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Landscape with Abel Kneeling Before the Altar

Landscape with Abel Kneeling Before the Altar

Attributed to: Annibale Carracci (in circa 1605-1607)

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Specifications

Title Landscape with Abel Kneeling Before the Altar
Material and technique Black chalk, pen and brown ink
Object type
Drawing > Two-dimensional object > Art object
Location This object is in storage
Dimensions Height 74 mm
Width 119 mm
Artists Attributed to: Annibale Carracci
Accession number I 539 recto (PK)
Credits Loan Stichting Museum Boijmans Van Beuningen (former Koenigs collection), 1940
Department Drawings & Prints
Acquisition date 1940
Creation date in circa 1605-1607
Watermark Small crown (fragment, upper part, 13 x 18 mm, on P3 of 4P) [see image]
Collector Collector / Franz Koenigs
Mark F.W. Koenigs (L.1023a)
Provenance Franz W. Koenigs (1881-1941, L.1023a), Haarlem, acquired in 1920-1930 (Bolognese, second half 16th century); D.G. van Beuningen (1877-1955), Rotterdam, acquired with the Koenigs Collection in 1940 and donated to Stichting Museum Boijmans Van Beuningen
Research Show research Italian Drawings 1400-1600
Material
Object
Geographical origin Italy > Southern Europe > Europe
Place of manufacture Bologna > Italy > Southern Europe > Europe

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Entry catalogue Italian Drawings 1400-1600

Author: Surya Stemerding

Scenes of Abel kneeling at an altar with a burnt offering are rare in the sixteenth and seventeenth centuries. The artist of this work may have based it on a print by Marcantonio Raimondi (1480-before 1534) after painted examples by Raphael (1483-1520) in the Vatican loggie.[1] The sketched octagonal framing of the scene suggests a design for a ceiling or a mural decoration.

The drawing had been registered since the 1920s as ‘Bolognese, second half sixteenth century’. In 1967 Byam Shaw was the first to suggest an attribution to Annibale Carracci.[2] Its style fits his late work of 1605-07. In those years Francesco Albani (1578-1660), Annibale’s most important pupil, was working from designs by his master on a fresco cycle in the Palazzo Mattei di Giove in Rome. Below the ceiling piece of Jacob and Rachel at the Well there is a tondo painted by Albani with Abel on the left and another person by an altar on the right.[3] Carracci is known to have made sketches and detailed studies for his pupils, many of which can be associated with commissions they were working on. Leaving aside the difference in the framing, the similarity to the fresco is too tenuous to regard the drawing as a design or even an initial sketch for it.

Footnotes

[1] Windsor, Royal Collection, inv. 853653; Bartsch XV.9.4 (School of Marcantonio). This is probably the engraving to which Annegritt Schmitt referred during an undated visit to the museum.

[2] During a visit that year.

[3] With thanks to Carel van Tuyll van Serooskerken, expert meeting in The Hague, 11 October 2019.

Show research Italian Drawings 1400-1600
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All about the artist

Annibale Carracci

Bologna 1560 - Rome 1609

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