Drawings by Innocenzo da Imola

Drawings by Innocenzo da ImolaAuthor(s): Philip PounceySource: Master Drawings, Vol. 7, No. 3 (Autumn, 1969), pp. 287-292+327-341Published by: Master Drawings AssociationStable URL: http://www.jstor.org/stable/1552976 .

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NOTES

Drawings by Innocenzo da Imola

Philip Pouncey

THE PURPOSE of this article is to make known a

group of drawings by a neglected Bolognese painter active during the first half of the sixteenth century, Innocenzo Francucci da Imola. That he should have been neglected in recent years is hardly surprising since his artistic personality is in the sharpest contrast to that of the painter who, among his contemporaries in Bologna, holds the stage for an audience of today, that is to say Amico Aspertini.

Aspertini is well qualified to please modern taste. He has a riotous imagination with a strong leaning to the grotesque, and translates motives from the an-

tique in a manner which, especially in his drawings, is apt to make us think of Picasso. In his religious painting one often gets the impression (reinforced

by Vasari's account of his goings-on) that he was out to shock his bien pensant contemporaries.

One of these, indeed the most bien pensant of them

all, was Innocenzo. When we first hear of him he is still quite young, but in spite of this he has somehow

managed to get official recognition. A Latin docu- ment of March 17, I 506, referred to by the local art

historians Romeo Galli and Rezio Buscaroli, states that he was then studying at the expense of the comune of Imola with Francesco Francia in Bologna and that it was expected that he would prove a credit to his native town.' Tradition has it that an early work

representing the Virgin enthroned between the pa- tron saints of Imola, still to be seen in the civic collec-

tion, was presented to the town hall by him in grati- tude for the educational subsidy he had received.2 Buscaroli and Galli believe that he cannot have been much less than sixteen when he was awarded this educational grant. If so, he would have been born about I490.

The fact that Malvasia quotes an entry of May 7, I508, purporting to be from Francia's journal to the

effect that he had that day taken into his school "No- centio Francuccio Imolese" should not be taken too

literally.3 It is of a piece with other "documents"

quoted in the Felsina Pittrice, all evident fabrications

originating from Malvasia's period if not from his own pen.

There is, on the other hand, every reason to accept Vasari's statement that Innocenzo worked in Florence with Mariotto Albertinelli (he says: "for many years").4 As Crowe and Cavalcaselle remarked, his

early paintings sometimes remind one of Bugiardini, Albertinelli's collaborator.5

The blend of Francia and Florence is conveniently illustrated in the altarpiece at Bagnara dated I5i5,6 a sincere, rustic "plague picture" to which one is glad to return after looking at Innocenzo's better known, mature works. In it the influence of Francia, still evident in the standing saints Sebastian and Roch, and in the landscape, is overlaid with reminiscences of Florence especially noticeable in the Bugiardini-like figures of Cosmo and Damian (portraits one would

say) who tactfully kneel to leave room for a very solid

group of the Madonna and Child, posed a la "Belle Jardiniere' on a bank of clouds just above their heads.

Although I cannot illustrate them here, I should like to take this opportunity of mentioning two appar- ently unnoticed paintings which betray his Floren- tine training even more clearly. The first is a panel of the Virgin adoring the Child, sold at Christie's as "Granacci" on July 26, I950, lot 156, in which there is no longer any trace of Francia. The Virgin, as bovine as the ox behind her, kneels in contemplation of the Child while St. Joseph resembles the attitudi-

nizing saints in Bugiardini's Berlin altarpiece. He

gazes sadly at the spectator and at the same time

points portentously in the direction of the Child who somewhat spoils the effect by sucking his forefinger. The shepherds in the background and the country- side through which they advance might form part of a Florentine picture of the period. So might the back-

ground of the second painting where we see the

apostles bringing up supplies of food from the city of

[287]



Sichem towards Christ who sits in the foreground talking to the Samaritan woman. When this picture was in the Leuchtenberg and later in the Svenonius Collection it was ascribed to G. F. Penni.7 That it should have been put under the name of Raphael's Florentine pupil is perhaps explained by the buxom

dairymaid with the slightly Raphaelesque face who

impersonates the Samaritan, and it may have been felt too that the Christ has something in common with Penni's dull apostles in the Monteluce Corona- tion. But comparison, once again, with Bugiardini is more helpful and the picture as a whole stands nearer to Raffaello Botticini than to Raffaello Santi.

