-Head-of-Woman-c1617-23-drawing-Mus%C3%A9e-du-Louvre-L'Oeil-105.jpg) |
| Domenichino (Domenico Zampieri) Head of a Woman ca. 1617-23 drawing Musée du Louvre |
Philip Pouncey first suggested Domenichino as the author of this seeming portrait of a woman. Lacking documentary evidence, he necessarily rested this view on technical similarities to documented autograph works.
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| Dosso Dossi St Luke painting the Virgin ca. 1530 drawing Musée du Louvre |
"Attributed to the School of Giulio Romano, but recognized by Pouncey as being by Dosso on 7 June 1956. St. Luke is watched by St. Joseph as he draws the Virgin's head. She is seated on a chair raised on steps with a curtain draped over the back. St. Elizabeth stands beside her, looking on. The composition is unusual and gives some idea of Dosso's studio practice and 'props'. Pouncey's date of around 1530 is accepted by Mezzetti."
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| Pietro Faccini Mystic Marriage of St Catherine ca. 1590 drawing Fitzwilliam Museum, Cambridge |
"Attributed to Schedoni when it entered the Museum's collection, but recognised by Pouncey in 1969 as a 'very fine Faccini'. Despite some abrasion it is clear that the drawing is an original; the combination of a very fine stipple technique for the figures with a broader handling of the landscape which gives an 'unfinished' effect can be paralleled in the sadly damaged Flaying of Marsyas in the Louvre."
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| Giovanni Antonio Fasolo Design for Palace Mural ca. 1555 drawing Musée du Louvre |
Drawings by Venetian painter Giovanni Antonio Fasolo are rare – which was one reason the Palace Mural drawing remained in the unidentified Italian file until Pouncey discovered it there in 1955. He was able to recognize Fasolo's motifs, not through other drawings, but through his familiarity with fresco cycles in the palaces of the Veneto where Fasolo chiefly worked, along with his more famous master Giovanni Battista Zelotti.
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| Ferraù Fenzoni Penitent Magdalen ca. 1612-14 drawing Musée du Louvre |
"Found in the 'Anonymous Flemish' file, this drawing was recognized by Pouncey in 1959 as by Fenzoni. Certain characteristics of technique are indeed reminiscent of Flemish precision, which goes some way to explain the old classification. Like his contemporaries Andrea Lilio and Francesco Vanni, Ferraù Fenzoni maintained active ties in Rome with expatriate Flemish artists."
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| Battista Franco (il Semolei) Seated Youth ca. 1552 drawing British Museum |
"The figure's close correspondence, in reverse, with the Jonah on the ceiling of the Sistine Chapel misled some nineteenth-century critics into attributing the drawing to Michelangelo; for Venturi's suggestion that it might be by Raphael there is not even a shadow of an excuse. Popham's attribution in 1940 to Franco, a Venetian artist who was long active in Rome, was confirmed by Pouncey's subsequent observation that this is a study from a youthful model for the figure of Jupiter in the painting of Venus, Mercury and Jupiter in the Museo de Arte at Ponce, Puerto Rico – a painting which he was also the first to recognise as a characteristic work of Franco."
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| Lattanzio Gambara Pyrrha and Deucalion ca. 1570 drawing Musée du Louvre |
The successive attributions proposed for this Pyrrha and Deucalion, traditionally related to the Northern Italian Mannerism of Camillo Procaccini, are in themselves a description of the milieu in which Gambara worked, while the handwritten notes on the back of the mount reveal the step-by-step progress of the specialists: "Almost certainly by Camillo Boccacino" (Popham); "I would think close to Lattanzio Gambara" (Pouncey); "Certainly by Lattanzio Gambara" (Di Giampaolo). The last of these concluded the case with the discovery of a corresponding fresco by Gambara in Palazzo Cimaschi in Brescia.
