This drawing depicts a serene landscape. A road running alongside a stream appears in the foreground among rocky outcrops, thick vegetation and bushy trees. The vista opens out in the middle ground and includes a lake at the right with a church standing on its shores at the left. A town is visible on the far shore of the lake and low mountains rise in the distance.
Crescenzio Onofri was trained in his hometown of Rome in the school of the painter Gaspard Dughet, who was himself trained by the famous French artist Nicolas Poussin. The classicizing influence of Dughet and Claude Lorraine can be seen in the careful balancing of elements and the measured distribution of light within Onofri's drawing. While Onofri probably drew inspiration from the Italian countryside--the church in the middle ground, for instance, shows architectural features particular to the region around Rome--the view itself was certainly one that Onofri constructed from his imagination.
Signed and dated in pencil, l.r.: Alechinsky 1970 Stamp in black ink in upper l. corner of verso: Timbre/1F/50c Blind stamp of seated woman (below inked stamp): Republique Francaise (?) Embossed stamp on verso, u.l.c.: P. LOUIS NOTAIRE / (illegible)
Signed and dated in pencil, l.r.: Alechinsky 1970 Stamp in black ink in upper l. corner of recto: Timbre/1F/50c Blind stamp of seated woman (below inked stamp): Republique Francaise (?) Embossed stamp on verso, u.l.c.:
A remake of the traditional Golgotha crucifixion scene. On the right is a horribly distended figure, hanging precariously from a cross that leans out toward the viewer. He represents the left thief, or, the bad thief. He looks out toward the viewer. At the bottom center is a hooded Mary figure, her face shielded from view. At the far left, another cross contains the regular, "sleeping" form of another crucified man, but without the distention of the first. On the ground between the two is the empty cross of Christ, marked by the INRI signed nailed into its top. Along the center of the image, in the background, a file of viewers move from right to left, one of whom carries a ladder. Clouds can be seen in the sky.
A remake of the traditional crucifixion scene, showing a distended left thief (the bad thief) looking out at the viewer while Christ's cross is empty and the right-hand thief (the good thief) has died a serene death. Viewers in the background walk past.
A group of figures are seen kneeling at the lower left in preparation of eating an al fresco meal. The figures consist of two women, two men, and a child, accompanied by a dog, curled up at the bottom right and two lambs or sheep at the right side. Two standing men and a cow are visible, as is the landscape behind the figures that include trees and a house.
Throughout, the work is unified by the consistent fluid and dense pen strokes that describe the figures and animals as well as the distant landscape and sky.
Whether a studio product or remembered from life, a quick sketch as this could be employed in either a genre scene or incorporated into a biblical subject. The interest in rough peasant life is celebrated in this drawing
This abstracted drawing in black ink contains a series of lines and shapes that evoke a sense of motion from the upper right to the lower left of the composition. Long parallel lines on a diagonal from the top right to bottom left reinforce this sense of movement. Swirling abstracted forms surround these lines and the composition is speckled with very fine splatterings of ink throughout.
Abstract drawing with lines, swirling forms and ink splatterings.
This black ink drawing shows a landscape scene with a large rocky formation on the banks of a river. A figure, holding a long staff, is seated at the base of the rocky formation and two others stand nearby. The opposite bank of the river is shown in the foreground with bushy vegetation and a group of figures seated at the water's edge. In the distance on the left is a bridge and buildings and on the right there are buildings and figures walking together. The thin pen strokes are quickly drawn and wider strokes of black create depth and shading for this scene.
Many of Guercino's drawings demonstrate a fluidity and rapidity of execution. This landscape is filled with bright light and the shadows suggest that the work was executed at midday when the shadows are strong the the light directly overhead. The drama of this work comes not from the groupings of figures but from the juxtaposition of the fixed rock formations and the wind-blown trees.
This sheet contains studies of fourteen figures in various stages of elaboration. Several of the figures are represented standing while gazing upward, including a man with an outstretched arm on the left edge of the sheet, a woman standing before a column near the center, and a man with a cross over his shoulder in the upper right corner. Two summarily sketched seated figures in the lower left corner appear to develop ideas for a similar figure placed at the foot of a column in a more detailed study near the middle of the sheet. In the upper left quadrant of the sheet appears a monk kneeling beneath a tree with a figure holding a staff standing behind him. Marked off by an octagonal frame along the lower edge is a seated female figure pointing upward with her right hand and holding a globe in her left.
The studies on this sheet epitomize the fluid and dynamic drawing style of Pietro Testa that made him one of the most renowned draughtsmen and printmakers working in Rome during the 1630s and 40s. The studies represent a variety of figures, some illustrating apparent religious subjects. The only recognizable figure is Astrology, depicted near the bottom edge of the sheet, who is identified by an inscription and the globe in her left hand. Although his prints and drawings garned Testa recognition and were widely sought by collectors, he suffered a number of professional setbacks, partly due to his acerbic personality, and never achieved the public notoriety as a painter that he strongly coveted.
A man, shown in three-quarter view, is seen kneeling at the left side of the image, his hands are clasped in front of him in prayer. At the lower right is a sleeping lamb nestled into a roughly indicated background.
This quick sketch, consisting of rapid pen strokes on top of lightly drawn graphite lines, suggests that this was a quickly observed scene that the artist wished to quickly capture for future use, perhaps in an Adoration of the Shepherds or Nativity scene.
This sheet of sketches of barges and boats suggests that they were drawn from life and meant to capture the rich variety of life along a river. Two of the sketches along the bottom of the sheet show large piles of hay or similar materials; two smaller boats in the upper portion of the paper have smaller cargo. Three of these four sketches show the boats with an oarsman in the rear and are seen passing by from the bank or from another boat. At the upper right corner is a sketch of two boats, possibly tied up to a dock as both are seen end-on from the bows.
This sketch is evidence of the interest in everyday life and subjects. The artist adroitly uses the slight wash indicating shadows to unify the setches as if they were seen concurrently, the untouched paper reading as the surface of the water.
This work depicts a lively outdoor scene in pen and ink with grey wash and pink and blue watercolor. The setting is replete with lush foliage and populated by several figures and animals. A nude female figure stands holding onto a slender fruit tree looking over a body of water in which a winged boy wades holding his hands to his head. Another nude female figure is shown seated on the right holding a dog tied to a leash. Two playful birds and another winged boy are shown in the bottom foreground.
A young child is seated facing out toward the viewer. The shading and details of the face are created with multiple pen strokes but the torso is suggested by just a few.
A quick sketch made from life, this drawing does not seem to have been a study for a particular composition as much as the chance to capture the sailent qualities of Guercino's young model. A rich variety of ink strokes define the different textures of smooth skin, unruly hair, and roughly defined garments. The summary treatment of the clothing contrasts with the smooth shading and mass that the artist gives to his sitter's featres, making this slight sketch into an economical and elegant examination of a young boy.