Italian drawings from the Louvre Museum. 16th-century Bolognese drawings.
Silvana Editorial| N° d'inventaire | 26009 |
| Format | 21 x 27 |
| Détails | 398 p., cloth binding. |
| Publication | Milan, 2022 |
| Etat | Nine |
| ISBN | 9788836650484 |
The collection of drawings from the Bolognese school held at the Louvre Museum is remarkably rich. Considering the entire collection of this school, it includes more than three thousand sheets for the period from the 15th to the 18th century. The part of the collection studied in this catalogue, 431 drawings and an album of 119 drawn folios, is part of a broader 16th century that begins in 1492, the date of the only known painting by Antonio di Bartolomeo Maineri held at the Pinacoteca Nazionale in Bologna, for which the Louvre holds a preparatory study. In the series of publications of the General Inventory of Italian Drawings, this work, which focuses on 16th-century artists, complements Catherine Loisel's study of 17th-century Bolognese artists (2013).
In the early years of the Cinquecento, a new, refined and elegant style of drawing emerged in the studios of Francesco Francia, Peregrino da Cesena, Marcantonio Raimondi and Amico Aspertini, sometimes bordering on the whimsical. The lesser-known figures of Innocenzo da Imola, Bagnacavallo, Biagio Pupini and Girolamo da Treviso, active between 1515 and 1550, steeped in classical and Raphaelesque culture, gradually contributed to the creation of a new style, characterised by particularly intense effects of light and shadow, which paved the way for the modern style.
The collection of drawings from the Bolognese school held at the Louvre Museum is remarkably rich. Considering the entire collection of this school, it includes more than three thousand sheets for the period from the 15th to the 18th century. The part of the collection studied in this catalogue, 431 drawings and an album of 119 drawn folios, is part of a broader 16th century that begins in 1492, the date of the only known painting by Antonio di Bartolomeo Maineri held at the Pinacoteca Nazionale in Bologna, for which the Louvre holds a preparatory study. In the series of publications of the General Inventory of Italian Drawings, this work, which focuses on 16th-century artists, complements Catherine Loisel's study of 17th-century Bolognese artists (2013).
In the early years of the Cinquecento, a new, refined and elegant style of drawing emerged in the studios of Francesco Francia, Peregrino da Cesena, Marcantonio Raimondi and Amico Aspertini, sometimes bordering on the whimsical. The lesser-known figures of Innocenzo da Imola, Bagnacavallo, Biagio Pupini and Girolamo da Treviso, active between 1515 and 1550, steeped in classical and Raphaelesque culture, gradually contributed to the creation of a new style, characterised by particularly intense effects of light and shadow, which paved the way for the modern style.