A rarely-seen trove of European drawings spanning 500 years will be on view at the Wadsworth Atheneum Museum of Art from January 16–April 27, 2025. Featuring works on paper from the 16th- to the late 20th- centuries, Paper, Color, Line is a survey of great European artists showcasing 65 works, some of them on view for the very first time.
Edgar Degas, Dancers with Fans, c. 1898. Pastel on paper. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1945.209
“This is a unique opportunity to explore some extraordinary highlights of our European drawing collection. Few people are aware of the breadth and depth of what we have, and this is our moment to share our collection with the world,” said Oliver Tostmann, Susan Morse Hilles Curator of European Art at the Wadsworth Atheneum, “We have exceptional works on paper and thanks to recent research, we have made new discoveries we are excited to display.”
The earliest drawings in the Wadsworth’s collection span the Renaissance and Rococo periods, including masterpieces by Giorgio Vasari, Carlo Maratti, Rosalba Carriera, and Jean-Baptiste Greuze. Although the collection features distinguished examples from these periods, the selection of works from the 19th through the 20th centuries is even stronger. Dazzling drawings by Gustave Courbet, Edgar Degas, and Henri de Toulouse-Lautrec can be seen alongside works by Egon Schiele, Paul Klee, and Joan Miró. Theatrical designs and other drawings by Pablo Picasso, Léon Bakst, and Natalia Gontcharova give a glimpse behind the scenes of the Ballets Russes making a dynamic contribution to the exhibition. All the drawings show exceptional skill and verve, embodying the timeless immediacy of the physical act of drawing, the singular qualities of each artist’s hand, and the shifts in artistic approach over the centuries.
Organized chronologically along subtle themes, Paper, Color, Line offers a rich overview of five centuries of draftsmanship in Europe. The variety of styles, schools, techniques, and artistic media will appeal to audiences of all ages and backgrounds and those who have ever picked up a pencil and paper—from experienced artists to those just starting out. A drawing can be a deeply personal manifestation of an individual’s vision and abilities, revealing the immediate touch and gesture of the artist who made it. While the exhibition explores broader topics such as artistic education, technical innovation, and the art market—it is this ability to both see and feel the artist’s individuality through the impact of marks made on paper that has universal appeal.
“The Wadsworth Atheneum began collecting drawings in 1848 and was among the first museums in the United States to acquire great works on paper by artists from Europe. Through gift and purchase, we have formed a remarkable collection that represents some of the finest qualities of Western drawing. This exhibition will make this important, and growing, collection better known and increase public appreciation for this endlessly compelling art form,” said Matthew Hargraves, Director of the Wadsworth Atheneum.”
This handsome catalogue will shine a spotlight on the Wadsworth Atheneum’s impressive collection of European drawings, watercolors and pastels. It features renowned artists, including Courbet, Degas, Toulouse-Lautrec, Schiele, Klee, Miró and Picasso, and includes fresh scholarship.
The Wadsworth Atheneum Museum of Art’s rich collection of European drawings, watercolors and pastels is little-known and rarely seen. Since the mid-nineteenth century, the museum has acquired by purchase and gift a diverse group of nearly 1,250 European drawings of impressive quality. Paper, Color, Line: European Master Drawings from the Wadsworth Atheneum showcases some sixty highlights on view for the first time in decades.
This long-overdue exhibition is a unique survey of artists working in drawing media over a span of more than five hundred years. The museum’s holdings are particularly strong in works from the nineteenth and twentieth centuries. Renowned drawings by Gustave Courbet, Edgar Degas and Henri de Toulouse-Lautrec are included in thisexhibition, as well as highlights by Egon Schiele, Paul Klee and Joan Miró. The collection is distinguished by its theatrical designs, particularly those linked with the Ballets Russes, with contributions by Pablo Picasso, Léon Bakst and Natalia Goncharova. Significant works from the Renaissance to the Rococo by artists such as Giorgio Vasari, Carlo Maratti and Jean-Baptiste Greuze emphasize the timeless appeal of drawing and will complement the overview.
The catalogue of the exhibition will be the first catalog devoted to European drawings at the Wadsworth Atheneum. It will present fresh research on the objects as well as on the history of collecting European drawings at the museum. The catalogue is written by Oliver Tostmann, Susan Morse Hilles Curator of European Art at the Wadsworth Atheneum.