Already in this painting one has the impression that we are dealing with a premature Nazarene. By the time that he set up his studio in Bologna, which cannot have been later than I5 I7, the year when he

received an important commission for frescoes and an

altarpiece in S. Michele in Bosco,8 Innocenzo had evolved a convenient formula for satisfying ecclesi- astical authorities and private patrons which he used without important modifications for the rest of his career. By borrowing compositions from Fra Bartolo-

meo, faces from Raphael, and poses from both he

gained for himself a respectable place among the followers of Raphael, even in the eyes of so usually discriminating a judge as Lanzi;9 while Benezit's dic-

tionary (I95I) assures us that "some of his works

resemble Raphael's to such a point in their simplicity and beauty that they seem to be executed on the master's drawings''

We must not be surprised, therefore, if every now and then a painting by him has been promoted to the status of a Raphael. A case in point is a little panel, measuring I7.5 x I .5 cm., of the Martyrdom of St.

Sebastian which I was shown ten years ago and of which an outline engraving is published in Du- chesne's Musee de peinture (69e livraison).10

On the whole, however, it is unusual to find a picture of Innocenzo's maturity under another name. In recent years, at any rate, he has become an easily recognizable figure partly because the lack of ideas that causes him to borrow also makes him repeat himself, and partly because he remains faithful to a color scheme which Corrado Ricci understandably protested was of "un'antipatia incredibile"11 and

which goaded Roberto Longhi into saying that his

figures are "scoppianti di salute senz'anima, come mazzi di carote rosse, drappeggiate in metrature di

panno verde biliardo'."12 With the drawings we have the opposite situation:

they will nearly always be found under another name, and this in spite of the fact that in a gratifying number of cases they can be connected with surviv-

ing pictures. Old attributions to Innocenzo are rare and nearly

always prove wrong. One example will suffice: a

drawing in the British Museum (No. I946-7-13- Io6) with two scenes from the story of Elijah. Ac-

cording to a note on the back by the younger Richard- son, it came to him on the tattered remains of a Vasari mat inscribed with Innocenzo's name. In spite of this venerable expertise it turns out to be a typical Bar- tolomeo Neroni.

Apart from the two short articles referred to under Nos. 3 and 9 in the List of Drawings given below- which makes no claim to completeness-nothing, so far as I am aware, has been published on Innocenzo as a draughtsman. I am responsible for the attribution of all the drawings except Nos. 2, 1, and I 2.

1. R. Galli, Innocenzo da Imola: i tempi, la vita, le opere and R. Buscaroli, L'Arte, Bologna, 195I, p. 8. R. Buscaroli, Imola: citta e dintorni. Guida di in- formazione, Imola, 1949, p. 92.

2. Repr. L. Orsini, Italia artistica: Imola e la valle del Santerno, Bergamo, 1907, p. 80.

3. C. Malvasia, Felsina pittrice (I678), ed. G. P Za- notti, 184 I, , p. I 9.

4. G. Vasari, Le Vite (1568), ed. Milanesi, v, I880, p. I85.

5. J. A. Crowe and G. B. Cavalcaselle, A History of Painting in Italy (I864), ed. L. Douglas and T Borenius, vI, 1914, p. 6.

6. Repr. Bollettino d'arte, 191 I, p. 147.

7. Line engraving by J. N. Muxel in J. D. Passavant, Galerie Leuchtenberg, 2nd ed., Frankfort, 1851, pl. 53. Also repr. S. Reinach, Repertoire de peintures, 1918, IV, p. I4I.

