Copy after Guercino

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Copy after Guercino
1591-1666
Christ Crucified
Pen and brown ink and wash on laid paper.
15 15/16 x 9 15/16 inches (405 x 252 mm)
The Joseph F. McCrindle Collection.
2009.158
Inscription: 

Inscribed at lower right, in brown ink, "[?]".
Watermark: Profile of head with hair in double circle.

Provenance: 
Joseph F. McCrindle (1923-2008), New York (McCrindle collection no. A0517).
Bibliography: 

Marciari, John. Guercino : virtuoso draftsman. New York : Morgan Library & Museum, in association with Paul Holberton Publishing, 2019, no. A11, repr.
Literature: Bean, Jacob. "Guercino as a Draughtsman". Review of Mahon, Disegni. Master Drawings 7, no. 4 (1969), pp. 428-31, 469-74; Il Guercino (Giovanni Francesco Barbieri, 1591-1666): Catalogo critico dei dipinti (exh. cat. by Denis Mahon, Bologna, Palazzo dell'Archiginnasio, 1968); Il Guercino (Giovanni Francesco Barbieri, 1591-1666): Catalogo critico dei disegni (exh. cat. by Denis Mahon, Bologna, Palazzo dell'Archiginnasio, 1968); Mahon, Denis and Turner, Nicholas. The Drawings of Guercino in the Collection of Her Majesty the Queen at Windsor Castle (Cambridge, 1989); Stone, David M. Guercino, Master Draftsman (Cambridge, MA, 1991).

Notes: 

According to Jacob Bean, this drawing is the reprise of a lost study by Guercino formerly in the Donnadieu-Usslaub collection, Paris (Bean 1969, p. 430, pl. 36, repr.; Stone 1991, p. 29). The unpublished Donnadieu-Usslaub drawing is part of a series of prepartory drawings for Guercino's Crucifixion with Saints, painted for the church of the Madonna della Ghiara, Reggio Emilia, in 1624-1625 and the artist's most important commission after he returned to Emilia from Rome (Mahon, Dipinti, cat. 58, pp. 143-6, pl. 58, repr.; Salerno 1988, cat. 105, p. 187, repr.; Stone 1991, p. 29, fig. 12a, repr.). Mahon notes the existence of a further copy of the Donnadieu drawing in the Hermitage Museum, St. Petersburg (inv. 14536; Mahon, Disegni, p. 102, Bean 1969, p. 430). Numerous studies attest to the care with which Guercino prepared this highly important altarpiece. Earlier compositional studies are in the Pinacoteca di Brera, Milan (inv. 9; Emiliani 1959, cat. 69, p. 52, repr.); several figure studies are in the Teylers Museum (inv. nos. H 20, H 44, H 80; Serooskerken 1991, pp. 54-59, repr.), and the collection of Her Majesty the Queen at Windsor Castle (inv. 2483, 2553, 2585, 2644; Mahon and Turner 1989, pp. 171-19, pl. 31-34, repr.; Turner and Plazzotta 1991, p. 80-1, pl. 10, repr.; Turner 1991-2, pp. 68-71, repr.); and one figure study is in the Chrysler Museum in Norfolk, Virginia (inv. 50.48.87; Stone 1991, cat. 12, pp. 29-32, repr.). However, of the illustrated compostional studies, the Morgan's sheet is the closest to the final painting, most notably in its placement of the figures of the Virgin and Mary Magdalene and the pose of Christ on the Cross.
Copy after Giovanni Francesco Barbieri, called Il Guercino. Cento 1591-1666 Bologna

Watermark: 
Associated names: 

Guercino, 1591-1666, Formerly attributed to.
McCrindle, Joseph F., former owner.

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