Among the large variety of collections held by Museum Boijmans Van Beuningen in Rotterdam can be found one of the most noteworthy holdings of Old Master Drawings in the world. Eager to introduce this prestigious collection to a wider public, the Fondation Custodia presents a selection of 120 of the finest fifteenth- and sixteenth-century Italian drawings from the Rotterdam museum.
Leonardo da Vinci (1452-1519), Leda and the Swan, c. 1505-07 Black chalk, pen and ink. – 128 × 109mm Museum Boijmans Van Beuningen, Rotterdam. Loan Stichting Museum Boijmans Van Beuningen (former Koenigs Collection), inv. no. I 466
The aim of the exhibition is to reveal those talented draughtsmen whose artistic innovations were at the core of the Italian Renaissance. Pisanello, Leonardo da Vinci, Raphael, Michelangelo, Veronese, Correggio... Thanks to recent research carried out at Museum Boijmans Van Beuningen, in collaboration with international experts and the Fondation Custodia, a number of important discoveries have been made regarding the drawings and some have been re-attributed to leading artists including Pontormo, Federico Zuccari, Aurelio Lomi and Pellegrino Tibaldi.
Fra Bartolommeo (1472-1517), Studies of a Young Man Leaning on a Pedestal, and Five Heads, c. 1515 Red chalk. – 287 × 197mm Museum Boijmans Van Beuningen, Rotterdam. Loan Stichting Museum Boijmans Van Beuningen (former Koenigs Collection), inv. no. I 563 M 3
Drawings made by some of the early fifteenth-century precursors of the Italian Renaissance, today of the greatest rarity, are one of the salient features of the collection of Museum Boijmans Van Beuningen. Several studies by Pisanello, Parri Spinelli and Benozzo Gozzoli open the exhibition in an impressive way. From then on, the pre-eminent centres of Florence and Venice take over. These were the principal hubs of artistic creation at the time and indeed dominate the Rotterdam collection. The museum is famous for its exceptional collection of 400 drawings by the Florentine painter Fra Bartolommeo, thirteen of which are presented in Paris. Venice is not far behind and the exhibition contains work by its greatest representatives: Vittore Carpaccio, Gentile Bellini, Veronese, Jacopo Tintoretto and their workshops, as well as that of the Bassano family.
Federico Barocci (1535-1612), Study for the Entombment, c. 1579-82 Black and white chalk, squared for transfer, on blue paper. – 259 × 374mm Museum Boijmans Van Beuningen, Rotterdam. Loan Stichting Museum Boijmans Van Beuningen (former Koenigs Collection), inv. no. I 428
Drawings by the three great masters of the Renaissance – Leonardo da Vinci, Raphael and Michelangelo – constitute another high point in the exhibition and lead us on to the work of Roman artists (Giulio Romano, Sebastiano del Piombo), those from Parma and Emilia (Parmigianino, Correggio) and other regional schools. The exhibition ends with drawings by the generation of artists active at the end of the sixteenth century and the turn of the seventeenth, including Federico Barocci, the Zuccari, Cavaliere d’Arpino and the Carracci.
The exhibition has been made possible by the generous loan from Museum Boijmans Van Beuningen, Rotterdam.
Catalogue
Italian Renaissance Drawings from Museum Boijmans Van Beuningen Edited by Maud Guichané and Rosie Razzall London, Paul Holberton Publishing, 2024 296 p., 200 colour illustrations 28 × 22,6 cm, paperback, in English ISBN 978 1 913645 77 9 40,00 €
A new study published in theThe Journal of Nutrition, found that substituting two tablespoons of pure maple syrup for refined sugars reduced several cardiometabolic risk factors in humans. It was the first placebo-controlled clinical trial exploring potential health benefits of maple syrup in humans.
“We know from decades of research that maple syrup is more than just sugar. It contains over 100 natural compounds, including polyphenols, that are known to prevent disease in part through their anti-inflammatory effects,” remarked Dr. André Marette, PhD, and lead scientist on the study. “Because the fundamental chemistry of maple syrup is unique, I wondered if ingesting maple syrup instead of an equivalent amount of refined sugar would differently impact the cardiometabolic health and the intestinal microbiota in humans. The results were extremely encouraging. I did not expect to see so many improvements of risk factors within a relatively short treatment period.”
The study was conducted by a Laval University team led by Dr. André Marette, PhD, at the Quebec Heart and Lung Institute and Dr. Marie-Claude Vohl, PhD, at the Institute of Nutrition and Functional Foods.