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| Garofalo (Benvenuto Tisi) Portrait of a Youth ca. 1505-1520 drawing British Museum |
"When in the collection of the Earl of Arundel, this drawing, then attributed to Leonardo da Vinci, was etched in reverse by Wenceslaus Hollar, without the halo or the letters. It was ascribed to Leonardo in the Wellesley sale, and to the Milanese School of Leonardo in the Malcolm catalogue. Soon after entering the British Museum, it was attributed to the Sienese artist Giovanni Antonio Bazzi, called Sodoma. Popham's tentative attribution to Timoteo Viti, made about 1940, was superseded by Pouncy's attribution to Garofalo. Pouncey remarked that the 'structure of the face corresponds fairly well with Costa's normal type, but the tendency to idealise and, moreover, the handling, point to an artist of the next generation. The most likely author seems to be Garofalo whose early fresco on the ceiling of the Palazzo del Moro contains several heads similar in character.'"
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| Girolamo Genga General and Army passing a River ca. 1520 drawing Musée du Louvre |
Among the anonymous 16th-century Italian drawings at the Louvre until Pouncey discovered it in 1950 and recognized Girolamo Genga, as inspired by Luca Signorelli's groupings of nude antique figures in action.
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| Girolamo Genga Cavalry Battle in Landscape ca. 1523-29 drawing Musée du Louvre |
Pouncey identified Genga's Cavalry Battle as one of a series preparatory to a large-scale fresco project for Villa Imperiale at Pesaro. He further compared the landscape depicted to the actual landscape around the Villa as viewed from the walls of Pesaro.
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| Girolamo Genga Mystic Marriage of St Catherine ca. 1520 drawing Musée du Louvre |
This Mystic Marriage drawing was traditionally assigned to Giulio Romano, favored disciple of Raphael. Obvious similarities to Giulio's work accounted for this opinion, but Pouncey dismissed it after considering details such as the relative scale of the figures, the qualities of their facial expressions, and the technique of wash application. All these conformed better, in Pouncey's view, with an attribution to Girolamo Genga, and this was confirmed for him by a parallel drawing in a private Paris collection. Both drawings related to a painting of the same subject in Rome, formerly credited to il Sodoma or his pupil Bartolomeo Neroni but recently shown by Popham to be Genga's.
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| Girolamo Genga Soldiers with Horseman ca. 1522-25 drawing Musée du Louvre |
"Recognized by Pouncey amongst the anonymous Italian drawings in September 1950. This study is for the central group of the fresco decorating the ceiling of the Sala del Giuramento in the Villa Imperiale at Pesaro, showing the troops of Francesco Maria della Rovere swearing allegiance to him. Genga was employed by Duke Francesco Maria I and later by Duke Guidobaldo II of Urbino on several architectural and decorative commissions from 1522 onwards."
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| Giacinto Gimignani Finding of Moses ca. 1648 drawing Musée du Louvre |
Gimignani was a follower of Pietro da Cortona, working with him in the 1630s on the monumental ceiling fresco in Rome's Palazzo Barberini, Allegory of the Triumph of Divine Providence, a project cited as "the founding gesture of the Baroque Era." Gimignani's manner post-Cortona drifted toward an earlier classicism. Pouncey gave the Finding of Moses to Gimignani in the early 1950s, but not until the late 1970s was his opinion confirmed by other scholarship connecting the drawing to a fresco cycle for Pope Innocent X at Palazzo Pamphili.
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| Niccolò Giolfino St Sebastian before 1555 drawing British Museum |
"This drawing bore no attribution when acquired: the Veronese painter Niccolò Giolfino was suggested by Pouncey, and much to his satisfaction, the attribution was confirmed by the subsequent discovery of a photograph of the drawing as originally mounted on a page from the so-called 'second Moscardo Album' with the old inscription de m.o nicola d julfinj. Old mounts are part of the history of drawings; but in the past restorers, commercial frame-makers and mount-cutters, and even some curators with an austere disapproval of 'prettification,' have thought nothing of discarding them."
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| Girolamo da Carpi Study of Antique Statue ca. 1549-53 drawing Musée du Louvre |
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| Girolamo da Carpi One of the Horae leading the Horses of the Sun ca. 1544 drawing Musée du Louvre |
"This drawing, formerly 'School of Giulio Romano,' was identified by Pouncey and connected to a painted Aurora in the Dresden museum. That painting, successively attributed to Garofalo and to a follower of Dosso Dossi, then to Girolamo da Carpi, is now believed to be the product of a collaboration at the ducal court of Ferrara. Battista Dossi, who received payment for an Aurora in 1544, likely executed the painting following a conception by Girolamo, who produced the drawing."
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