A drawing in Montpellier attributed to Nicolas Poussin and representing eleven ancient objects has been variously interpreted by the studies: it has been thought to be a copy after engravings, or after drawings in Cassiano dal Pozzo’s Museo cartaceo, or rather a drawing made live, after objects belonging to Natalizio Benedetti or to Francesco Angeloni. This paper focuses on the relationships between the Poussin sheet and other two sets of drawings, one in Florence and the other one from the Museo cartaceo in London, in order to establish a correct chronology and provenance of the three sets and to give a new interpretation of the Montpellier folio. This work is now believed to be a draft made live by Poussin for an extended illustration of Angeloni’s collection, later realized by other artists. This complete set has to be identified with the one in Florence, probably once held by cardinal Camillo Massimo; the Dal Pozzo’s drawings are copies after the florentine series.

Nicolas Poussin e la tradizione grafica della raccolta di Francesco Angeloni. I disegni di Montpellier, di Firenze e del Museo Cartaceo a Londra, «Opera, Nomina, Historiae» http://onh.giornale.sns.it, 7, 2012 [ma 2014]

VAIANI, Elena
2014

Abstract

A drawing in Montpellier attributed to Nicolas Poussin and representing eleven ancient objects has been variously interpreted by the studies: it has been thought to be a copy after engravings, or after drawings in Cassiano dal Pozzo’s Museo cartaceo, or rather a drawing made live, after objects belonging to Natalizio Benedetti or to Francesco Angeloni. This paper focuses on the relationships between the Poussin sheet and other two sets of drawings, one in Florence and the other one from the Museo cartaceo in London, in order to establish a correct chronology and provenance of the three sets and to give a new interpretation of the Montpellier folio. This work is now believed to be a draft made live by Poussin for an extended illustration of Angeloni’s collection, later realized by other artists. This complete set has to be identified with the one in Florence, probably once held by cardinal Camillo Massimo; the Dal Pozzo’s drawings are copies after the florentine series.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11384/58684
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