addenda, p. 254) being an early study for
the picture also seems to me weak.
4 I1l. L. Frôhlich-Bum, Parmigianino und der Manierismus, Vienna,
1921, Abb. 44; Freedberg, op. cit., p. 188, note 143 and
Addenda, p. 254.
5 Pierpont Morgan Library, New York, 111,42. Red chalk over stylus,
18.5 x 14 cm. (Freedberg, op. cit., p. 188, note 143 and
Addenda, p. 254). I suspect that this is the actual drawing engraved
by Rosaspina when in the Armano collection and that Rosaspina added
the head to improve the appearance of his print.
6 Budapest, no. 1854. Pen and brush, 10.3 x 5.8 cm. (ill. Bulletin
du Musée National des Beaux-Arts, Budapest, 1961, Fig. 32;
Freedberg, op. cit., Addenda, p. 254).
7 British Museum, 1905-11-10-61 and 62 (ill. Frôhlich-Bum. op.
cit., Abb. 49, 50). The existence of a third very similar but
not identical study for the Virgin's drapery is attested by a copy
at Windsor (A. E. Popham and Johannes Wilde, Italian Drawings ...at Windsor Castle,
London, 1949, no.635).
8 Published by Robert Wark, Art Quarterly, 1959, pp. 245-248.
9 Louvre, Paris, no.6453. Pen and ink on yellowish paper, 10 x 6.8
cm. (Freedberg, op. cit., Addenda, p. 254). A comparison with
this Louvre drawing suggests that a study of an infant at Budapest
(ill. Bulletin du Musée National Hongrois, loc. cit., p.
53) may also have been intended for the Madonna daI collo lungo.
10 I am informed by Mrs. Julia Wilde that this may be interpreted as
the "Vas spirituale, vas honorabile, vas insigne devotionis"
of the Litany of the Virgin. Its significance has not, as far as I
am aware, hitherto been explained.
11 I1l. Popham, op. cit., Pl. LXVlb.
12 Louvre, Paris, no.6378, ill. Frôhlich-Bum, op. cit., Abb.
45. No. 6483 closely resembles no.6378. It also corresponds with the
chiariscuro by Zanetti (Bartsch 34; Weigel 5488) in reverse and is
most probably by him, though it must reproduce a lost original.
13 Louvre, Paris, no.6381. Red chalk, 24 x 12 cm. (ill. Frôhlich-Bum,
op. cit., Abb. 48; Freedberg, op. cit.,
p. 188, note 143 and Addenda, p. 254).
14 From the collection of Nicolas Lanière (Lugt 2886) by whom
"Parmeggiano" was written on the drawing.
15 I1l. Old Master Drawings IX (1934-35), PI. 60.
16 I1l. A. O. Quintavalle, op. cit., tav. 93.
17 The fluttering ribbons might be the ends of a standard as
carried by the youth in a drawing in the British Museum
(1858-7-24-7). Alternatively the warrior may be brandishing the
curved sword, the scabbard of which hangs by his side. Against this
the hilt of such a sword would be likely to be curved and for all
that can be seen the scabbard may not be empty.
18 I11. Popham, op. cit., PI. LXI.
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