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Last updated: 6/23/2019
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Old Master Drawings: Il Domenichino (Domenico Zampieri, 1581-1641)

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 / Johann Heinrich Roos

German 16th century printmakers: Heinrich Aldegrever, Jost Amman, Hans Sebald Beham, Hans Brosamer, Hans Burgkmair,
Lucas Cranach, Albrecht Durer, Albrecht Durer (After), Augstin Hirschvogel, Hans Holbein (After), Hopfer Family,
Monogrammist IS with the Shovel, Georg Pencz, Hans Schäufelein, Virgil Solis, Monogrammist W.S. (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

Biblical Subjects / Mythological Subjects / Allegorical Subjects / Historical Subjects

Adam and Eve / Noah / Lot and his Daughters / Joseph / Samson / Jephthah and his Daughter
David / Judith / Esther / Susanna and the Elders
De Vos Old Testament Women 1 / De Vos Old Testament Women 2 / De Vos New Testament Women
The Virgin Mary / Mary Magdalen / The Woman taken in adultery
Maundy Thursday / The Crucifixion / The Lamentation / The Resurrection

19th-Century Drawings / 20th-Century Drawings
Domenichino entered the Carracci's Accademia degli Incamminati around 1595, and in 1602 he followed Guido Reni and Francesco Albani to Rome to work with Annibale Carracci. From 1603 to 1610, Domenichino was a part of Annibale's workshop and worked on Annibale's various projects for the Farnese family, taking a more active leadership role as Annibale's physical and mental health declined. From 1609 to 1615 he was engaged in a series of major projects in Rome, including The Last Communion of St Jerome (Rome, Musei Vaticani) and the cycle of frescoes in the Polet Chapel of San Luigi dei Francesi, From 1617 to 1621 he worked in Bologna and elsewhere in Emilia and Romagna before his appointment by Pope Gregory XV as papal architect. For the next ten years, he had a series of major commissions before leaving Rome in 1631 for Naples where he painted a series of frescoes and altarpieces in the Capella del Tesoro de San Gennaro. An incomplete census of Domenichino's drawings indicates a fondness for portrayals of saints in ecstacy, their heads tilted back, their eyes fixed above. Roseline Bacou, Great Drawings of the Louvre Museum: The Italian Drawings (NY: George Braziller, 1968), notes (fig. 82) that "Domenichino's work . . . shows his concern for psychological expressivity. Psychological realism is one of the essential traits of XVII century classical art in Rome. . . . . [T]he drawing reveals the artist's attempt, touching in its obstinacy, to capture an expression or render the significance of a glance." Spears notes that from 1609 on, "usually the studies of this period are more forcefully drawn on smooth grey rather than blue paper, so while the forms are stronger, value contrasts are subtler, which correspods to his increasing concern for delicate, compelling contrasts of light and color . . . . [And] a new clarity of outline replaces the the imprecision of the earlier cartoons" [I, 74]. Spear goes on to note that during the middle and later teens, "Invariably the portrait studies are in chalk" and that they are done on light brownish-grey or beige paper" (I, 75]. Our two studies below exemplify this palette for paper.

Sir John Pope-Hennessy concluded his introduction to his Catalogue of the 1758 drawings of Domenichino in the Royal Library at Windsor Castle by noting that Domenichino's "deliberate reaction against the growth of realstic painting" [as embodied in the system of light and color evolved by Caravaggio] stood as a complete antithesis to Caravaggio and that nothing could be "more complete than Domenichino's defence of the primacy of 'disegno' [drawing]suggesting that "for those who shared his own ideals, and especially for Poussin, who venerated him above all living artists, Domenichino represented not the dead hand of reaction , but a system which possessed and could communicate organic life" (p. 29). Pope-Hennessy concludes that "No one who is familiar with the vigor and intellectual probity of his preliminary studies can wonder that he should have been, with Poussin, the dominant influence on classicistic painting between Raphael and Ingres" (p. 29).

Bibliography:  Dennis Mahon et al, Classicismo e Natura. La lezione di Domenichino (Rome: Editoriale Giorgio Mondadori, 1997); Alberto Neppi, Gli affreschi del Domenichino a Roma, Istituto di Studi Romani: Quaderni di Storia dell'Arte 6 (Roma: Istituto di Studi Romani, 1958); John Pope-Hennessy, The Drawings of Domenichino in the Coollecton of His Majesty the King at Windsor Castle (London: Phaidon Press, 1948); Richard E. Spear, Domenichino, 2 vols (New have: Yale University Press, 1982); Claudio Strinati et al, Domenichino 1581-1641 (Milan: Electa, 1997).
Circle of Domenichino, Head of a boy. Black and white chalk drawing on grayish-blue laid paper, c. 1606. Verso edges laid down on support sheet. Image size: 245x199mm. Price: SOLD.
Il Domenichino (Domenico Zampieri, 1581-1641), Head of an old man looking to the left. Black chalk stumped and whitened with white chalk on heavy grayish-brown laid paper. On the verso is a fragment of another drawing showing a dragon menacing a woman holding a child (perhaps a variant of the old red dragon of the Apocalypse menacing the woman clothed with the sun and standing on the horns of the moon) on the right while on the left either a horse and rider or a centaur with a bow (perhaps suggestive of Hercules and Deianira's centaur problem) or, if it is indeed a man and not a centaur, a study for a St. George battling the dragon. This study presents a type common in Domenichino's works: an old man, with a long, curly beard, an aquiline nose, and a very high forehead. See Spears, vol. 2, plates 3 (St. Jerome, 1602), 10 (Joseph of Arimathea, 1602), 34-35 (St. Joseph, 1604-06), 46 (St. Jerome, 1606-08), 73 & 76 (St. Niles, 1608-1610), 143 (St. Jerome, 1614), and 197 (1618-19). The study for the Last Communion of St. Jerome (pl. 143) is perhaps the closest to ours in overall feel, but the old man is more an ideal type than a study of a specific model. Image size: 392x248mm. Price: $20,000.
Il Domenichino (Domenico Zampieri, 1581-1641), Studies for a St Christopher: Head of an man looking to the left, The Christ Child, and a Hand holding a staff. Black chalk with white chalk heightening on tan paper. Ex-collection of an unknown collector (Lugt 1226, verso). Image size: 129x123mm. Price: $12,500.

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