[288]

NOTES



8. A. Venturi, Storia dell'arte italiana, IX,4 1929, p. 372.

9. L. Lanzi, Storia pittorica, 4th ed., Pisa, I 815-I7, v, PP. 44 f.

10. C. Ruland, The Works of Raphael, 1876, p. II8, B. xxi. J. D. Passavant, Raphael d'Urbin, Paris, I860, II, p. 351, no. 284 c, acutely observes: "ce

List of Drawings

Florence, Museo Horne

1. Kneeling Female Figure; Drapery Studies. No. 5913. P1. i6

Pen and brown wash, heightened with white over black chalk. 22I x 171 mm.

A note by Herbert Home on the mat gives it to Timo- teo Viti and says that the previous mat (French, ca. 8oo) was inscribed: Raphael Durbin. The pose and the arrangement of the drapery correspond almost exactly with those of the Madonna in the Servi Annunciation (Fig. I).

Florence, Uffizi

2. Draped Female Torso; Lower Part of a Draped Standing Figure. No. 14583 E P1. I7 Brush drawing with white heightening over black chalk. 210 x 280 mm.

As "anonymous sixteenth century.' Attributed to Inno- cenzo by Oberhuber. See No. 5 below.

London, British Museum

3. The Virgin and Child with Five Saints. No. 521 -65. P1. i8

Black chalk and brown wash, heightened with white. 279 x 263 mm.

Lit.: P. Pouncey, Burlington Magazine, LXXXVII, 945, pp. 72ff.

As "Pietro Perugino" (unmounted) from I769, when it entered the Museum with the Fawkener Bequest, until 1940, when it was recognized to be a study for the altar-

piece in Faenza Cathedral, signed and dated I526, representing the Virgin and Child with SS. Peter, Zacharias, Elizabeth and Paul and the infant Baptist (Fig. 2). It will be noticed that a male model was used for St. Elizabeth.

4. The Flagellation. No. 1946-7-I3-358. P1. 19 Pen and brown wash, heightened with white. 232 x I91

mm. Lit.: A. E. Popham, Catalogue of Drawings in the

Collection ... of T. Fitzroy Phillipps Fenwick ..., I935, p. 58.

petit tableau . . .peut au plus etre attribu6 a un eleve de Raphael'

11. C. Ricci, Guida di Bologna, 3rd ed., 1900, p. i 0o.

12. R. Longhi, Officina ferrarese 1934 seguita dagli ampliamenti 1940. Edizione delle opere complete, Florence, v, 1956, p. 6 i.

Fig. I INNOCENZO DA IMOLA. The Annunciation.

Bologna, S. Maria dei Servi.

[289]

NOTES



An attribution to Garofalo pencilled on the back of the drawing was followed in the Fenwick Catalogue.

London, Private Collection (formerly)

5. Flying Draped Figure; Study for the Upper Part of the Drapery. P1. 20 Black chalk with brown wash, heightened with white. 255 x I96mm.

Inscribed on the mat in a hand similar to that found on drawings from the Richardson Collection: Rafaelle. Ascribed to Penni when sold with the Wrangham Col- lection at Sotheby's, July i, I965, lot 9.

The artist reveals himself in the arrangement of the drapery and the flexion of the right arm; cf. an angel to the left of God the Father in the Annunciation in S. Maria dei Servi, Bologna (Fig. i).

London, Private Collection (formerly)

6. Two Standing Male Figures. Black chalk. 253 x i80 mm.

P1. 23

New York, Mr. Janos Scholz

7. Standing Draped Male Figure, Turned to the Right. P1. 21

8. Standing Draped Male Figure, Full-face, Turned to the Left. P1. 22 Black chalk, heightened with white. 215 x 87 mm. each.

Inscribed on the mat of No. 8 in a hand resembling that found on drawings from the Richardson Collection: Rafaelle d'Urbino in Firenze Veduto Fra: Bartolomeo. Studies for the figures of SS. Joseph and John the Evan- gelist in the altarpiece in S. Giacomo Maggiore, Bologna, signed and dated 1536 (Fig. 3).

It is instructive to contrast the firmly planted St. John, derived, like the putti and the baldaquin, from Fra Bar- tolomeo's altarpiece of 1512 in the Florence Academy, with the top-heavy figure of St. Joseph which is the artist's own invention.

