Claudio Coello, zugeschrieben
Maria und das Jesuskind erscheint dem Hl. Franziskus, 2. Hälfte 17. Jahrhundert
Claudio Coello was Francisco Rizi's pupil, and in 1686 he succeeded Francisco de Herrera the Younger, who had died the year before, as court painter to Charles II. He was a close friend of Juan Carreño de Miranda and is considered the last major representative of the Madrid school of painting, based on Titian, Rubens, and van Dyck.[1]
In 1918, August Mayer rejected the attribution of this drawing to Coello, claiming it had “nothing to do with the master." But the 1966 Hamburg exhibition catalogue (Stubbe (dir.) 1966) and Edward Sullivan's monograph confirmed the attribution. Stubbe saw it as a study for a lost or as yet unidentified altarpiece, and he supported his claim by noting similarities between its figures and those in Coello's paintings for the altar of the church of the Convento de Nuestra Señora del Rosario de los Dominicos, which are now at the Museo Nacional del Prado and the San Fernando academy.[2] Clearly, greater similarities to the child's stature, head, and hair are seen in the Christ Child in Coello's painting Saint Anthony of Padua, which is also in the Prado.[3] With respect to the drawing, the parallels with assured Coello sheets are clearly fewer; at best one could mention a few head studies in black pencil and red chalk.[4]
Jens Hoffmann-Samland
1 Ceán Bermúdez 1800, 1:336.
2 Saint Dominic of Guzmán, 94 1/2 X 63 in. (240 x 160 cm), and Saint Rose of Lima, 94 1/2 x 63 in. (240 x 160 cm), Madrid, Museo Nacional del Prado, inv. nos. P 662 and P 663, also Saint Dominic receiving the Rosary, 156 3/4 x 100 3/8 in. (398 x 255 cm), Madrid, Museo de la Academia de Bellas Artes de San Fernando, inv. no. 011.
3 62 5/8 X 35 3/8 in., Madrid, Museo Nacional del Prado, iny. no. P 5244.
4 See, for example, the two Study for the Figure of a Hieronymite Monk, Paris, Musée du Louvre, inv. nos. 18418 and 18419, the latter of which has more intense darkening of the background that is similar to this sheet.
Details zu diesem Werk
[José Atanasio Echeverría]; Julian Benjamin Williams, Seville (d. 1866); John Wetherell (?) (d. 1865); Horatio/Nathan Wetherell (?) (until 1874); Frederick William Cosens, London (from 1874 to 1890); Sotheby's, London, auction of the property of Frederick William Cosens (from November 11 to 21, 1890); Bernard Quaritch Ltd., London (from November 1890 to July 1891); acquired by the Hamburger Kunsthalle (July 14, 1891).
The Spanish Gesture. Drawings from Murillo to Goya in the Hamburger Kunsthalle, Jens Hoffmann-Samland, with contributions by María Cruz de Carlos Varona, Gabriele Finaldi, José Manuel Matilla u. a., 2014, S. 195, Abb., Abb.-Nr. , Kat.-Nr. 30
Die Spanischen Handzeichnungen in der Hamburger Kunsthalle zu Hamburg, August Liebmann Mayer, 1918, S. 111, Abb.-Nr.
Spanische Zeichnungen von El Greco bis Goya, Wolf Stubbe; Hamburger Kunsthalle, 1966, Abb.-Nr. , Kat.-Nr. 95
Claudio Coello, Juan Antonio Gaya Nuño; Herausgeber: Instituto Diego Velázquez del Consejo Superior de Investigaciones Cientificas, 1957, S. 19, Abb.-Nr.
Baroque Painting in Madrid. The Contribution of Claudio Coello with a catalogue raissonné of his works, Edward J. Sullivan; Herausgeber: Universitiy of Missouri Press, 1986, S. 241, Abb.-Nr.