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Personification of the Planet Mercury

Personification of the Planet Mercury

Attributed to: Girolamo Mocetto (in circa 1475-1500)

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Specifications

Title Personification of the Planet Mercury
Material and technique Pen and brown ink
Object type
Drawing > Two-dimensional object > Art object
Location This object is in storage
Dimensions Height 196 mm
Width 158 mm
Artists Attributed to: Girolamo Mocetto
Draughtsman: Anoniem
Accession number MB 947 (PK)
Credits Loan Stichting Museum Boijmans Van Beuningen (former Koenigs collection), 1940
Department Drawings & Prints
Acquisition date 1940
Creation date in circa 1475-1500
Watermark none (vV, 5P)
Inscriptions 'fami.[?] Marcorio' (verso, upper left, pen and brown ink), 'Antiqua' (idem, upper right, pen and brown ink), '212' (idem, below left, pencil), '2' (idem, below right, pencil), 'f 500' (idem, below left, pencil)
Mark L.1023a (Koenigs) not present
Provenance Art dealer Nicolaas Beets, Amsterdam; Franz W. Koenigs (1881-1941, L.1023a), Haarlem, acquired in 1935; D.G. van Beuningen (1877-1955), Rotterdam, acquired with the Koenigs Collection in 1940 and donated to Stichting Museum Boijmans Van Beuningen
Exhibitions Amsterdam 1934, no. 537; Paris/Rotterdam/Haarlem 1962, no. 14; Venice/Florence 1985, no. 10
Internal exhibitions Italiaanse tekeningen in Nederlands bezit (1962)
Research Show research Italian Drawings 1400-1600
Literature Amsterdam 1934, no. 537 (towards Fr. del Cossa); Paris/Rotterdam/Haarlem 1962, no. 14, pl. 17 (Padua school); Byam Shaw 1978, no. 40, ill. (Padua school); Aikema/Meijer 1985, no. 10, ill. (Mocetto or circle of)
Material
Object
Geographical origin Italy > Southern Europe > Europe

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Entry catalogue Italian Drawings 1400-1600

Author: Klazina Botke

Attributed to Girolamo Mocetto, ‘Allegory of the Planet Venus’, last quarter of the fifteenth century, Turin, Biblioteca Reale, inv. D.C. 15903

This intriguing drawing depicts the Roman god Mercury, messenger of the gods, with his cloak streaming in the wind. He is identified by his winged sandals and helmet. In his right hand he holds a globe and in the left the caduceus, a staff with two snakes winding around it which he had received from Apollo. He stands on a cloud with a cockerel at his feet, the harbinger of a new day. The pointed star and the surrounding shadow, which becomes lighter as it spreads outwards, make the figure appear to radiate. In Turin there is a similar drawing with a winged Venus, whose feet rest on a terrestrial globe (fig.). She is accompanied by two doves and Cupid, who crowns her. The star sign Taurus appears in the upper part of that sheet. Both drawings were probably part of a larger series of personifications of the planets.[1] The drawings have an older example in the fresco decorations in the Palazzo della Ragione in Padua.[2] This fresco cycle (completed in 1440) by Giovanni Nicolò Miretto (active 1423-c.1440) and Stefano da Ferrara, depicts the influence of the planets on everyday life and work, with the personifications of the planets carrying a similar pointed star behind them.

The Rotterdam drawing, like the sheet in Turin, is attributed to the Venetian artist Girolamo Mocetto. Born on Murano, he worked as a stained-glass artist, painter and engraver.[3] A painting by him, now in London, reveals his admiration for the work of Andrea Mantegna (1430/1431-1506); the poses of a number of figures are taken directly from the engravings of his famous contemporary.[4] In his own prints, which are often large, and sometimes even printed from more than one plate, Mocetto frequently reproduced the graphic work of others.[5] It may be that he copied an existing engraving for his drawing of Mercury, which would explain the rather stiff rendition. However, the sheet could equally well be a preliminary study for one of his own prints.[6] To date, there is no known print series which features such personifications of the planets. 

Footnotes

[1] Biblioteca Reale, inv. D.C. 15903.

[2] Aikema/Meijer 1985, no. 10. Aikema/Meijer note that in the frescoes eight points are depicted rather than seven. This seems to have to do with the composition. In Mercury and Venus the legs are placed exactly where the eighth point of the star would come.

[3] In terms of style, the work, according to Aikema and Meijer, also corresponds to two drawings in Milan. This is not very convincing; the Milanese sheets, which are less finished, are presently attributed to the school of Marcello Fogolino. Milan, Ambrosiana, inv. 1237 and 1238; Venice 1979, nos. 2 and 3; Aikema/Meijer 1985, no. 10.

[4] National Gallery, inv. NG1239 and NG1240.

[5] Cincinatti 1993, p. 57; See also Van der Sman 2013.

[6] Aikema/Meijer 1985, no. 10.

Show research Italian Drawings 1400-1600
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All about the artist

Girolamo Mocetto

Murano 1458 - Venetië 1531

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