Study Protocol
Forty-two volunteers from the greater Québec city area, between the ages of 18-75 in good health, and with a BMI of 23-40, participated in the study. Participants substituted 5% of their daily caloric intake (corresponding to 2 tablespoons) from refined sugars with either Canadian maple syrup or an artificially flavored sucrose syrup. Each phase lasted 8 weeks with participants switching between maple syrup and sucrose syrup groups after a four-week washout period. The cross-over design ensured that the same test subject was his or her own control, consuming both placebo and maple syrup. Primary outcomes focused on the oral glucose tolerance test, the OGTT. Secondary outcomes included changes in blood lipid profile, blood pressure, body fat composition (measured by DEXA scan) and changes in gut microbiota composition.
Maple, the Smarter Sweetener, Improves Multiple Cardiometabolic Risk Factors
Blood Sugar Lowered
Study participants who consumed pure maple syrup had an improved response to the oral glucose tolerance test (OGTT) than those who received a flavored syrup of refined sugar. Their bodies managed blood sugar levels better after eating (-50.59 vs. +29.93).
Blood Pressure Lowered
Blood pressure was also lowered in the subjects who consumed maple syrup during the trial. Systolic blood pressure decreased significantly in the maple syrup group (-2.72 mm Hg) while it increased slightly in the sucrose group (+0.87 mm Hg). “Lowering blood pressure continues to be an important factor in lessening the risk of cardiovascular disease,” Dr. Marette commented. “Natural sweeteners, such as pure maple syrup, when substituted for refined sugars, can be part of an overall solution in helping to prevent metabolic diseases.”
Abdominal Fat Reduced
Visceral fat is the deep fat that wraps around the internal organs in your belly. It can increase an individual’s risk of serious health problems such as heart disease, diabetes and stroke. The maple syrup trial showed that android fat mass, the fat in the abdominal region, significantly decreased in the maple syrup group as compared to an increase in the group consuming the sucrose solution (-7.83 g vs. +67.61 g).
Healthier Gut
An unexpected discovery was the improved levels of potentially beneficial gutbacteria and a decrease in levels of potentially harmful gut bacteria in the maple syrup participants. The study showed a reduction in Klebsiella species and Bacteroides pectinophilus, which are linked to inflammation and metabolic disorders, and the increased growth of beneficial bacteria like Lactocaseibacillus casei and Clostridium beijerinckii.
“Both individually and collectively, the study findings are quite significant,” Dr. Marette noted. “The combined decrease of such key risk factors may help to reduce the risk of diabetes and cardiovascular disease. Making a commitment to lifestyle changes and small adjustments to our everyday diets is important and can be a powerful tool in preventing future diseases.”
According to one participant: “Before the study, I would consume pure maple products regularly but not consistently. I have always enjoyed it. Today my routine is to replace refined sugars with 2 tablespoons of pure Canadian maple syrup daily.”
First Human Trial Builds Upon American Researcher’s Cellular and Animal Studies
Dr. Marette’s clinical study builds upon his own work in animal models of diabetes and previous work on maple syrup and its bioactives by American scientist Navindra P. Seeram, PhD, of the University of Rhode Island, College of Pharmacy. Dr. Seeram’s extensive foundational work with maple syrup set the stage for this first human clinical trial. “With each new study, we learn more benefits that natural products from medicinal plants and functional foods, like maple syrup, provide.” noted Dr. Seeram. “The significant promising results of this first human trial provide more reasons for us to educate consumers about maple syrup’s many health benefits. It is truly a ‘smarter sweetener’ and a healthier alternative to refined sugar.”
“While this study was limited to a relatively small sample size (42 men and women) and took place during a relatively short duration of time, the results are still significant,” Dr. Marette remarked. “We now have human evidence to support replacing refined sugars with maple syrup, a natural sweetener, for preventing metabolic diseases. Our next goal is to conduct larger studies with other populations to explore how replacing refined sugars with maple syrup might impact their unique health conditions.”
General nutrition claims for 2 tablespoons of maple syrup:
Excellent source of manganese (35%).
Good source of riboflavin (15%).
Source of calcium (2%), thiamin (2%), potassium (2%) and copper (8%).
It contains 12% fewer calories than in light corn syrup.
By comparison, refined sugar requires a large amount of processing and therefore lacks any real nutritional value.
