Cartoons and preperatory drawings

Ignazio Enrico Hugford (1703-1778) was a painter of English origin who was trained under Anton Domenico Gabbiani. As art dealer and connoisseur, he was among the most important collectors of works on paper in eighteenth-century Florence and had prolific and wide-ranging contacts throughout Europe. He was in close touch with Francesco Maria Niccolò Gabburri, and his correspondents also included Pierre Jean Mariette and Giovanni Gaetano Bottari. Among the over three thousand drawings bequeathed to his heirs and acquired in 1779 for the Uffizi by its director Giuseppe Pelli Bencivenni, one hundred and five sheets were attributed to artists of non-Italian schools. The attentive descriptions of Pelli’s inventory, the characteristic framing applied by Hugford and his inscriptions on some of the sheets have made it possible to identify almost all of these drawings, now in the Gabinetto Disegni e Stampe degli Uffizi. Research has also revealed Hugford’s talent as connoisseur, his interest in certain artists, and how Northern European drawings were regarded in the Florence of his time. This group includes sheets attributed to the Germans Dürer and Holbein, the Flemings Spranger and Lucas van Leyden, the French Callot and La Fage, and the Portuguese Francisco Vieira. Although many of these attributions are no longer acceptable, the identification of individual drawings has made it possible to confirm their authorship, and in some cases to suggest new attributions.

Cartoon is a drawing, representation or symbol that makes a satirical, witty or humorous point. Though different types of cartoons may vary greatly from each other, the one common factor is humor & all the types some how influences & affects society & people in it in different ways. It is a sensible & creative art form. Historically, different cartoons had huge influences on politics, social thoughts/messages, entertainment issues & psychology of children & young generation. In Bangladesh, cartoon is not considered so & cartoonists are not given the proper recognition, as they should be given. As a result, instead of having some very talented cartoonists, Bangladesh is falling behind in many ways regarding this art form. So, a cartoon museum dedicated to preserving & exhibiting all sorts of cartoons, starting from pre-historic time to editorial, social, political, economic cartoons & modern day animated toons is neede in Bangladesh. An institution for cartoon studies in Bangladesh. Creating cartoonists & animators, with basic courses, studio work including workshops. Innovative exhibitions to make the past and present of the art form, accessible to all for the purposes of education, research and enjoyment. This paper describes the process I have gone through to design a museum & institution for cartoons & comic arts suitable for Bangladesh.

https://www.horti-hesperidum.com/show.php?item=228

L’ottavo fascicolo (IV, 2014, 2), curato da Francesco Grisolia, è intitolato Studi sul Disegno italiano tra Connoisseurship e Collezionismo e comprende contributi, riflessioni e novità sull’attività grafica di diversi artisti dal Rinascimento al Novecento, così come su collezionisti e nuclei di grafica. Connoisseurship e collezionismo dialogano e si intersecano in questa raccolta dedicata al disegno italiano. Per il Cinquecento sono presenti: Bernardino Luini, Aurelio Luini e Giovanni Paolo Lomazzo, di cui si esamina la pratica di firmare e annotare i disegni; il gusto per l’antico della scuola di Fontainebleau tra Rosso Fiorentino, Francesco Primaticcio e Léonard Thiry attraverso un foglio apparso sul mercato. Il disegno del Seicento si muove tra Firenze e Napoli: uno studio stilistico e iconografico che prende le mosse da un bozzetto di Lodovico Cardi detto il Cigoli e già ascritto a Francesco Curradi; un altro con novità sui disegni del napoletano Aniello Falcone. Sempre a Napoli ci conduce l’esame di un bozzetto su carta di Domenico Antonio Vaccaro e sul suo processo creativo. Sono presenti ricerche sulla raccolta del vicentino Pietro Stefanoni, antiquario-editore in rapporto con Cassiano dal Pozzo e Sebastiano Resta, e sul fondo di grafica del Museo Civico di Pescia, dove spicca la collezione del frate pittore Alberico Carlini da Vellano. Chiude il volume un’analisi sul disegno italiano a cavallo tra gli anni Sessanta e Settanta del XX secolo attraverso le idee e le opere di alcuni protagonisti.

The recent publication of Nel segno di Barocci: Allievi e seguaci tra Marche, Umbria, Siena has catapulted studies of Barocci’s workshop forward 1. By outlining the classes of direct students like Antonio Cimatori (c. 1550-1623), Ventura Mazzi (1560-1638), Antonio Viviani (1560-1620) and Alessandro Vitali (1580-1630), those who worked in the Urbino-Pesaro milieu (Cesare Maggeri, Filippo Bellini, Giorgio Picchi, and others) and imitators such as Francesco Vanni and Ventura Salimbeni, it is now possible to truly gauge the extant of Barocci’s great artistic influence in the late sixteenth and early seventeenth centuries. While this is great progress, it risks obscuring
the basic facts about Barocci’s workshop: why would the master have allowed such free reuse of his invenzioni? By focusing too much on individuals who may have done some of the painting of certain works, we lose the sense of the structure of the repetitions in the first place, their profit motive and market function. I challenge the idea that these are independent commissions but eagerly sought out by Barocci to expand his impact on the artistic sphere.

