P 1 : KsF
0521551335 c 04 -p 5 CUNY 160 /Joannides 052155 133 1 January 11 , 2007 11 : 34
CATALOGUES 69–70 STUDIO DRAWINGS AND DRAWINGS OF UNDETERMINED STATUS 311rather than standing (cf. Cat. 80 ), it was shown in a form
not entirely dissimiliar to that of the present drawing
byMichelangelo’s pupil Antonio Mini in a drawing in
the Louvre (Inv. 35296 /J 53 ;redchalk, 285 × 172 mm).
Another possibility is that it could represent Ganymede
abducted by Jupiter, but the child’s form seems more mus-
cular and less pliant than one would usually expect in a
treatment of Ganymede.
The present treatment, however, does have suggestions
of a Michelangelesque force and energy and – despite
the unresolved lighting, with shadows cast by the left
leg both horizontally and angled into depth – it is not
inconceivable that it could be a copy of a lost drawing
byMichelangelo. Theputto’s physique and movement are
considerably more vigorous, for example, than the deriva-
tion of the same prototype included in the scene ofPutti
playing with Swans,one of the vault frescoes in the Villa
Madama designed by Giulio Romano or Gianfrancesco
Penni shortly after Raphael’s death.
Alternatively, the pentiments in the head – the boy
seems to have a third eye – and around the feet and legs
might suggest an original effort by an artist working in
a Michelangelesque manner. In either case, the compiler
thinks that this drawing might be by the same hand as one
in Frankfurt (Staedelsches Kunstinstitut, Inv. 393 /Corpus
332 ;black chalk, 186 × 124 mm), with a provenance from
Casa Buonarroti and Wicar; this too seems not to be by
Michelangelo, but it reflects his models.
The same figure was also copied by Battista Franco
(Paris, Louvre, Inv. 4973 ;red chalk,18 0× 112 mm).History
Casa Buonarroti?; Jean-Baptiste Wicar?; Samuel Wood-
burn; Sir Thomas Lawrence (L. 2445 ); Samuel Wood-
burn.References
Lawrence Inventory, 1830 , M. A. Buonaroti Case 3 ,
Drawer 3 [ 1830 - 101 i] (“Two – a Winged [sic] Cupid,
black chalk, highly finished and” [Cat. 25 ]). Woodburn,
1836 b,no. 9. 1 (“A Cupid – undraped; probably a design
for the celebrated statue which he made and buried, to be
dug up as an antique, and which deceived the antiquar-
ians of Rome, and established the reputation of Michael
Angelo. This beautiful drawing is highly finished in black
chalk; and is, in point of grace and classic feeling, equal
to the best of the Greek sculptors.”). The Athenaeum,
16 July 1836 (“ ‘A Cupid’; finished with the delicacy of a
Leonardo, the grace of a Raffael, and his own grandeur.”).Woodburn,184 2,no. 17 (As 1836 .). Fisher,186 2,p. 5 ,
pl. 23 [sic: pl. 22 , left] (As Woodburn,184 2.). Fisher,
1865 , II, p. 24 , pl. 22 , left (As186 2.). Robinson,187 0,
no. 42. 1 (Michel Angelo. “apparently made from the
well-known antique marble group of anamorinostrug-
gling with a goose; but a flying drapery has been added,
and instead of the bird a slight indication of what appears
to be intended as the fore parts of a bounding panther is
substituted” c.151 0– 20 .). Fisher,187 2, II, p. 22 , pl. 22
(As186 2.). Black, 1875 ,p. 214 ,no. 39 a. Gotti, 1875 ,
II, pp. 238 – 9 (Wrongly described as in pen.). Fisher,
187 9, XXXI/ 33 (Quotes Robinson,187 0.). Berenson,
1903 , under no. 1709 (“[T]oo soft and pretty...to be
byMichelangelo; nor does it quite seem by Sebastiano,
although much closer to him.”). Thode, 1908 ,I,p. 64
(Michelangelo, based on boy struggling with goose.).
K. Frey, 1909 – 11 ,p. 104 under no. 214 (Too weak for
Michelangelo or Sebastiano.). Thode, 1913 ,no. 426 (As
1908 .). Berenson, 1938 ,under no. 1709 (As 1903 .). Parker,
1956 ,no.37 2(“[O]f indeterminate character and little
importance. Robinson was no doubt rightly reminded in
it of the Hellenistic figure of the Boy with the Goose.”).
Dussler, 1959 ,no. 620 (Neither Michelangelo nor Sebas-
tiano.). Berenson, 1961 , under no. 1709 (As 1903 / 1938 .).
Hartt, 1971 ,p. 390 (Listed without comment.). De Tol-
nay, 1975 , Corpus II, p. 107 (Placed in relation to the
Infant Bacchanal.).CATALOGUE 70A Man in Violent Action
184 6. 119 ;R. 66 ;P.II 373
Dimensions: 213 × 145 mmWatermark: A spread eagle; Robinson Appendix no. 15.Medium
Pen and ink over red chalk; a few lines in black chalk.Condition
The sheet is probably lined. There are minor edge
losses and the impression of a central pressed-out hor-
izontal fold with some ingrained dirt. There are minor
edge and corner tear repairs, some infills where the ink
has burned through, and some inherent wrinkles. The
sheet has minor surface abrasion, edge dirt, and general