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Last updated: 1/25/2017
Home / Gallery Tour 1 / Old Master Drawings and Prints / Gallery Tour 2 / Artists
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Old Master Drawings: Luca Cambiaso (Genoa, 1527-1585, El Escorial, Madrid)

North Italian Illuminated Manuscript / Italian Old Master Drawings: An Overview / Italian School, 16th-Century Drawings
Michelangelo Buonarotti (After) / Raphael / Giulio Romano / Perino del Vaga / Marcantonio Raimondi / Parmigianino
Titian (after) / Andrea Schiavone / Tintoretto / Veronese / Taddeo Zuccaro / Federico Zuccaro / Alessandro Casolani
Jacopo Palma il Giovane / Cherubino Alberti / Luca Cambiaso / Annibale Carracci / Ludovico Carracci

Italian School, 17th-Century Drawings / Bolognese School / Giovanni Baglione / Matteo Rosselli / Ercole Bazzicaluva
Baldassare Franceschini called Il Volterrano / Pier Francesco Mazzuccelli, il Morazzone / Odoardo Fialetti / Simone Cantarini
Domenichino / Francesco Albani / Giovanni Lanfranco / Guercino / Pier Francesco Mola / Antonio Busca

Italian School Printmakers, 15th-17th Centuries: Venetian School, c. 1497 / Raphael School / Giovanni Jacopo Caraglio
Marcantonio Raimondi / The Master of the Die / Anea Vico / Agostino Veneziano / Nicholas Beatrizet
Michelangelo Buonarotti (After) / Giulio Bonasone / Giovanni Battista Franco /Girolamo Fagiuoli / Cherubino Alberti
Titian (after) / Tintoretto (after) / Parmigianino / Giorgio Ghisi / Diana Scultori / Annibale Carracci / Ludovico Carracci
Agostino Carracci / Simone Cantarini / Elisabetta Sirani / Gerolamo Scarsello

Netherlandish School, 15th-17th-Century Drawings / Flemish School, 17th-Century
Bernaert van Orley / Lucas van Leyden / Maarten de Vos / Jan Baptiste de Wael / Abraham Bloemaert
Peter Paul Rubens / Philipp Sadeler / Nicolaes Maes / Rembrandt School

Netherlandish Printmakers 16th-17th Centuries: Lucas van Leyden, Maarten van Heemskerck, Cornelis Cort
Philips Galle, Abraham de Bruyn, Hans (Jan) Collaert, Adriaen Collaert, Karel de Mallery, Theodore Galle, Hendrik Goltzius
Julius Goltzius, Jacob Matham, Jan Sanraedam, Maarten de Vos, Jan Sadeler, Aegidius Sadeler, Raphael Sadeler
Crispin de Passe, Magdalena de Passe, Wierix Brothers, Rembrandt, Rembrandt School, Jan Lievens, Jan Joris van Vliet,
Ferdinand Bol, Govert Flinck
German Drawings: Hans Sebald Beham / Virgil Solis / Hans von Aachen / Joseph Heinrich Roos
German 16th century printmakers: Heinrich Aldegrever, Jost Amman, Hans Sebald Beham, Hans Brosamer, Hans Burgkmair,
Lucas Cranach, Albrecht Durer, Albrecht Durer (After), Hans Holbein (After), Hopfer Brothers, Georg Pencz, Hans Schäufelein,
Virgil Solis, Wolfgang Stuber

French Drawings: Charles de La Fosse / Etienne Parrocel / François Boucher / Jean-François de Neufforge / Mouricault
French printmakers: Etienne Delaune / Rene Boyvin /Thomas de Leu / Jean Cousin the Younger / Jacques Callot
Abraham Bosse / Sebastien Bourdon / Claude Gelle "le Lorraine" / Jean LePautre
Claudine Bouzonnet Stella / Antonette Bouzonnet Stella / Gabriel Perelle

