Standing, Draped Man, Pointing to the Left

Janos Scholz ascribed the drawing to an immediate follower of Andrea del Sarto and, in 1961, tentatively suggested Bacchiacca.¹ In the catalog accompanying the 1974 exhibition of Scholz’s seventeenth-century drawings, Rodger Burns and Alfred Moir recorded John Gere’s attribution of the present sheet to Ferraù Fenzoni, though Burns and Moir assigned it to Domenico Fiasella.² Matthias Lauer, on the other hand, generally preferred Scholz’s argument and suggested an attribution of the present drawing to Jacopo Pontormo (unpublished opinion recorded in the curatorial file, 1997). Around the same time, Janet Cox-Rearick and, independently, Philippe Costamagna, assigned the study to Mirabello Cavalori (unpublished opinion recorded in the curatorial file, 1996-97).

The corpus of Cavalori’s drawings is small. Rejecting much of the longer list proposed by Luisa Marcucci, Larry Feinberg established a core group of eight extant sheets, two of which can be connected to known paintings by Cavalori.³ To this list, Marta Privitera recently added a double-sided sheet connected to Cavalori’s Wool Factory in the Studiolo of Francesco I and transferred to Cavalori two studies formerly given to his friend and colleague Girolamo Macchietti.⁴ Of this group, the Morgan drawing is closest in technique and style to the black-chalk study of the Pieta in the Louvre, which Feinberg dates to ca. 1567-69.⁴

Footnotes:

1. Oakland and Berkely 1961, no. 77.
2. Santa Barbara 1974, 68, no. 49. Gere’s opinion is dated 1971.
3. Staatliche Graphische Sammlung, Munich, inv. 10276; Uffizi, Florence, inv. 450F, 6523F, 7062F, 8850F; Louvre, France, inv. 948; National Galleries of Scotland, Edinburgh, inv. D 4890.20 B; a sheet formerly in the collection of Alfred Taubman; and a sheet (now destroyed), formerly in the Koenigs collection, Haarlem.See Feinberg 1992, 420-28; Marcucci 1953, 77-98.
4. Uffizi, Florence, inv. 15656F, 11098F, 11099F; Privitera 2018, 36-43.
5. Louvre, Paris, inv. 948.