9. The Virgin and Child between the Baptist and St. Anthony Abbot (?). P1. 24 Black chalk. 153 x 18 mm.

Attributed to Fra Bartolomeo until 1958. The Ma- donna and Child motive is taken from Raphael's Ma- donna del Pesce. The Baptist is a conflation of the figures of the same saint in a drawing recognized as being by Innocenzo by Antal (Popham, and Wilde, The Italian Drawings of the XV and XVI Centuries ... at Windsor Castle, 1949, No. 393; repr. Old Master Drawings, xiv, 1939-40, pl. 48) and in the S. Giacomo Maggiore altarpiece (Fig. 3). Even though the drawing is so slight, one can sense the rigidity of pose and drapery characteristic of the artist.

Fig. 2 INNOCENZO DA IMOLA.

The Virgin and Child with Five Saints.

Faenza, Cathedral.

Paris, Louvre

10. Standing Male Nude; Cast of the Left Foot on a Larger Scale. No. 2705. P1. 25 Black chalk. 265 x 163 mm.

As "anonymous Florentine, sixteenth century:' A study for the St. Sebastian in the altarpiece in the Alte Pinakothek in Munich (Fig. 4). See No. I2 below. The arrows held by the saint in the picture, horizontally with his right hand and vertically in his left, are faintly indi- cated. The figure would seem to have been drawn from the statuette, now in the Casa Buonarroti, generally thought to have been Michelangelo's bozzetto for the marble David, but in Tolnay's opinion (Gazette des Beaux-Arts, 6e periode, LXIV 1964, pp. 125 ff.) the model for his (lost) Hercules sculpted in I492 and moved to Fontainebleau by Francois I, who bought it in 1529.

11. Apollo and Marsyas. No. 4308. P1. 26 Pen and brown wash, heightened with white. 399 x 510 mm.

As "d'apres Santi" Study, as has been anonymously noted on the mat, for one of the frescoes painted by Inno-

[290]

NOTES



NOTES

The Marriage of St. Catherine.

Bologna, S. Giacomo Maggiore.

jhI^ ^(above right)


Apollo and Marsyas.

Bologna, Palazzina della Viola.

(left)


The Virgin and Child with Four Saints, a Beata and a Donor.

Munich, Alte Pinakothek.

[291]

--1-

* i& ̀ :. A. a:

or :



cenzo in the Palazzina della Viola (Scuola Agraria), Bologna between I540 and I543. Differences between

drawing and fresco, apart from the change of sex of the

figure clutching the tree to the left, are confined to back-

ground figures. Cf. Fig. 5.

12. The Virgin and Child on Clouds with SS. Sebastian, Francis, Petronius and Clare, a Franciscan Beata and a Male Donor. No. 8261. P1. 27 Pen and brown wash over black chalk, heightened with white. 420 x 309 mm.

A study, as Bodmer has noted on the mat, for the high altarpiece of Corpus Domini in Bologna, now in the Alte Pinakothek, Munich (H. G. 397; 1060). See Fig. 4.

Paris, Monsieur Marignane (formerly)

13. Standing Baptist. P1. 28

Black chalk. 420 x 162 mm. Lit.: B. Berenson, I Disegni dei pittori fiorentini,

I96I, nI, p. II8, no. 607*7; P. Pouncey, Master Draw-

ings, II, 1964, p. 284. The drawing bears an old inscription giving it to

Bugiardini and was accepted as his by Berenson. In my review of Berenson's third edition I wavered between Bugiardini and Innocenzo but now feel convinced that it is by the latter. The cast of drapery, the proportions of the stiff arm and wrist and the lighting all point to him.

