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Last updated: 1/25/2017
Home / Gallery Tour 1 / Old Master Drawings and Prints / Gallery Tour 2 / Artists

Old Master Drawings: Federico Zuccaro (c. 1542, Sant'Angelo in Vado-1609, Ancona)

North Italian Illuminated Manuscript / Italian Old Master Drawings: An Overview / Italian School, 16th-Century Drawings
Michelangelo Buonarotti (After) / Raphael / Giulio Romano / Perino del Vaga / Marcantonio Raimondi / Parmigianino
Titian (after) / Andrea Schiavone / Tintoretto / Veronese / Taddeo Zuccaro / Federico Zuccaro / Alessandro Casolani
Jacopo Palma il Giovane / Cherubino Alberti / Luca Cambiaso / Annibale Carracci / Ludovico Carracci

Italian School, 17th-Century Drawings / Bolognese School / Giovanni Baglione / Matteo Rosselli / Ercole Bazzicaluva
Baldassare Franceschini called Il Volterrano / Pier Francesco Mazzuccelli, il Morazzone / Odoardo Fialetti / Simone Cantarini
Domenichino / Francesco Albani / Giovanni Lanfranco / Guercino / Pier Francesco Mola / Antonio Busca

Italian School Printmakers, 15th-17th Centuries: Venetian School, c. 1497 / Raphael School / Giovanni Jacopo Caraglio
Marcantonio Raimondi / The Master of the Die / Anea Vico / Agostino Veneziano / Nicholas Beatrizet
Michelangelo Buonarotti (After) / Giulio Bonasone / Giovanni Battista Franco /Girolamo Fagiuoli / Cherubino Alberti
Titian (after) / Tintoretto (after) / Parmigianino / Giorgio Ghisi / Diana Scultori / Annibale Carracci / Ludovico Carracci
Agostino Carracci / Simone Cantarini / Elisabetta Sirani / Gerolamo Scarsello

Netherlandish School, 15th-17th-Century Drawings / Flemish School, 17th-Century
Bernaert van Orley / Lucas van Leyden / Maarten de Vos / Jan Baptiste de Wael / Abraham Bloemaert
Peter Paul Rubens / Philipp Sadeler / Nicolaes Maes / Rembrandt School

German Drawings: Hans Sebald Beham / Virgil Solis / Hans von Aachen / Joseph Heinrich Roos

French Drawings: Charles de La Fosse / Etienne Parrocel / François Boucher / Jean-François de Neufforge / Mouricault
French printmakers: Etienne Delaune / Rene Boyvin /Thomas de Leu / Jean Cousin the Younger / Jacques Callot
Abraham Bosse / Sebastien Bourdon / Claude Gelle "le Lorraine" / Jean LePautre
Claudine Bouzonnet Stella / Antonette Bouzonnet Stella / Gabriel Perelle

19th-Century Drawings / 20th-Century Drawings
The careers of Taddeo Zuccaro (1529-1566) and his brother Federico (c. 1542-1609) mark the transition from the Mannerist style, of which Taddeo was the last master, to the Baroque, which Federico helped to create. E. James Mundy suggests that by the time of Taddeo's death, the Counter Reformation had moved Italian artists from the playfulness, deliberate obscurity, and stress upon the discovery of a distinctive style or "maniera" to the creation of "clear, religious messages meant to stir the spirit" (p. 14). Taddeo, who was his brother's first teacher, was a Roman artist; Federico an international one, welcome at the courts of several popes, English and Spanish monarchs—Federico spent over a year in London, living in the house of the Earl of Leicester, waiting to see if Queen Elizabeth would assign him a major painting commission (she didn't) and painting her portrait and that of the Earl, among others—and the Doge and Senate of Venice. Mundy suggests that "while Taddeo might be said to revel in the local artistic dialogue, Federico would aspire, in his drawing, painting, and his theoretical works, to a visual form of Esperanto . . . equally at home in Rome, Venice, or Madrid" (p. 15). Unlike Taddeo, for whom, as for Michelangelo, the human body was the primary means of conveying meaning in art, Federico used the common language of symbols (undergoing codification in the manuals of the late sixteenth and early seventeenth centuries so that gentleman could understand the vocabulary of the new generations of artists). "When this language was decoded, it carried a specific meaning that spoke to a sophisticated, educated audience" (Mundy, 20).

Select Bibliography: Suzanne Folds McCullagh, and L.M. Giles, Italian Drawings Before 1600 in the Art Institute of Chicago (Princeton: Princeton University Press, 1997); Julian Brooks, with essays by Robert Williams, Peter M. Lukehart, and Christina Strunck, Taddeo and Federico Zuccaro: Artist-Brothers in Renaissance Rome (Los Angeles: J. Paul Getty Museum, 2007); Bonita Cleri, Federico Zuccari: Le idee, gli scritti (Milan: Electa, 1997); J.A. Gere, Taddeo Zuccaro: His Development Studied in His Drawings (Chicago: University of Chicago Press, 1969); Diane De Grazia, Corregio and His Legacy: Sixteenth-Century Emilian Drawings (Washington: National Gallery of Art, 1984); E. James Mundy, with the assistance of Elizabeth Ourusoff de Fernandez-Gimenez, Renaissance Into Baroque: Italian Master Drawings by the Zuccari, 1550-1600 (Milwaukee: Milwaukee Art Center, 1989); Sotheby's, New York: Drawings by Taddeo and Federico Zuccaro and Other Artists AND Life of Taddeo Zuccaro from Collection of British Rail Pension (NY: Sotheby's NY, 1990).
Federico Zuccaro (Italian, 1540-1609), Study of an mythological figure (Ceres). Pen and brown ink and wash on cream laid paper mounted on laid paper, c. 1561-63. Our drawing was originally attributed to Bernardino India (1528-1598), however, Suzanne Folds McCullagh and L. M. Giles rejected this attribution in a conference with a previous owner on 15 October 1996. McCullagh suggested either Taddeo or Federico Zuccaro and dated it c. 1570. Further research has suggested that the drawing is related to Federico's Frieze with scenes from the Lives of Moses and Aaron in the Palazzo del Belvedere, Appartamento do Ritiro of Pope Pius IV. c. 1561-63. (See Carlo Pietrangeli, Paintings in the Vatican [Boston: Bulfinch Press, 1996], page 412, n. 391, 2nd stucco figure from the left). Federico had done a number of allegories (see e.g. his Allegory of Sloth in the Fogg Art Museum at Harvard [Mundy n. 43[ and some of the cycle of drawings in his Life of Taddeo, esp. n. 1, 3-4, 6, 11, and 15-16), and the drawing style supports the attribution. Image size: 272x97mm. Price: $20,000.
Federico Zuccaro (Italian, 1540-1609), Attributed, The Lamentation. Pen and reddish brown ink and gray wash and red chalk with white heightening on cream laid paper. The Virgin Mary tenderly swaddles her dead son as she did her infant years earlier. The action takes place at the foot of the cross unnoticed by two men talking behind her to the right of the right cross. For works very close stylistically to this piece see E. James Mundy, with the assistance of Elizabeth Ourusoff de Fernandez-Gimenez, Renaissance Into Baroque: Italian Master Drawings by the Zuccari, 1550-1600 (Milwaukee: Milwaukee Art Center, 1989), plates 56, 82, 85, and 88. Reproduced in Jodi Cranston's review of our exhibition, "Images of Women in Old Master Prints and Drawings / Images by Women in Old Master Prints and Drawings" published in Early Modern Women: An Interdisciplinary Journal, 2008, vol. 3, 309-318).Image size: 232x165mm. Price: $16,500.

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