The article discusses Andrea del Sarto's use of cartoons throughout his career and gradual transition to the involvement of members of the workshop in the design process. Presented here for the first time with an attribution to Andrea del Sarto is a large-scale fragment of a drawing of a young boy looking and pointing toward the right, the only surviving example of a fully autograph cartoon for a painting within the artist’s corpus of drawings and a crucial missing link for the full understanding of his working method.

From its creation The Simpsons proved different, but how the irreverence of a show can be enough for the American public to select this sitcom as it preferred primetime watching time? How the show confronts capital issues of our decadent society as race, gender, religion sex and first, family and marriage. It’s not all in the humor or the quality of color or maybe selecting aggressive topics like the environment of corruption. How the gender representation in topics like homosexuality in majority of male characters on the show affect the way the audience react to them. Multiple recog-nitions around the world, but also critics about their political agenda and controversy. This show create a momentum for success on television for shows oriented to social aspect and adult anima-tion, awakening also a wave of copycats around the world. The success of the sitcom resides in big part in how the show presents actual social topics that make them attractive for all. Now society is moving on, moral decay is all around and a family show, with a very dysfunctional family, agree, it’s getting behind. Are we seeing the last of them or the team have more surprises under their hat? Will see. That’s the reason of the few ideas put together in this paper.

Attraverso lo spoglio di fonti edite ed inedite, si è cercato di fare luce sulla raccolta grafica appartenuta all'antiquario ed editore di origine vicentina Pietro Stefanoni (1557ca.-1642 ca.), di cui l’unica testimonianza nota erano le parole di Cassiano dal Pozzo che ricordava un «libro de’ disegni» dall’antico costituito da fogli «d’esquisita bellezza». Conferme sono emerse da materiale archivistico e da testimonianze contemporanee che hanno permesso di risalire, da un lato, all’acquisto dello «studio» del canonico cremonese Pietro Antonio Tolentino e, dall’altro, di mettere a fuoco i successivi passaggi ereditari e le dinamiche di dispersione del prezioso materiale. Ma sono state le lettere e le postille del famoso conoscitore padre Sebastiano Resta a essersi rivelate – ancora una volta - strumenti fondamentali per l’identificazione di alcuni disegni appartenuti a Stefanoni nelle più importanti collezioni di grafica del mondo.

The paper investigates the graphic collection belonged to Pietro Stefanoni (1557ca. – 1642ca. ). If Cassiano dal Pozzo remembered a "book of drawing” from the Antique consisting of sheets "of exquisite beauty ", other evidences emerged from archival material and contemporary statements that allowed to track down the purchase of the "studio" of Pietro Antonio Tolentino, a clergyman of Cremona, and to focus on the inheritance and the way this precious material was dispersed. In the end, the letters and the annotations of the famous connoisseur Sebastiano Resta allowed to identify some drawings belonged to Stefanoni in the most important graphic collections in the world .

in "Luigi Garzi 1638-1721. Pittore romano", a cura di Francesco Grisolia e Guendalina Serafinelli, Milano, Officina Libraria, 2018, pp. 209-233.

Il saggio affronta un viaggio nell’arte e nel linguaggio del pittore Luigi Garzi (Roma, 1638-1721) attraverso i suoi disegni. In un percorso cronologico confinato entro gli anni Ottanta del Seicento sono considerati sia fogli già noti e indubbiamente autografi sia esemplari con antica assegnazione al pittore, in parte inediti o mai oggetto di approfondimenti, fino a includere nuove proposte attributive.

Until now, the drawings of the Marchigian artist Giovan Battista Lombardelli, active in the Marches, Umbria and Rome during the last quarter of the sixteenth century, have remained little known (unlike his paintings), forming a body of work based on uncertain attributions and lacking any comprehensive analysis. As well as affirming his authorship of four unpublished drawings — in the Drawings Cabinet of the Uffizi Gallery, preparatory for the cycle of frescoes in the Palazzo Cesi in Acquasparta — the article also considers the sheets attributed (early on, in many cases) to Lombardelli, some demonstrably autograph and connected with known works, and others discarded. Of special importance is the group of drawings in the Istituto Nazionale per la Grafica in Rome, attributed decades ago by Walter Vitzthum; others are in the collections of the Musée du Louvre and the Metropolitan Museum of Art. Among the rejected drawings, two distinct groups divided between various public collections are here given to the painters Pasquale Cati and Vespasiano Strada. In the case of Cati, whose firmly attributed drawings are extremely rare, there are three red chalk studies, preparatory for the Moses cycle in Palazzo Altemps, Rome. As for Strada, by whom only one secure drawing was known, five sheets are attributed here, all preparatory for the frescoed lunettes in the cloister of Sant’Onofrio al Gianicolo. Every work examined clarifies these artists’ careers and style, enabling us to identify and resolve the confusion surrounding many drawings in the complex and sometimes still cloudy phenomenon of Late Roman Mannerism.

