Nicolò dell'Abate (ca. 1509-1571) - Study Drawings

Nicolò dell'Abate
Abduction of Ganymede
ca. 1545
drawing
National Gallery of Art, Washington DC

Nicolò dell'Abate
Jupiter and Danaë
before 1571
drawing
Teylers Museum, Haarlem

Nicolò dell'Abate
Mythological Scene
before 1571
drawing
Groeningemuseum, Bruges

Nicolò dell'Abate
Sheet of Studies with Huntress Figure
before 1571
drawing
Kupferstichkabinett,
Gemäldegalerie Alte Meister, Dresden

workshop of Nicolò dell'Abate
Mythological Banquet Scene
before 1571
drawing
Ashmolean Museum, Oxford

Nicolò dell'Abate
Cumaean Sibyl before Tarquin the Proud
before 1571
drawing
Metropolitan Museum of Art, New York

attributed to Nicolò dell'Abate
Venus and Cupid with Nymphs and Satyrs
ca. 1550-70
drawing
Teylers Museum, Haarlem

Nicolò dell'Abate
Apollo on Parnassus
ca. 1565-70
drawing
Kupferstichkabinett, Gemäldegalerie, Berlin

Nicolò dell'Abate
Apollo
ca. 1550
drawing
Morgan Library, New York

Nicolò dell'Abate
Allegory of Peace
ca. 1547-52
drawing
Morgan Library, New York

Nicolò dell'Abate
Coat of Arms of Pope Julius III
flanked by Personifications of Faith and Charity
ca. 1550
drawing
Morgan Library, New York

Nicolò dell'Abate
Historical Scene for Chapelle de Guise
before 1571
drawing
Metropolitan Museum of Art, New York

Nicolò dell'Abate
God the Father interdicting the Martyrdom
of St Catherine of Alexandria
ca. 1547-50
drawing
Getty Museum, Los Angeles

Nicolò dell'Abate
Penitent St Jerome
ca. 1550-60
drawing
Metropolitan Museum of Art, New York

Nicolò dell'Abate
Figure Studies for a Musical Party
before 1571
drawing
Metropolitan Museum of Art, New York

"Nicolò dell'Abate was the third of the Italian founders of the so-called school of Fontainebleau.  These painters were employed in the decoration of the Château of Fontainebleau, the main country residence of the kings of France in the 16th century.  At Fontainebleau Nicolò was chiefly occupied painting fresco decorations, under the supervision of Francesco Primaticcio, who had earlier collaborated with Rosso Fiorentino.  Their form of courtly Mannerism was one of the main influences on the Mannerist painters of northern Europe."  

– from curator's notes at the National Gallery, London

Nicolò dell'Abate (ca. 1509-1571) - Emilia to Fontainebleau

Nicolò dell'Abate
The Story of Aeneas
Laocoön and his Sons
ca. 1540
detached fresco
Galleria Estense, Modena

Nicolò dell'Abate
The Story of Aeneas
Escape from Troy with Anchises and Ascanius
ca. 1540
detached fresco
Galleria Estense, Modena

Nicolò dell'Abate
Marriage of a Patrician Couple
ca. 1540-45
oil on paper (grisaille)
Getty Museum, Los Angeles

Nicolò dell'Abate
Battle Scene
1546
detached fresco
Galleria Estense, Modena

Nicolò dell'Abate
Portrait of a Man with a Falcon
ca. 1548
oil on canvas
Art Gallery of New South Wales, Sydney

Nicolò dell'Abate
Portrait of a Young Man
before 1571
oil on canvas
private collection

Nicolò dell'Abate
Passion of Christ Cycle
The Flagellation and the Crowning with Thorns
ca. 1560
fresco
Château de Villesavin, Val de Loire

attributed to Nicolò dell'Abate
Pandora
ca. 1555
oil on canvas
Musée du Louvre

Nicolò dell'Abate
The Continence of Scipio
ca. 1555
oil on canvas
Musée du Louvre

