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Luca PENNI (c.1500 - 1556) Holy Family with Saint John the B…
See original version (French)
Luca PENNI (c.1500 - 1556) Holy Family with Saint John the B…
See original version (French)
Lot no. 15
Description
Luca PENNI (c.1500 - 1556)
Holy Family with Saint John the Baptist and Saint Elizabeth
Pen and black and brown ink, brown wash, highlights of white gouache, traces of black pencil on beige-tinted paper
33.3 x 25 cm
Lined on an old mount
Small tear on the left edge, some oxidation of the gouache, some foxing, traces of folding due to the mount's cardboard, small epidermis on the lower left.
From the 1540s onwards, Luca Penni began producing drawings and prints of the Holy Family, the genesis of which clearly stems from the Raphaelesque gesture. The hanging in the upper chapel of the Château de Fontainebleau in 1546 of Raphael's La Grande Sainte Famille de François I (now the Musée du Louvre) undoubtedly amplified this enthusiasm in Fontainebleau for this type of composition. Penni also drew inspiration from the various engravings by Raimondi and Veneziano after Raphael, without ever copying or pastiche them. He reinvented the compositions that had been abandoned in the 1520s, while including a typically Bellifont style. In this drawing, Luca Penni achieved exceptional refinement, while limiting himself to using a pure pen stroke à la Primaticcio to delineate the figures. He enriched his drawing with washes and highlights of white gouache that were perfectly applied.
We know of two other drawings by Penni for this series of Holy Families, one in the Albertina in Vienna (inv. Nr423), identical in size to ours, and the other in the Klassik Stifug in Weimar (inv.KK8813), with which we find many technical and iconographic similarities (see D. Cordellier, Luca Penni / Un disciple de Raphael à Fontainebleau, ed. Musée du Louvre, 2012, fig.36 and 37, p.44-45). Several engravings by Jean Mignon and anonymous authors, inspired by Luca Penni, are held by the Bibliothèque Nationale de France (Bd19, T.I fol; Ed13a reserve) (see D. Cordellier opus cited above, fig 28-29-30-31, p.38-39).
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