Paula Modersohn-Becker. Self-Portrait with Two Flowers in Her Raised Left Hand, 1907. Jointly owned by The Museum of Modern Art, New York, Gift of Debra and Leon Black, and Neue Galerie New York, Gift of Jo Carole and Ronald S. Lauder.
The Art Institute of Chicago has announced Paula Modersohn-Becker: I Am Me, on view from October 12, 2024 through January 12, 2025. This exhibition marks Modersohn-Becker’s first museum retrospective in the United States. Showing the full range of her achievement over her career, the exhibition includes more than 50 paintings, 15 large-scale drawings, and five etchings.
Paula Modersohn-Becker charted her own path in turn-of-the-century Germany. Her frank portrayals of the bodily experiences of motherhood, pregnancy, youth, and old age introduced a bold perspective not often seen in early 20th-century art. The introspective Modersohn-Becker painted herself many times, including in the first nude self-portraits known to have been made by a woman.
“This exhibition is much anticipated and long overdue. It will allow visitors to see first-hand Modersohn-Becker’s forceful works of art, ones that have solidified her posthumous place as a feminist icon,” said Jay A. Clarke, Rothman Family Curator, Prints and Drawings. “The timeless images she created of young women in forest settings envisioned a deep affinity between the landscape and its occupants, viewing their identities as intimately intertwined. Her portraits, self-portraits, and figure paintings captured the inner essence of her subjects and depicted the female body frankly and knowingly.”
Modersohn-Becker’s innovative style, which emphasized expression over representation, placed her at the forefront of experimental art in Europe as she approached subjects such as figure drawing, landscape, still-life, and portraiture.
Together her works, and the exhibition’s title, which comes from one of Modersohn-Becker’s letters, show an artist deeply invested in both artistic and personal expression and self-determination.
Paula Modersohn-Becker: I Am Me is curated by the Art Institute of Chicago’s Jay A. Clarke, Rothman Family Curator, Prints and Drawings, and Jill Lloyd, independent scholar, Neue Galerie New York.
This exhibition is organized by the Art Institute of Chicago and Neue Galerie New York.
Paula Modersohn-Becker (1876-1907) Sheep in the Birch Forest, 1903 Oil tempera on cardboard Meadows Museum of Art at Centenary College, Shreveport, Louisiana
Akseli Gallen-Kallela and the Secessionists met in early 20th-century Vienna
The young artists of the late 19th and early 20th centuries wanted to make a radical break away from old art ideals and move towards a new, freer conception of art. The most famous example of such a departure is theVienna Secession, which was founded in 1897 under the direction ofGustav Klimt.
The Gallen-Kallela, Klimt & Wien exhibition is about the Secessionists with whom AkseliGallen-Kallela collaborated and in whose exhibitions he participated. The pulsating art scene of 20th-century Vienna and the integration of various international influences in the form of ideas and styles are highlighted in this exhibition, which features both modern art and modern design. At the same time, the exhibition marks the first showing of Klimt’s paintings in Finland.
The main goal of the Secessionists was the equality of all art forms. Visual art, architecture, crafts, design and fashion were to represent a changed and modern world. The Secessionists were united by the development of a new identity and way of life, as well as an interest in monumentalism and the depiction of beauty. Secessionism was not a unified art movement, but it rather incorporated a broad array of styles, such as art nouveau, symbolism and impressionism. Women could not become official members of the Vienna Secession, but they participated in exhibitions and played a significant role as reformists.
The exhibition features works, for example, by the following artists and designers: Emilie Flöge, Akseli Gallen-Kallela, Ferdinand Hodler, Josef Hoffmann,Gustav Klimt, Broncia Koller-Pinell, Max Kurzweil, Elena Luksch-Makowsky,Koloman Moser, and Edvard Munch.
The Gallen-Kallela, Klimt & Wien exhibition has been created in collaboration with the Belvedere Museum, Vienna.
The exhibition is curated by the chief curator at the Ateneum, Anu Utriainen in cooperation with Arnika Groenewald-Schmidt, PhD (Belvedere Museum). The exhibition catalogue is published in Finnish, Swedish and English.
Gustav Klimt: Beethoven Frieze: The Hostile Forces - panel 1 and 2, front wall (1901/1902), Belvedere, Vienna. On permanent loan in the Secession Building, Vienna. Photo: Belvedere, Vienna. Copies of the mural will be on display at the exhibition.