Nicolò dell'Abate
Cupid and Psyche
ca. 1550-70
oil on canvas
Detroit Institute of Arts

Nicolò dell'Abate
Faun and Nymph
ca. 1550-70
oil on canvas
Nasjonalmuseet, Oslo

Nicolò dell'Abate
Venus
before 1571
oil on panel
Christ Church, University of Oxford

Nicolò dell'Abate
The Finding of Moses
ca. 1560
oil on canvas
Musée du Louvre

Nicolò dell'Abate
Orpheus and Eurydice
ca. 1552-71
oil on canvas
National Gallery, London

Nicolò dell'Abate
Abduction of Proserpine
ca. 1570
oil on canvas
Musée du Louvre

"Nicolò dell'Abate belongs to the generation of Vasari and Salviati.  Like Primaticcio, he was to conclude his career in France, but not until he had worked (mostly as a fresco decorator) until just past the mid century in the neighbourhood of his native town of Modena and then in Bologna.  . . .  The Bologna into which Nicolò had come was no longer the enclave of retardataire Raphaelism it had been; it was now effectively a centre of the new Maniera, proselytized by Vasari, Salviati, and the effect – finally fully realized in Bologna – of Parmigianino's art.  In this climate Nicolò's last Italian works became what they previously had not quite been: explicit examples of Maniera style.  But the last edge to his new sophistication, and his highest accomplishment in this style, were yet to come, after Primaticcio's tutelage at Fontainebleau.  The last two, and the finest, decades of his career belong to the history of the school in France."

– S.J. Freedberg, Painting in Italy 1500-1600 in the Pelican History of Art series (1970)

Art by Scarsellino (Guercino's Early Inspiration)

Scarsellino (Ippolito Scarsella)
Adoration of the Magi
ca. 1575-80
oil on canvas
Pinacoteca Capitolina, Rome

Scarsellino (Ippolito Scarsella)
Salmacis and Hermaphroditus
ca. 1585
oil on panel
Galleria Borghese, Rome

Scarsellino (Ippolito Scarsella)
Christ and St Peter at the Sea of Galilee
ca. 1585-90
oil on canvas
Harvard Art Museums

Scarsellino (Ippolito Scarsella)
Baptism of Christ
ca. 1585-90
oil on panel
Pinacoteca Capitolina, Rome

Scarsellino (Ippolito Scarsella)
Virgin and Child
with young St John the Baptist
ca. 1590
oil on canvas
Gemäldegalerie, Berlin

Scarsellino (Ippolito Scarsella)
Conversion of St Paul
ca. 1590-95
oil on panel
Pinacoteca Capitolina, Rome

Scarsellino (Ippolito Scarsella)
Personification of Fame
ca. 1591-93
oil on canvas
Galleria Estense, Modena

Scarsellino (Ippolito Scarsella)
Martyrdom of St Venantius of Camerino
ca. 1595-1605
oil on canvas
Museum of Fine Arts, Houston

Scarsellino (Ippolito Scarsella)
Massacre of the Innocents
ca. 1600-1610
oil on canvas
Musée des Beaux-Arts de Nîmes

Scarsellino (Ippolito Scarsella)
The Fall of Man
1607
oil on canvas
Galleria Estense, Modena

Scarsellino (Ippolito Scarsella)
St Laurence and St Francis with Donor
ca. 1610-15
oil on canvas
Cattedrale di San Giorgio Martire, Ferrara

Scarsellino (Ippolito Scarsella)
The Discovery of Coral
before 1620
oil on copper
private collection

Scarsellino (Ippolito Scarsella)
Noli me tangere
before 1620
oil on canvas
Palazzo dei Diamanti, Ferrara

Scarsellino (Ippolito Scarsella)
Virgin and Child with the Magdalene,
St Peter, St Clare,
St Francis and an Abbess
before 1620
oil on canvas
Museum of Fine Arts, Houston

Scarsellino (Ippolito Scarsella)
St Catherine among the Philosophers
before 1620
oil on canvas
Nationalmuseum, Stockholm

