Man Walking to the Right

Fra Bartolommeo (Bartolomeo-Domenico di Paolo del Fattorino, Baccio della Porta) (in circa 1515)

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Specifications

Title	Man Walking to the Right
Material and technique	Red chalk
Object type	Drawing > Two-dimensional object > Art object
Location	This object is in storage

Dimensions	Height 287 mm Width 197 mm
Artists	Draughtsman: Fra Bartolommeo (Bartolomeo-Domenico di Paolo del Fattorino, Baccio della Porta)
Accession number	I 563 M 3 recto (PK)
Credits	Loan Stichting Museum Boijmans Van Beuningen (former Koenigs collection), 1940
Department	Drawings & Prints
Acquisition date	1940
Creation date	in circa 1515
Collector	Collector / Franz Koenigs
Provenance	Fra Bartolommeo’s estate (1517); his heir Fra Paolino da Pistoia (1488-1547), Florence; Suor Plautilla Nelli (1523-1588), Florence; Convent of St. Catherine of Siena, Florence; Cavaliere Francesco Maria Niccolò Gabburri (1676-1742), Florence, acquired from the convent in 1725 and mounted in one of two albums (1729); Gabburri Heirs; Art dealer William Kent, London, bought from the Gabburri Heirs in 1758-60; Benjamin West (1783-1820, L.419), London; his son Raphael West; Sir Thomas Lawrence (1769-1830, L.2445), London; Art dealer Samuel Woodburn (1781-1853, L.2584), London, acquired with the Lawrence Collection in 1834, cat. London 1836b, seventh exhibition; The Prince of Orange, afterwards King William II of the Netherlands (1792-1849), The Hague, acquired in 1840; his sale, The Hague (De Vries, Roos, Brondgeest) 12.08.1850, lot 281 (unsold); his daughter Princess Sophie van Oranje-Nassau (1824-1897), Grand Duchess von Sachsen-Weimar-Eisenach, Weimar; her husband Grand Duke Karl Alexander von Sachsen-Weimar-Eisenach (1818-1901) Weimar; their grandson Grand Duke Wilhelm Ernst von Sachsen-Weimar-Eisenach (1876-1923), Weimar; Franz W. Koenigs (1881-1941, L.1023a), Haarlem, acquired in 1923; D.G. van Beuningen (1877-1955), Rotterdam, acquired with the Koenigs Collection in 1940 and donated to Stichting Museum Boijmans Van Beuningen
Exhibitions	Rotterdam/New York 1990, no. 59; Rotterdam/Boston/Fort Worth/New York/Florence/Copenhagen 1990-1994, no. 81; Rotterdam 2009 (coll 2 kw 1); Tefaf 2016; Rotterdam 2016, no. 11.6a
Internal exhibitions	De Collectie Twee - wissel I, Prenten & Tekeningen (2009) Fra Bartolommeo (2016) TEFAF - Collecting Collectors (2016)
Research	Show research Italian Drawings 1400-1600
Literature	Von der Gabelentz 1922, vol. 1, p. 172, vol. 2, no. 463 (1515); Borgo 1976, p. 575, ill. 94; Luijten/Meij 1990, no. 59, ill.; Fischer 1990, no. 81, ill.; Rotterdam/Boston/Fort Worth/New York/Florence/Copenhagen 1990-1994, no. 81, ill.; Elen-Fischer 2016, no. 11.6a
Material	Paper > Vegetable material > Organic material > Material > Material and technique Red chalk > Chalk > Artist's material > Material > Material and technique
Object	Drawing > Two-dimensional object > Art object
Geographical origin	Italy > Southern Europe > Europe

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Entry catalogue Italian Drawings 1400-1600

Author: Chris Fischer

Fra Bartolommeo, 'Madonna della Misericordia', 1515, oil on canvas, 392 x 268 cm, Museo Nazionale di Villa Guinigi, Lucca. Photo Eugene A

The drawings on both sides of this sheet are all studies for the Madonna della Misericordia in the Museo Nazionale di Villa Guinigi in Lucca, commissioned by Fra Sebastiano Lombardi da Montecatini for his chapel in the church of San Romano in Lucca in 1515. The painting was based on drawings by Fra Bartolommeo, but largely executed by his workshop assistants. The recto is a study for the half-naked man partly visible on the left of the painting. Fra Bartolommeo’s main concern was with the upper part that was eventually to appear in the painting. The germ for this figure lies in the fresco The Baptism of the Neophytes by Masaccio (1401-1428) in the Brancacci Chapel, but Fra Bartolommeo’s direct source was Andrea del Sarto (1486-1530). The drawing is a reversed and draped version of the leprosy-afflicted man in the left background of Andrea’s Meeting of St Philippo Benizi and the Leper in the atrium of Santissima Annunziata, painted around 1510.

The verso is dominated by a full-length figure preparatory for the standing youth at the left, who leans placidly with his left arm on the Virgin’s throne, while tenderly regarding two children. He was clearly studied from a garzone (pupil) dressed in his regular clothing. An elaborated study of the figure draped in a mantle is on the recto of a double-sided sheet in Cambridge.^[1] The studies on the verso are also made under the influence of Andrea del Sarto. The man with the broad-brimmed hat is related to figures in Andrea’s Journey of the Magi of 1511. He was placed to the right of the throne in the Madonna della Misericordia, while the two youths in the drawing stand to the left. The head just below the youths on the right of the sheet is an elaboration of one of them. The study at lower right probably served for the youth placed behind Saint Dominic in the painting, but it was the version drawn on another sheet, also in Rotterdam,^[2]where the head is turned somewhat to the left, which was used for the painting. These heads measure only a few centimetres on the sheet, but they are virtually life-size in the painting.

Footnotes

^[1]Fitzwilliam Museum, inv. 1975. See: Scrase 2011, no. 38, ill.

^[2]Museum Boijmans Van Beuningen, inv. I 563 N 116.

Show research Italian Drawings 1400-1600

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All about the artist

Fra Bartolommeo (Bartolomeo-Domenico di Paolo del Fattorino, Baccio della Porta)

Florence 1472/1474 - Florence 1517

Fra Bartolommeo is one of the most illustrious artists of the Italian High Renaissance. Born Bartolommeo di Paolo, he was also called Baccio della Porta. On...

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