Gustav Klimt: Beethoven Frieze: The Hostile Forces - panel 1 and 2, front wall (1901/1902), Belvedere, Vienna. On permanent loan in the Secession Building, Vienna. Photo: Belvedere, Vienna. Copies of the mural will be on display at the exhibition.
Gustav Klimt: Mother with Two Children (Family), (1909/1910). Donation 2012 Peter Parzer, Belvedere, Vienna. Photo: Johannes Stoll / Belvedere, Vienna
Akseli Gallen-Kallela: Self-Portrait in Fresco (1894), Private Collection, deposit, Finnish National Gallery. Photo: Finnish National Gallery / Jenni Nurminen
Akseli Gallen-Kallela: Spring, study for the Jusélius Mausoleum frescoes (1903), detail. Sigrid Jusélius Collection, deposit, Finnish National Gallery. Photo: Finnish National Gallery / Jenni Nurminen
Gustav Klimt: Amalie Zuckerkandl (1917/1918). 1988 Widmung Vita & Gustav Künstler, Belvedere, Vienna. Photo: Johannes Stoll / Belvedere, Vienna
Sorry for all the typos - source is Sotheby's preess Spanning Renaissance Italy, the Great Painters of the Baroque,
Through to 18th-Century Aristocratic England and Leading 19th-Century Names:
A Magnificent “Spanish Pointer” by George Stubbs
*The Earliest of All of His Depictions of Dogs*
Returning to Sotheby’s After Half a Century
Rediscovered Paintings by Botticelli, Artemisia Gentileschi & Rubens
A Unique Painting Reworked & Repainted by Gustav Klimt
After His Artist Brother’s Untimely Death
Artemisia GenHleschi, Mary Magdalen in medita.on
(esHmate: £2,000,000 – 3,000,000)
An incisive storyteller, Artemisia Gen2leschi is known
for her powerful depic2ons of women from history,
and indeed her images of biblical heroines are among
her most compelling crea2ons. Throughout her career
she was drawn to paint Mary Magdalen, whose life of
sin and repentance offered rich narra2ve poten2al.
Never-before-seen at auc2on, this newly-iden2fied
1620s work depicts the Magdalen in a rugged coastal
seGng that evokes the wilderness where she lived in
solitude – referencing the saint’s sea voyage to the
southern coast of France, where, according to legend,
she sought refuge. With starkly contras2ng areas of
light and dark and showing a bold approach to the
arrangement of its female subject, the pain2ng blurs
the boundaries between the sacred and the profane.
The auc2on also offers a recently rediscovered early work by her father, Orazio GenHleschi, The Holy
Family with the young Saint John the Bap.st (esHmate: £300,000 – 400,000). It had remained
unknown un2l its reappearance in 2023, when it was recognised as an important addi2on to the small
body of the ar2st’s work on copper.
Sandro BoTcelli, The Virgin and Child enthroned (esHmate:
£2,000,000 – 3,000,000)
Acquired by Lady Wantage in 1904, this Floren2ne Renaissance
pain2ng of the Virgin and Child by the young BoGcelli has remained
in the same family collec2on for over a century. LiWle studied and
largely known only from black and white photographs, the pain2ng
was lost from view, its loca2on often listed incorrectly, and largely
overlooked in more recent monographs and exhibi2ons. The
composi2on of the work bears strong similari2es to BoGcelli’s
Sant’Ambrogio altarpiece of circa 1470, which is now in the Uffizi –
considered not only the ar2st’s first large-scale pain2ng but also
one of his first altarpieces. Carried out on a smaller scale, this
pain2ng was likely intended for a patron seeking an in2mate
altarpiece for private devo2on.
In the early 19th century, it was housed in the Convent of San
Giuliano in Florence, and from there it went to a small chapel
aWached to a group of farmhouses in a village near Florence, where
it was venerated at a convalescent home for the sick. It then passed into the family of Giovanni
Magherini Graziani. The pain2ng was sold by the celebrated Italian dealer, Elia Volpi, to Harriet Sarah
Jones Loyd, Lady Wantage in May 1904 – and has been in her family since
George Stubbs, The Spanish Pointer (esHmate:
£1,500,000 – 2,000,000)
This seminal pain2ng is the earliest and one of the
most recognisable of all Stubbs’ depic2ons of dogs.
