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Composition Study for an Assumption of the Virgin

Composition Study for an Assumption of the Virgin

Domenico Tintoretto (Domenico Robusti) (in circa 1600-1630)

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Specifications

Title Composition Study for an Assumption of the Virgin
Material and technique Black chalk, heightened with white, on yellow-brown paper
Object type
Drawing > Two-dimensional object > Art object
Location This object is in storage
Dimensions Height 375 mm
Width 252 mm
Artists Draughtsman: Domenico Tintoretto (Domenico Robusti)
Accession number I 87 (PK)
Credits Loan Stichting Museum Boijmans Van Beuningen (former Koenigs collection), 1940
Department Drawings & Prints
Acquisition date 1940
Creation date in circa 1600-1630
Watermark none (?) (vH, 9P)
Inscriptions none
Collector Collector / Franz Koenigs
Mark F.W. Koenigs (L.1023a)
Provenance Francesco II d'Adda, conte di Sale, Milan (-1641), album of drawings from c. 1630-40, Elenco no. 20; - ; Franz W. Koenigs (1881-1941, L.1023a), Haarlem, acquired in 1926 (Domenico Tintoretto); D.G. van Beuningen (1877-1955), Rotterdam, acquired with the Koenigs Collection in 1940 and donated to Stichting Museum Boijmans Van Beuningen
Exhibitions Rotterdam 2010 (coll 2 kw 7)
Internal exhibitions De Collectie Twee - wissel VII, Prenten & Tekeningen (2010)
Research Show research Italian Drawings 1400-1600
Literature Tietze/Tietze-Conrat 1944, no. 1512 (attr. Domenico Tintoretto)
Material
Object
Technique
Highlight > Painting technique > Technique > Material and technique
Geographical origin Italy > Southern Europe > Europe
Place of manufacture Venice > Veneto region > Italy > Southern Europe > Europe

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Entry catalogue Italian Drawings 1400-1600

Author: Albert Elen

This powerful drawing was already listed as by Domenico Tintoretto and correctly described as a study for an Assumption of the Virgin Mary in the Elenco (inventory) of the seventeenth-century D’Adda album when it was offered for sale to the collector Franz Koenigs in 1926.[1] The attribution was confirmed by Tietze/Tietze-Conrat (1944), but the drawing has remained unpublished since, so apparently Domenico’s authorship is considered beyond doubt, with which we agree.

There is a superficial compositional resemblance to his father Jacopo’s (1518-1594) early altarpieces in the Chiesa dei Gesuiti in Venice (c.1555) and one now in the Obere Pfarrkirche in Bamberg (1553-56), notably in the upper section with the ascending Virgin accompanied by angels among clouds.[2] They were painted well before Domenico’s birth, but may have been sources of inspiration later on.

The sheet has been cropped on all sides, but especially at the top, so the Virgin’s head is now missing. Afterwards an early private collector, before D’Adda, cut off the corners, which were later replaced.

Footnotes

[1] No. 20: ''DOMENICO TINTORETTO. Studio per un Assunzione’; this Elenco is discussed in the introduction to this online collection catalogue.

[2] De Vecchi 1970, no. 110, ill. (Gesuiti); Pallucchini/Rossi 1982, no. 170, fig. 223 and no. 167, fig. 216; Madrid 2007, p. 45, fig. 14 (Gesuiti). 

Show research Italian Drawings 1400-1600
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Domenico Tintoretto (Domenico Robusti)

Venetië 1560 - Venetië 1635

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