Desenhistas em Roma 1550-1700

Annibale Carracci, Christ appears before Peter, ca. 1601, sanguine, pen-and-ink in brown, highlighted in white, on paper with green ground, 197 x 201 mm, Staatliche Graphische Sammlung München, © Staatliche Graphische Sammlung München


2012/02/02 - 2012/05/13

Pinakothek der Moderne Munique




Ottavio Leoni, known as Il Padovano, Half-length Portrait of a Lady, 1625, black, red and white chalk on blueish-grey paper, 215 x 150 mm, Staatliche Graphische Sammlung München, © Staatliche Graphische Sammlung München.

Na segunda metade do século 16, Roma tornou-se o principal centro da arte na Itália.

In the second half of the 16th century, Rome rose to become the leading centre for art in Italy.





Pier Francesco Mola, Judgement of Paris, ca. 1650, pen-and-ink in brown, brown wash, 125 x 182 mm, Staatliche Graphische Sammlung München, © Staatliche Graphische Sammlung München.


Como um ímã, atraiu desenhistas e pintores de todos os cantos da Península e pelos colegas da Alemanha, Holanda, França e Espanha, que não se intimidaram com a perspectiva de aventura.

Like a magnet, it attracted draughtsmen and painters from all corners of the peninsula and their numbers were swelled by counterparts from Germany, the Netherlands, France and Spain, undaunted by the prospect of adventure.





Carlo Maratta, Three Studies of an Angel and a Drapery Study, ca. 1695, black pencil and white brush on brownish-grey paper, 270 x 212 mm, Staatliche Graphische Sammlung München, © Staatliche Graphische Sammlung München.

 O que atraia a todos eles era um público ambicioso rico e bem-educado com um gosto refinado para a arte e a promessa de uma enxurrada de encomendas que vinham com estes.


What attracted them all was an ambitious and affluent, well-educated public with a refined taste in art and the promise of a flurry of commissions that came with it.

Circle of Annibale Carracci, Boy Writing (John the Evangelist?), n.d., sanguine, 375 x 285 mm, Staatliche Graphische Sammlung München, © Staatliche Graphische Sammlung München.

Em um arco abrangente de temas e projetos, a exposição lança luz sobre as técnicas gráficas e caminhos recém abertos em Roma que os artistas importantes seguiram criando uma nova imagem dessa época diversificada e fascinante.


In a sweeping arch of themes and projects, the exhibition sheds light on the graphic techniques and newly forged routes that the important artists embarked on in Rome and creates a fresh picture of this diverse and fascinating epoch.

Giovanni Baglione, Figure Study of Joseph for the Painting Joseph and Potiphar's Wife, ca. 1623, pen-and-ink in brown, brown wash, over sanguine 253 x 174 mm, Staatliche Graphische Sammlung München, © Staatliche Graphische Sammlung München.


Obras de Bernini e Pietro da Cortona, Annibale Carracci, Leoni e Maratta, bem como Claude Lorrain, Breenbergh e Schönfeld refletem um ambiente de inovação que havia entre a convicção religiosa e racionalismo, sem perder nada do seu lirismo sutil.

Works by Bernini and Pietro da Cortona, Annibale Carracci, Leoni and Maratta, as well as by Claude Lorrain, Breenbergh and Schönfeld reflect an atmosphere of innovation that lay between religious conviction and rationalism, while loosing none of its subtle lyricism.

Gian Lorenzo Bernini (attributed to), Self-Portrait with Cross of the Order of Christ, ca. 1630, black and red chalk, highlighted in white, 197 x 151 mm, Staatliche Graphische Sammlung München, © Staatliche Graphische Sammlung München.





Gian Lorenzo Bernini (attributed to), Self-Portrait with Cross of the Order of Christ, ca. 1630, black and red chalk, highlighted in white, 197 x 151 mm, Staatliche Graphische Sammlung München, © Staatliche Graphische Sammlung München.





Federico Zuccari, Moses and Aaron in front of the Pharaoh, 1562/63, pen-and-ink and brush in brown, highlighted in white, black pencil and sanguine, on pink chalk ground, 390 x 273 mm, Staatliche Graphische Sammlung München, © Staatliche Graphische Sammlung München.





Taddeo Zuccari, Prophet Standing with Book, ca. 1560, pen-and-ink in brown, brown wash, highlighted in white, over black pencil, 438 x 234 mm, Staatliche Graphische Sammlung München, © Staatliche Graphische Sammlung München.





Claude Lorrain (real name Claude Gellée), Landscape with Buildings and Ruins, 1640/45, pen-and-ink in brown, brown wash, over black pencil, 212 x 307 mm, Staatliche Graphische Sammlung München, © Staatliche Graphische Sammlung München






Alessandro Turchi, St Catharine of Alexandria is visited in the dungeon by Empress Faustina and the Captain of the Guard, Porphyrius, ca. 1620, metal point and partly brown wash, 269 x 365 mm, Staatliche Graphische Sammlung München, © Staatliche Graphische Sammlung München.



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