Reggio Emilia, Ingegnere Antonio Villani

14. Standing Man Holding a Stick. P1. 29 Black chalk. 290 x 155 mm.

Vienna, Albertina

15. Design for an Altarpiece of the Immaculate Concep- tion. No. 95. P1. 30 Pen and brown wash, heightened with white. 379 x 241

mm. Lit.: F. Wickhoff, "Die italienischen Handzeichnun-

gen der Albertina' Jahrbuch der kunsthistorischen

Sammlungen des allerhochsten Kaiserhauses, xII, I891-

92 (Beiheft), p. cxci, S. R. 128; A. Stix and L. Frohlich- Bum, Die Zeichnungen der Toskanischen ... Schulen

(Beschreibender Katalog der . . . Albertina, III, I932),

no. I27.

Wickhoff believed it to be a North Italian drawing of the second half of the sixteenth century, while Stix and Frohlich-Bum retained the traditional attribution to Peruzzi. The writer's suggestion, made some years ago, that it might be by Innocenzo is supported by Oberhu- ber's recent attribution to Innocenzo of a sheet of studies for the figure of the Virgin (see No. 2 above). An identi- cal God the Father appears in reverse in the Servi An- nunciation (Fig. I).

cenzo in the Palazzina della Viola (Scuola Agraria), Bologna between I540 and I543. Differences between

drawing and fresco, apart from the change of sex of the

figure clutching the tree to the left, are confined to back-

ground figures. Cf. Fig. 5.

12. The Virgin and Child on Clouds with SS. Sebastian, Francis, Petronius and Clare, a Franciscan Beata and a Male Donor. No. 8261. P1. 27 Pen and brown wash over black chalk, heightened with white. 420 x 309 mm.

A study, as Bodmer has noted on the mat, for the high altarpiece of Corpus Domini in Bologna, now in the Alte Pinakothek, Munich (H. G. 397; 1060). See Fig. 4.

Paris, Monsieur Marignane (formerly)

13. Standing Baptist. P1. 28

Black chalk. 420 x 162 mm. Lit.: B. Berenson, I Disegni dei pittori fiorentini,

I96I, nI, p. II8, no. 607*7; P. Pouncey, Master Draw-

ings, II, 1964, p. 284. The drawing bears an old inscription giving it to

Bugiardini and was accepted as his by Berenson. In my review of Berenson's third edition I wavered between Bugiardini and Innocenzo but now feel convinced that it is by the latter. The cast of drapery, the proportions of the stiff arm and wrist and the lighting all point to him.

Reggio Emilia, Ingegnere Antonio Villani

14. Standing Man Holding a Stick. P1. 29 Black chalk. 290 x 155 mm.

Vienna, Albertina

15. Design for an Altarpiece of the Immaculate Concep- tion. No. 95. P1. 30 Pen and brown wash, heightened with white. 379 x 241

mm. Lit.: F. Wickhoff, "Die italienischen Handzeichnun-

gen der Albertina' Jahrbuch der kunsthistorischen

Sammlungen des allerhochsten Kaiserhauses, xII, I891-

92 (Beiheft), p. cxci, S. R. 128; A. Stix and L. Frohlich- Bum, Die Zeichnungen der Toskanischen ... Schulen

(Beschreibender Katalog der . . . Albertina, III, I932),

no. I27.

Wickhoff believed it to be a North Italian drawing of the second half of the sixteenth century, while Stix and Frohlich-Bum retained the traditional attribution to Peruzzi. The writer's suggestion, made some years ago, that it might be by Innocenzo is supported by Oberhu- ber's recent attribution to Innocenzo of a sheet of studies for the figure of the Virgin (see No. 2 above). An identi- cal God the Father appears in reverse in the Servi An- nunciation (Fig. I).

A Preliminary Study by Domenico Brusasorci

Terence Mullaly

A Preliminary Study by Domenico Brusasorci

Terence Mullaly

LONG AGO Berenson felt the pull of the fascination

of the work of Domenico Brusasorci.1 Today, al-

though our perspective is more refined, Domenico Brusasorci seems if anything even more remarkable. Yet although there are many paintings, both canvases and frescoes, undoubtedly by him, up till now no

drawing has been shown certainly to be his. The purpose of this note is to present such a drawing, and therefore to provide a fixed point for the reconstruc- tion of his oeuvre as a draughtsman.2

