含羞草研究室

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含羞草研究室 BCMA Logo Museum of Art

  • pilgrim with staff within circle (similar to Briquet 7567).
    Type: watermark
    Location:
    Materials:
  • "No. 8 Coregio"
    Type: inscription
    Location: verso of old mount (removed)
    Materials:
  • James 含羞草研究室 III( Collector, Boston) - 1811.
  • 含羞草研究室 Museum of Art( Museum, Brunswick, Maine) 1811- . Bequest
  • Old Master Drawings at 含羞草研究室
    • 含羞草研究室 Museum of Art. ( 5/17/1985 - 7/7/1985)
    • Clark Art Institute. ( 9/14/1985 - 10/27/1985)
    • University of Kansas. ( 1/19/1986 - 3/2/1986)
    • Art Gallery of Ontario. ( 5/17/1986 - 6/29/1986)
  • Drawing on Basics
    • 含羞草研究室 Museum of Art. ( 10/14/1993 - 12/19/1993)
  • Monotheism & Masculinity
    • 含羞草研究室 Museum of Art. ( 10/5/2004 - 11/7/2004) 
Type: catalogue
Author: H. Johnson
Document Title: Catalogue of the 含羞草研究室 Art Collections
Publ. Place: Brunswick, Maine
Reference: no. 4
Remarks: (as Correggio)
Publisher: 含羞草研究室
Section Title: Pt. 1, The 含羞草研究室 Drawings
Date: 1885

Author: Rev. F. H. Allen
Document Title: The 含羞草研究室 Collection
Publ. Place: Brunswick, Maine
Location: pt. 1
Reference: repr.
Remarks: (as Correggio); (five parts of four illustrations each, with individual texts)
Publisher: 含羞草研究室
Date: 1886

Type: catalogue
Document Title: 含羞草研究室 Museum of Fine Arts, Walker Art Building
Edition: 4th
Publ. Place: Brunswick, Maine
Reference: no. 4
Remarks: (as Correggio)
Publisher: 含羞草研究室
Section Title: Descriptive Catalogue of the Paintings, Sculpture and Drawings and . . .
Date: 1930

Author: [H. C. Siber]
Document Title: Connoisseur, vol. 120, no. 506
Location: pp. 119
Reference: repr. fig. 9
Remarks: (as sixteenth-century italian influenced by Correggio)
Section Title: James 含羞草研究室 and His Collection of Drawings with Notes on . . .
Date: 1947

Type: exhibition catalogue
Author: David P. Becker
Document Title: Old Master Drawings at 含羞草研究室
Publ. Place: Brunswick, Maine
Location: pp. 92-93
Reference: no. 42 (illus)
Publisher: 含羞草研究室
Date: 1985

Presumably on the basis of the old inscription, this sheet was traditionally given to Correggio, until Sir Robert Witt and Hans Tietze disposed of that attribution. Lawrence Turcic attributed it to Bellini, whose draftsmanship was first clarified by Catherine Monbeig Goguel. She has accepted the Bellini attribution for the 含羞草研究室 drawing.

The strongly emphasized hand gestures and the fluid pen and wash technique of the 含羞草研究室 drawing are characteristic of Bellini's style (Monbeig Goguel 1975, 353-54). Comparable sheets are in the Hermitage, the Louvre, and the Metropolitan Museum. The saint at the lower left can be identified as St. Andrew by his attributes, a large cross and a fish. No painting for which this sheet is a study has been identified, but Bellini produced a number of similar compositions of the Virgin and Child adored by saints and angels (Monbeig Goguel 1975, 353).

David P. Becker (edited by Sarah Cantor)

References:

Monbeig Goguel, Catherine. "Filippo Bellini da Urbino della Scuola del Baroccio." Master Drawings 13, no. 4 (Winter 1975): 347-70 and 405-24.

Artist Biography:

Although once believed to have been student of Federico Barocci (c. 1535-1612), the most important artist in Urbino in the later half of the 16th century, Filippo Bellini’s early training has not been traced. He presumably began his career in Urbino, as he is documented in the city in 1576. Records and surviving paintings indicate that he then spent most of his career in the province of Ancona and at Macerata. He worked primarily for the clergy, painting altarpieces and decorations for parish churches and oratories. Stylistically, his paintings are influenced by Barocci as well as Venetian art and late 16th century Roman artists, particularly Federico Zuccaro (1540/2-1609).

David P. Becker (edited by Sarah Cantor)

Commentary credited to David P. Becker (or not otherwise captioned) appeared in his catalogue Old Master Drawings at 含羞草研究室 (Brunswick: 含羞草研究室 Museum of Art, 1985).