Scarsellino (Ippolito Scarsella)
St Demetrius
before 1620
oil on canvas
Museum of Fine Arts, Boston

 
"By now, a great many people were walking towards the fireworks but their steps fell so softly and they chatted in such gentle voices there was no more noise than a warm, continual, murmurous humming, the cosy sound of shared happiness, and the night filled with a muted, bourgeois yet authentic magic.  Above our heads, the fireworks hung dissolving earrings on the night.  Soon we lay down in a stubbled field to watch the fireworks.  But, as I expected, he very quickly grew restive.  'Are you happy?' he asked. 'Are you sure you're happy?'  I was watching the fireworks and did not reply at first although I knew how bored he was and, if he was himself enjoying anything, it was only the idea of my pleasure – or, rather, the idea that he enjoyed my pleasure, since this would be a proof of love.  I became guilty and suggested we return to the heart of the city.  We fought a silent battle of self-abnegation and I won it, for I had the stronger character. Yet the last thing in the world that I wanted was to leave the scintillating river and the gentle crowd.  But I knew his real desire was to return and so return we did, although I do not know if it was worth my small victory of selflessness to bear his remorse at cutting short my pleasure, even if to engineer this remorse had, at some subterranean level, been the whole object of the outing."

– Angela Carter, from A Souvenir of Japan, published in Fireworks: Nine Profane Pieces (London: Quartet, 1974)

Art by Ludovico Carracci (Guercino's Early Inspiration)

Ludovico Carracci
St Francis in Meditation
ca. 1580-85
oil on copper
Dulwich Picture Gallery, London

Ludovico Carracci
Madonna dei Bargellini
1588
oil on canvas
Pinacoteca Nazionale di Bologna

Ludovico Carracci
Holy Family with St Francis and Donors
1591
oil on canvas
Pinacoteca Civica, Cento

Ludovico Carracci
Virgin and Child
appearing to St Hyacinth
1594
oil on canvas
Musée du Louvre

Ludovico Carracci
St Peter in Penitence
ca. 1595
oil on canvas
private collection

Ludovico Carracci
The Transfiguration
1595
oil on canvas
Pinacoteca Nazionale di Bologna

Ludovico Carracci
The Transfiguration (detail)
1595
oil on canvas
Pinacoteca Nazionale di Bologna

Ludovico Carracci
The Transfiguration (detail)
1595
oil on canvas
Pinacoteca Nazionale di Bologna

Ludovico Carracci
The Crowning with Thorns
1595
oil on canvas
Pinacoteca Nazionale di Bologna

Ludovico Carracci
Martyrdom of St Pietro Toma
1598-99
oil on canvas
Pinacoteca Nazionale di Bologna

Ludovico Carracci
St Sebastian
ca. 1600
oil on canvas
Galleria Doria Pamphilij, Rome

Ludovico Carracci
Vision of St Francis of Assisi
ca. 1602
oil on copper
Art Institute of Chicago

Ludovico Carracci
The Annunciation
1603-1604
oil on canvas
Palazzo Rosso, Genoa

Ludovico Carracci
Assumption of the Virgin
1606-1607
oil on canvas
Galleria Estense, Modena

Ludovico Carracci
Orlando delivering Olympia from the Sea Monster
(scene from Ariosto's Orlando Furioso)
before 1619
oil on canvas
National Trust, Kedleston Hall, Derbyshire

 
"Orlando, an English Christian knight, is coming to the rescue of a maiden by thrusting an anchor into the jaws of an orc.  For optimum dramatic effect, the artist has brought together two episodes from Orlando Furioso.  Olympia, a Dutch princess, abandoned by her faithless husband, Bireno, was captured by pirates and left on the island of Ebuda from which Orlando freed her (canto X).  Angelica, the pagan daughter of the King of Cathay, by whom, incidentally, the love-sick Orlando was driven mad, was chained naked to a rock and sacrificed to a sea monster but rescued by the Saracen warrior, Ruggiero (canto XI)."

 – from curator's notes at the National Trust