19th-Century Drawings / 20th-Century Drawings
Luca Cambiaso's father was a painter, and he received his first training from him, but the son far surpassed his father in terms both of his commissions and his art. He was the leading painter in Genoa for the second half of the 16th century and introduced Mannerism to Genoa. He also attracted international patrons and died in Madrid while working on a series of large paintings for Philip II's Escorial palace / retreat / monastery. The arrival in 1528 of Perino del Vaga, Raphael's pupil and an important member of his workshop, fleeing from the Sack of Rome, transformed the sleepy Genoese art scene. Andrea Doria, the ruler of Genoa, immediately hired Perino as de facto artistic director, much as the Gonzagas in Mantua had hired Giulio Romano in similar circumstances. Perino's decorative scheme became for the next generation of Genoese artists what Raphael's logge had become in Rome: a school for artists. It remained, however, for Luca Cambiaso to define in fullness the style that would dominate in Genoa for a considerable time to come. Combining his knowledge of works by Perino, Beccafumi, Pordenone, Giulio Romano, Michelangelo, Correggio, Titian, and Veronese, he defined the high style of art in Genoa for the immediate future. As Bettina Suida Maning put it, "Numerous frescos, thousands of drawings, revealing a wealth of imagination which seems to go beyond the capacity of a single human being, and easel paintings of great beauty and serenity are the legacy that Cambiaso bestowed upon Liguria. Within the little more than three decades of his activity in and around Genoa, Luca Cambiaso created a style so clearly defined and of such immediate appeal and deep-rooted strength that he succeeded in educating an indigenous group of artists who, borne on the powerful pinions of his genius, emerged strong enough not to be consumed by the effulgence of such overwhelming artists as Rubens and Van Dyck" (Genoese Masters: Cambiaso to Magnasco, 1550-1750, no page numbers). Luca produced many drawings (perhaps, as Jonathan Bober has suggested, because Genoa had no tradition of print making able to spread the ideas and inventions of artist, he decided to use "the systematic and extensive  . . . replication of drawings" as a substitute [Luca Cambiaso 1527-1585, 84-85): "The replicas were of autonomous works and preparatory studies alike. The most faithful repeat their prototypes with such uncanny fidelity to every mark that they can be distinguished only be a slightly more uniform speed and deliberate gesture" (p. 84) and, most interestingly, Bober suggests that they also satisfied a burgeoning desire among collectors for drawings "in which a graphic personality is paramount" (85). In the 17th century, etchings done by the artists themselves would serve this need, but in Genoa, Cambiaso's solution seems to have worked.

Select Bibliography: Dante Bernini, ed., Luca Cambiaso e la sua cerchia: Disegni inedit da un album Palermitano del '700 (Genova: SAGEP Editrice, 1985); Jonathan Bober, ed., Luca Cambiaso 1527-1585 (Milano: Silvana Editoriale, 2006); Piero Boccardo, Franco Boggero, Clario Di Fabio, and Lauro Magnani, eds. with Jonathan Bober, Luca Cambiaso. Un maestro del Cinquecento europeo (Milano: Silvana Editoriale, 2007); Veronique Damian, Luca Cambiaso (1527-1585): Trois Nocturnes Resdecouverts (Paris: Galerie Canesso, 2004); Lauro Magnani, Luca Cambiaso, Da Genova all' Escorial (Genova: SAGEP 1995); Lauro Magnani & Heribert Schulz, Geometrie der Figur: Luca Cambiaso und die moderne Kunst (Museums-U. Kunstverein Osnabrück, 2007); Lauro Magnani & Giorgio Rossini, La "maniera" di Luca Cambiaso. Confronti, spazio decorativo, tecniche (Genova: San Giorgio Editrice, 2008); Bettina Suida Manning & Robert L. Manning, Genoese Masters: Cambiaso to Magnasco, 1550-1750 (Dayton: Dayton Art Institute, 1962); Bettina Suida Manning & William Suida, Luca Cambiaso, La Vita e Le Opere (Milan: Casa Editrice Ceschina, 1958).
Luca Cambiaso, attributed to, Judith beheading Holofernes. Pen and brown ink and wash and pencil. A quick sketch of a woman holding a sword in her right hand while a servant waits behind her as they approach a man sprawled on a bed. Cream laid paper mounted on laid paper. Attributed to Cambiaso in brown ink left-center at the bottom of the sheet. A master of a quick spontaneous drawing style, Cambiaso produced many "ebullient and energetic drawings." This one seems to date from the earlier part of his career. Image size: 225x180mm. Price: $9500.

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