OGGETTO

definizione: stampa

SOGGETTO

identificazione: Venere e gli amorini
titolo parallelo: Venus and Cupids
titolo: Festa di Venere

LOCALIZZAZIONE

Boston, Museum of Fine Arts, Bequest of W. G. Russell Allen, Europe, Prints and Drawings

ACQUISIZIONE NELLA RACCOLTA

tipo acquisizione: donazione
Boston, 1964

PROVENIENZA

data uscita: 1964

DATAZIONE

sec. XVI, prima metà
1520 ca. - 1527 ca.

AUTORE

STATO DELLA STAMPA

primo stato (di due)

DATI TECNICI

xilografia; chiaroscuro; mm 228 x 380 ca., ; mm 266 x 407 ca.
materia del supporto: carta

STATO DI CONSERVAZIONE

buono

MODALITÀ DI CONSERVAZIONE

RESTAURI

ISCRIZIONI

tipologia: indicazione di responsabilità
tecnica di scrittura: a stampa
tipo di caratteri: lettere capitali
trascrizione: PER VGO/ DA CARPO










STEMMI, MARCHI

NOTIZIE STORICO-CRITICHE

Chiaroscuro woodcut from 4 blocks, pink, state i
Inscription: “PER VGO/ DA CARPO” in the line block

State i/ii: With additional lines in the darkest block in the face (eyebrows, line under nose)
State ii/ii: Darkest block cut back

A rare example of a drawing made for a painting that was directly reworked by a printmaker is the Raphael (or Raphael school) Venus and Cupids now in a private collection (c. 1520, pen and wash with white heightening and black chalk, 25.6 × 40.0 cm). The related chiaroscuro woodcut is signed “PER VGO DA CARPO” and is recorded by Vasari among Ugo's prints (Vasari-Bettarini and Barocchi 1966–87, however the attribution has be questioned by Johnson 1982. On the attribution to Ugo see Takahatake 2015). The drawing was made around 1520 for the fresco decoration in the vaults of the Garden Loggia of Villa Madama in Rome that were painted under Giulio Romano and Giovanni da Udine's direction after Raphael's death (For a summary of the various attribuitions of this and related drawings to Raphael, Giulio Romano, Gianfrancesco Penni, Perin del Vaga, Baldassarre Peruzzi and Giovanni da Udine, see Cordellier/ Py 1992 and Oberhuber/ Gnann 1999). The pen and ink with washes and white bodycolor drawing has been squared in black chalk for transfer to the fresco. According to Achim Gnann, the wash and white heightening were added by the blockcutter (Gnann 2013). Indeed, the white heightening was applied over the squaring, and therefore adapted for the printmaker's use after it had served its initial function. The drawing and print are very close in size, and Ugo can be seen to have followed closely the penwork, washes, and white highlights of the model drawing. Most surviving drawings made for purposes other than prints and reused as models for chiaroscuro woodcuts bear no such reworking, nor, for that matter, any marks of transfer.

Naoko Takahatake, The Chiaroscuro Woodcut in Renaissance Italy, exhibition catalogue, Los Angeles County Museum of Art, June-September 2018, National Gallery of Art, Washington D.C, October 2018-January 2019, DelMonico Books/Prestel, Munich-London-New York, 2018, p. 19, fig. 8-9, p. 21, fig. 10.

Other impressions of state i/ii

-Chatsworth vol IV, fol 89, no. 116: 4 pinks

For impressions of state ii/ii and variant impressions see ALU.0953.2

DOCUMENTAZIONE FOTOGRAFICA

tipologia: fotografia digitale
ente proprietario: Boston, Museum of Fine Arts ©

REPERTORI

Bartsch A. , Vienne, 1803-1821 , v. XII, p. 107, n. 3

BIBLIOGRAFIA

Johnson J. , Milano, 1982 , pp. 23-24
Cordellier D./ Py B. , Roma, 1992 , pp. 576-577
Oberhuber K./ Gnann A. , Milano, 1999 , pp. 276.277, nn. 194-195
Gnann A. , Monaco, 2013 , p. 118
Takahatake N. , 2015 , pp. 171-172
Takahatake N. , Los Angeles, 2018 , p. 21, p. 19, fig. 8

MOSTRE/ESPOSIZIONI

AUTORE DELLA SCHEDA

Takahatake N., 2020
Takahatake N., Atlante delle xilografie italiane del Rinascimento, ALU.0953.1, https://archivi.cini.it/storiaarte/detail/45837/stampa-45837.html
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