The drawing in question, in the Uffizi (P1. 3 ),3 is

clearly a preliminary study for the inside of the left

organ shutter, high over the main door of the church of SS. Nazaro e Celso, in Verona (Fig. I). Although mentioned in some recent guides, notably Simeoni, and Tessari's little book on the church, these organ shutters have escaped notice in other guides, and are not mentioned in art historical literature. In particu- lar, despite the fact that other paintings by Domenico Brusasorci in SS. Nazaro e Celso are noted, they are not included in the latest edition of Berenson's "Lists''

There can however, following their reappearance in the church after cleaning, be no doubt about the attribution of these most attractive paintings.4 In fact their authorship was recognized at the beginning of the eighteenth century, for Dal Pozzo says: "Sopra la

porta nelle portelle dell'Organo cori d'Angeli, che

suonano, e cantano, di Domenico Brusasorzi'5 It is also worth noting that these organ shutters are clearly by the same hand as the frescoes in the transept of the church of S. Stefano in Verona, Domenico Brusa-

sorci's authorship of which is likewise confirmed by the early sources.

The only question remaining is why the Uffizi

drawing was inscribed Batista Brucia sorci. Giambat- tista Brusasorci was Domenico's son and works were attributed to him by early writers. However I know of no picture, let alone a drawing, that can today be

given to him. The inscription must be assumed to be

LONG AGO Berenson felt the pull of the fascination

of the work of Domenico Brusasorci.1 Today, al-

though our perspective is more refined, Domenico Brusasorci seems if anything even more remarkable. Yet although there are many paintings, both canvases and frescoes, undoubtedly by him, up till now no

drawing has been shown certainly to be his. The purpose of this note is to present such a drawing, and therefore to provide a fixed point for the reconstruc- tion of his oeuvre as a draughtsman.2

The drawing in question, in the Uffizi (P1. 3 ),3 is

clearly a preliminary study for the inside of the left

organ shutter, high over the main door of the church of SS. Nazaro e Celso, in Verona (Fig. I). Although mentioned in some recent guides, notably Simeoni, and Tessari's little book on the church, these organ shutters have escaped notice in other guides, and are not mentioned in art historical literature. In particu- lar, despite the fact that other paintings by Domenico Brusasorci in SS. Nazaro e Celso are noted, they are not included in the latest edition of Berenson's "Lists''

There can however, following their reappearance in the church after cleaning, be no doubt about the attribution of these most attractive paintings.4 In fact their authorship was recognized at the beginning of the eighteenth century, for Dal Pozzo says: "Sopra la

porta nelle portelle dell'Organo cori d'Angeli, che

suonano, e cantano, di Domenico Brusasorzi'5 It is also worth noting that these organ shutters are clearly by the same hand as the frescoes in the transept of the church of S. Stefano in Verona, Domenico Brusa-

sorci's authorship of which is likewise confirmed by the early sources.

The only question remaining is why the Uffizi

drawing was inscribed Batista Brucia sorci. Giambat- tista Brusasorci was Domenico's son and works were attributed to him by early writers. However I know of no picture, let alone a drawing, that can today be

given to him. The inscription must be assumed to be

[292] [292]

NOTES NOTES



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INNOCENZO DA IMOLA. Kneeling Female Figure. Florence, Museo Home. (289)

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Plate 23 INNOCENZO DA IMOLA. Two Standing Male Figures. London, Private Collection (formerly). (290)

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Plate 24 INNOCENZO DA IMOLA. The Virgin and Child between the Baptist and St. Anthony Abbot(?). New York, Janos Scholz. (290)

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Plate 26 INNOCENZO DA IMOLA. ApolloandMarsyas. Paris, Louvre. (290)

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Plate 27 INNOCENZO DA IMOLA. The Virgin and Child with SS. Sebastian, Francis, Petronius and Clare, a Franciscan Beata and a Male Donor.

Paris, Louvre. (292)

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Plate 3 INNOCENZO DA IMOLA. Designforan Altarpiece of the Immaculate Conception. Vienna, Albertina. (292)


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Reggio Emilia, Antonio Villani. (292)



Documents

Drawings by Innocenzo da Imola