Cloelia Leading Her Fellow-prisoners Out of Porsena´s Captivity / Standing man
Artist/Maker
Material / Technique
Dimensionsh x w: Mått 30 x 20,2 cm
Inventory numberNMTiD 967
AcqusitionTransferred 1982 from the Swedish Institute in Paris
Other titlesTitle (sv): Cloelia leder sina medfångar ut ur Porsenas fångenskap, verso stående man Title (en): Cloelia Leading Her Fellow-prisoners Out of Porsena´s Captivity / Standing man
DescriptionDescription: Laid down. Verso: Cloelia Leading Her Fellow-prisoners Out of Porsena´s Captivity: Pen and brown ink. Inscribed verso in pen and brown ink on the mount at lower left: "Letantio Gambara", at lower right: "Cabinet de Crozat". Provenance: Crozat (Mariette, no 640, mentioned) ; C.G. Tessin (List 1739-41, p. 48r. ; J.-G. Sack ; E. Perseus, G. von Rosen ; C.U. Palm ; G.W. Lundberg The iconographic interpretation of the verso scene derives from Mariette´s catalogue, where the drawing is ascribed to Gambara. Philip Pouncey is more in favour of Romanino, while Ballarin is inclined to accept the old attribution, seeing his as a youthful work from the time when Gambara was still influenced by Romanino. Agreeing with Ballarin, Ruggeri refers to three sheets of putti fighting snakes, in Tosio Martinengo, Brescia, in the Uffizi, Florence and in the Ashmolean, Oxford. The latter two had a traditional attribution to Giulio Campi but Parker ascribes them to Altobello Melone and this was accepted by M.Gregori. M.L. Ferrari, however, ascribes them to Gambara and G.Panazza sees this artist´s hand in the first sheet. The influence of Romanino is particularly marked in the standing figure recto - the drawing is assured and done in sweeping freedom - but Gambara´s characteristic weaknesses are to be seen in the hands and in the resemblance of the face to a death´s-head. The verso group seems to be more charasteristic of Gambara´s way of working with a decorative use of line to compete with a decoratie use of line to compete with the plastic structure of the composition. Here, too, the representation of hands is clearly weak. [Bjurström, It. Drawings, cat.no. 236]
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