Essay on the School of Leonardo and the Master's legacy in Lombardy. From the exhibition catalogue 'Leonardo da Vinci 1452-1519' Palazzo Reale, Milan 2015.

Engl. Edn. " The Academia Leonardi Vinci: Leonardo’s Pupils, Followers and the Legacy of the Master’s Works." In Leonardo da Vinci 1452-1519. Exh. cat. ed. by Pietro C. Marani and Maria Teresa Fiorio. Milan, Palazzo Reale (2015): 438-49.

È nota l’importanza del materiale grafico per l’attività della bottega dei Bassano, in cui la riproduzione, anche seriale, di fortunate invenzioni compositive risulta un elemento rilevante. Come è evidenziato dai documenti - testamenti, inventari - la trasmissione di tali materiali costituiva parte integrante dell’eredità della bottega.
Non è facile formulare ipotesi sull’esatta natura di disegni e ‘rodoli’ che figurano nei documenti. L’affermazione da parte di Giovan Battista Volpato nel Modo da tener nel dipingere dell’uso dei lucidi nella bottega dei Bassano, per quanto non verificabile e da assumere quindi come suggestione più che come testimonianza, spinge altresì a indagare più a fondo sull’uso del lucido nelle pratiche testimoniate dalle fonti, individuandone da una parte scopi e funzioni, dall’altra materiali costitutivi e modalità di utilizzo. Si può tracciare così una breve storia delle tecniche di copia e riproduzione dei dipinti, che risalendo all’accurata descrizione di Cennini della preparazione e dell’uso della carta lucida «utile per ritrarre una testa o una figura o una mezza figura … di man di gran maestri» - funzionale dunque allo studio e alla formazione del giovane artista - prosegue incontrando menzioni episodiche in altri autori fino agli aggiornamenti alle prescrizioni cenniniane di Raffaello Borghini nel Riposo - dove è descritta come strumento dei copisti - per giungere infine alla descrizione di Volpato, che ne motiva l’uso in bottega da parte dei pittori «per valersi aciò gli scolari copiino le loro opere con maggior perfezione».

On serial reproduction techniques and the use of tracing: hypotheses for the Bassano workshop.
The importance of graphic material for the activity of the Bassano workshop is well known, in which the reproduction, even serial, of fortunate compositional inventions is an important element. As is evidenced by documents - wills, inventories - the transmission of such materials constituted an integral part of the workshop's inheritance.
It is not easy to formulate hypotheses about the exact nature of the drawings and 'rodoli' that appear in the documents. Giovan Battista Volpato's affirmation in his Modo da tener nel dipingere of the use of 'lucidi' in the Bassano workshop, although not verifiable and therefore to be taken as suggestion rather than testimony, also prompts a deeper investigation into the use of 'lucido' in the practices recorded in the sources, identifying on the one hand its purpose and function, and on the other its constituent materials and method of use. A brief history of the techniques of copying and reproducing paintings can thus be traced, going back to Cennini's accurate description of the preparation and use of tracing paper "useful for portraying a head or a figure or a half figure ... by the hands of great masters" - thus functional to the study and training of the young artist - goes on to find episodic mentions in other authors up to Raffaello Borghini's updating of Cennini's prescriptions in his Riposo - where it is described as a copyist's tool - and finally arrives at Volpato's description, which justifies its use in the workshop by painters "to make use so that the pupils can copy their works with greater perfection".

Four drawings with uncertain or erroneous attributions are presented here with their correct authorship. These consist of a study by the Flemish painter Pieter de Witt (Pietro Candido), preparatory for the "Adoration of the Shepherds" painted during his Tuscan period; a drawing — the first one proposed thus far — by the Roman Girolamo Nanni for the "Allegory of Promptness" frescoed in the apartment of Paul V Borghese in the Vatican; a double sheet by the Marchigian Filippo Bellini connected to his last work, the "Last Supper" in Macerata Cathedral; and a study by Pietro da Cortona’s follower Giuseppe Nicola Nasini (until now classified as the work of a Roman late Mannerist) for the "Council of Nicea and the Condemnation of the Arian Theses" frescoed in the Oratorio della Santissima Trinità in Siena in 1696.

