(Florence 1502 - Florence 1567)
The Virgin and Child with the Infant Saint John the Baptist
A small sketch of the Virgin and Child(?) in red chalk on the verso.
134 x 108 mm. (5 1/4 x 4 1/4 in.)
The composition of the present sheet, as noted by Anna Forlani Tempesti when it was exhibited in Florence in 1980, may be related to Foschi’s painting of The Holy Family with the Young Saint John the Baptist, today in the Galleria dell’Accademia in Florence. Indeed, this drawing may have been an initial preparatory study for the painting, which has been dated to the early years of Foschi’s career, between 1525 and 1535. As Alessandro Cecchi has noted of the painting, ‘The composition, densely populated by figures ranged diagonally, reveals on the one hand its debt to the altarpieces of Andrea del Sarto, in the pose of St Joseph and in the typology of the Christ Child and the young St John. But it shows the unmistakeable style of Pier Francesco, who skillfully combines the sharp contours of faces and limbs with the ample masses of the bodies and draperies.’
The present sheet was first published by a previous owner, Myril Pouncey, in a pioneering article on Foschi’s drawings in The Burlington Magazine in 1957. As Pouncey noted, ‘Pierfranceso di Jacopo di Domenico [F]oschi’s main claim to fame is that he is often mistaken for Pontormo. Yet this minor Florentine artist of the mid-sixteenth century has a personality of his own, even if it is somewhat limited in range and development.’ Going on to describe Foschi as ‘a sensitive and gifted draughtsman’, Pouncey assembled a small group of five drawings that she attributed to the artist. Writing of the present sheet, she added that, ‘I would say that the little Madonna and Child with the Infant St Johnis the most attractive drawing of the group were it not that it belongs to me. The abandon with which the Child reclines on the Virgin’s lap contrasts delightfully with her somewhat tense mood as she prepares to suckle Him. Here, more than in the other drawings, we are reminded of Pontormo, by whom [F]oschi seems to be influenced in his vivacious handling of the red chalk and in the firm modelling of such passages as the Madonna’s left arm with its reflected lights. But only [F]oschi could have realized her peculiar egg-shaped head which we encounter again and again in paintings and drawings alike. In the general development of Florentine style in the field of drawings this little study takes its place in the succession that leads from Pontormo down through Maso di San Friano and on to Giovanni Balducci at the end of the century.’
Myril and Phillip Pouncey, London
Their posthumous sale, New York, Sotheby’s, 21 January 2003, lot 3
Private collectio, California.