Painted circa 1766-68, at the height of the ar2st’s
career, it dates to the decade when Stubbs produced
many of the pain2ngs for which he is most famous,
including
the National Gallery’s beloved
Whistlejacket. The Spanish Pointer has only been
exhibited once in the 250 years since it was painted
and has only rarely appeared at auc2on.
It is one of two versions of the subject by the ar2st –
virtually iden2cal except for minor differences in the detail of the landscapes (the other is in the Neue
Pinakothek, Munich, having passed into the collec2on of the Elector of Bavaria). This version was
purchased from the ar2st, or perhaps commissioned, by the publisher, Thomas Bradford and served
as the basis for the famous print, engraved by William WoolleW, published in 1768.
Highly prized by sportsmen for their ability to locate and indicate the presence of game, par2cularly
the partridge, pointers were first imported to England from the Con2nent at the beginning of the
eighteenth-century. Stubbs faithfully captures the physiognomy of this now ex2nct ancestor of the
breed which, through selec2ve crossing with na2ve types of dogs, would gradually evolve into the
lighter, more broken coated pointer known today.
It first appeared at auc2on in London in 1802, when it sold for £11. Not seen on the market for over
half a century, its last appearance at sale was at Sotheby’s in 1972.
Gustav Klimt and Ernst Klimt, Hanswurst
Delivering an Impromptu Performance in
Rothenburg (esHmate: £300,000 – 500,000)
An itera2on of Ernst Klimt’s, monumental
decora2ve panel made for and adorning the
grand staircase of the Burgtheater in Vienna, this
easel version was started in 1892. In December
of that year, Ernst – a talented and ambi2ous
ar2st two years Gustav Klimt’s junior – died
unexpectedly aged twenty-nine.
This large-scale and highly detailed pain2ng was
completed by his grief-stricken brother (the
Klimt family had also lost their father in July).
During this 2me of emo2onal upheaval Gustav produced fewer works and this example is therefore a
rare pain2ng executed at the height of his successful Ringstrasse period. In the finished oil, some of
the faces in the original ceiling composi2on have been replaced with new portraits of family members,
including Klimt’s mother, sisters and his surviving brother Georg. The pain2ng reveals Gustav’s
commitment to his brother’s legacy, and his kindness in suppor2ng his widowed sister-in-law and fivemonth-old niece. Signed Ernst Klimt by Gustav, it was exhibited under Ernst’s name in 1895 and sold
to a private Viennese collector for 8400 guilders.
It last appeared at auc2on at Sotheby’s in London in November 1984, and has remained in the same
private collec2on since.
Rosso FiorenHno, The Virgin and Child with the Infant Saint John the
Bap.st (esHmate: £2,000,000 – 3,000,000)
A rediscovered masterpiece of Floren2ne Mannerism, this refined,
vibrant, and characteris2cally eccentric Madonna and Child marks an
important addi2on to the small corpus of surviving works by Rosso
Fioren2no (1494–1540). Known only from black and white
photographs un2l very recently, the picture was recognised by a key
Floren2ne scholar and art historian, who in 2013 published it, though
its whereabouts were s2ll untraced. Its reemergence now, and da2ng
to between 1514 and 1517, allows for a greater apprecia2on of the
ar2st's produc2on at a rela2vely early stage in his career.
Francisco Goya, Los Caprichos (esHmate: £300,000 – 500,000)
Goya’s Los Caprichos, published in 1799, stands as his graphic
masterpiece, displaying astonishing pictorial and technical inven2on
across 80 plates. Created in the context of reac2onary Spain and the
‘terrors’ of Revolu2onary France, Goya feared that these sa2rical
depic2ons would lead to trouble with poli2cal and clerical powers.
However, when Los Caprichos came to the aWen2on of the Inquisi2on,
Goya was saved by his admirer King Charles IV, who in 1803 demanded
the remaining sets and the plates from Goya, which he claimed ‘he had
expressly asked him to make’, providing a pension for Goya’s son in
return. This complete first edi2on set is par2cularly fine and early,
prin2ng with atmospheric tones and drama2c chiaroscuro.
Leonardo da Vinci (1452-1519), Leda and the Swan, c. 1505-07
Fra Bartolommeo (1472-1517), Studies of a Young Man Leaning on a Pedestal, and Five Heads, c. 1515
Federico Barocci (1535-1612), Study for the Entombment, c. 1579-82