This paper presents a case for the study of Mattia Preti’s repertoire of drawings, including recent discoveries, as calligraphy. It examines the varied evidence which his works on paper yields to explain how the artist’s creative thoughts are transferred onto paper and the possible reasons behind his choice of methods.

Los cartones para el comedor de los Príncipes de Asturias en el Palacio del Pardo (El Quitasol, Muchachos cogiendo fruta, NIños inflando una vejiga, El bebedor, El baile a orillas del Manzanares, Los jugadores de Naipes, El paseo de Andalucía, Riña en la venta nueva, La cometa, La Merienda) constituyen la segunda serie pintada por Goya y la primera de la que tenemos su reconocimiento explícito de ser de ‘mi invención’. En este estudio trataré de demostrar que la serie posee un programa iconográfico basado en la Tabla de Cebes, que Goya conocía en la traducción de Ambrosio de Morales editada conjuntamente con el Theatro Moral de la Vida Humana, un texto que está demostrado que él manejó. La utilización de este diálogo por Goya se justifica no sólo por su amplia difusión en España, sino, sobre todo, por su influjo sobre dos personalidades fundamentales para el mundo creativo del pintor: Baltasar Gracián y El Bosco. De este, Ambrosio de Morales dice que había pintado en El carro de Heno, que posee el Rey, una moderna Tabla de Cebes. Como, además, Mayáns y Siscar acababa de señalar a El Bosco como el ‘summum’ de la invención pictórica, es lógico pensar que Goya quisiera agradar al Rey y asegurarse el éxito con un programa iconográfico basado en una obra, llena de doctrina moral, que contaba con tan magníficas consecuencias.
De ser válida esta interpretación, se demostraría la preocupación de Goya por la ‘invención’ y la transmisión de contenidos ‘caprichosos’ prácticamente desde los inicios de su carrera en Madrid y mucho antes de la enfermedad que lo dejó sordo, lo que tendría un gran interés para los estudios sobre el pintor.

Catalogue entries on drawings related to paintings in the Pinacoteca di Brera, Milan: Paolo Veronese (Louvre inv. 4671), Jacopo Tintoretto (Museo Poldi Pezzoli inv. 4875), Maestro della Pala Sforzesca (Ambrosiana Cod. 290 no. 13), Bernardino Luini (Paris, Ecole des Beaux-Arts inv. 188), Giovan Francesco Melzi (Brera inv. 464), Andrea Solario (Brera inv. 969), Lorenzo Costa (Brera inv. 284), Raphael (Ashmolean Museum inv. 1846.157), Timoteo Viti (Istituto per la Grafica, Corsini 127653), Girolamo Genga (Louvre inv. 3117), Franceso Salviati (Metropolitan Museum 1996.412.1), Federico Barocci (Louvre 2858 and Brera 293), Giuseppe Bottani (Metropolitan Museum 1987.245) and Pietro Alamanno (Brera inv. 165).
Exh. cat. edited by Sandrina Bandera. Pinacoteca di Brera, Milan (May 9 - July 19, 2015). Skira 2015

The  attempt to  examine  art  products  such as  images  and drawings  to interpret past  history is  an  accepted  practice  among  historians. The investigator,  a  teacher  educator  by profession, as  part  of  a  project on  Education,  compiled  images  related to  the  First  World  War  from a century old antique  books. They  include images  from popular British magazines  which  attempted to  cover aspects of  the First World  War fought  by British soldiers in foreign lands  and lives  of people in Britain at the time.
The images  and drawings assume significance because  Television  was yet to arrive  and  Radio  and  newspaper  were  the sole  medium of  mass communication. The unique  advantage of  the  antique  drawings and cartoons  which the  investigator  compiled from popular magazines has  artists visualizing  incidents  and  people  who  were  caught  in the  war which brought  death and destruction to millions  across the globe. The compiled  photographs  are documentary  evidence  of  events  and  have  a  great  historical value.
To interpret  the  images  and drawings,  the  investigator  employs  the procedure  popular among connoisseurs  of  art  viz;  ‘look, see and think’.  An attempt is  also made to identify the  likely  motive  and  intention  of each  piece  and  form a  comprehensive  picture of  incidents  from  related  drawings and photographs.  It is hoped  that  the  assortment of  images  and drawings and the interpretations will enable  participants of the  symposium to have a peek at the  lives  of  people  caught in the war  a hundred years ago and may possibly rouse in them a desire to  be a spokesperson  for  peace in the world.
Key words:  British, First  World War, Historical, People, Soldiers

... Article. Eudes le Volumeur au Musée du Louvre Les sous-sols du Révolu. Extraits du journal d'un expert, de Marc-Antoine Mathieu. Futuropolis / Musée du Louvre éditions, 60 p. Yan Hamel. Auteur : Yan Hamel. Titre : Eudes le Volumeur au Musée du Louvre. ...