European Drawings - 1, Catalogue of the Collections

technique anticipating Watteau, who must have been in-

spired by drawings of this kind when he studied Rubens'

work in Parisian collections. At the same time, its natu-

ralism and expansiveness of form separate it from the

more classical figures of Titian on which it is based.

1. The drawing has been accepted by all scholars as by Rubens
   with the exception of Vlieghe (1978, p. 473), who offered no
   reasons for his doubts, which are certainly as unwarranted as
   they are unsupported. In addition to published views, the
   drawing is accepted by E. Haverkamp-Begemann, Logan, and
   C. White (conversations with the author, 1982-1986).


2. Conversation with the author, Malibu, 1985. Held (1986, p.

138. agrees.

214 FLEMISH SCHOOL - RUBENS