THE FORM AND ITS ORIGIN

Life study has often been described as the first and most important step in Barocci's artistic process, starting with the testimony of Bellori himself. In fact, as modern scholars demonstrate, the analysis of nature played an equally important role, and coexisted interchangeably with the purely mental process and a combination of various visual sources. Barocci showed an incredible ability to assimilate very different cultural stimuli and transformed them in a way that was both personal and original. The artist's extensive manipulation of his reference models often makes them difficult to identify. The shift between faithful reproduction of natural fact and the “studio da sé”, a result of both imagination and photographic memory, has many different facets. As can be inferred from the exhibition sequence, they involve different creation stages, from the first figure analysis to the verification of every detail. Color is a determining factor in the process of transforming (sometimes radically) the original model in order to create a spontaneous and lifelike rendering of the visual stimulus. His free use of new techniques, such as the pastel technique, allowed him to go beyond these individual steps and to assimilate the procedures of painting and drawing.

VATICAN CITY, VILLA OF POPE PIUS IV (1561-1563)

Black chalk, charcoal, traces of white chalk, blue paper
179 x 272 mm.
Inv. 11330 F

Barocci's study of sculpture, an important point of reflection for him, is almost always hidden in honor of the principle of realism. This drawing, a preparatory study for the frescoes of the Villa of Pius IV (1561-1563) - a significant papal commission which the artist received during his second stay in Rome - is one of the few examples in which the use of sculpture as a model clearly shows although the specific prototype has not been identified. The work appears to demonstrate an interest in both antique works and contemporary art, such as that of Bartolomeo Ammannati at Villa Giulia.

Black chalk, charcoal, traces of white chalk, blue paper

179 x 272 mm.

Inv. 11330 F

FOR IMMACULATE CONCEPTION

URBINO, GALLERIA NAZIONALE DELLE MARCHE (1575 ca.)

Charcoal, heightened with white, blue paper
306 x 201 mm.
Inv. 11601 F

In his preparatory studies for the "Immaculate Conception" (circa 1575, Urbino, National Gallery of the Marche), it is possible to trace some of the models of classical statuary, perhaps filtered through a Raphaelesque interpretation of ancient art. This study focuses on the examination of drapery and the rendering of volume.

FOR MARTYRDOM OF SAINT VITALIS, MILAN, PINACOTECA DI BRERA

AND FOR ANNUNCIATION, VATICAN CITY, VATICAN MUSEUMS (1580-1584)

Black chalk, charcoal, heightened with white, stylus, squared in black chalk, blue paper
419 x 272 mm.
Inv. 11343 F recto

The central female figure is a preparatory study for the Virgin Mary in "The Annunciation" created for the Basilica della Santa Casa in Loreto (1582-1584, Vatican City, Pinacoteca Vaticana), to which the carefully-studied cloak on the right is also related. This element contributes to the gestural art and delicate majesty of the Madonna.

The other sketch of a female figure can likewise be linked to the woman in the foreground of the painting, "The Martyrdom of Saint Vitalis" (1580-1583, Milan, Pinacoteca di Brera).

Neither of the figures, despite showing a certain softness and plausible volumetric definition, are by any means studies from life. Rather, the abstract and delicate outlines reveal that they are the result of a mental processing, namely a creative process that took place in the artist's mind.

Black chalk, charcoal, heightened with white, stylus, squared in black chalk, blue paper

419 x 272 mm.

Inv. 11343 F recto

FOR MARTYRDOM OF SAINT VITALIS, MILAN, PINACOTECA DI BRERA

AND FOR ANNUNCIATION, VATICAN CITY, VATICAN MUSEUMS (1580-1583)

Black chalk, red chalk, charcoal, heightened with white, double squared in black chalk and red chalk, blue paper
277 x 416 mm.
Inv. 11619 F verso

Alongside extremely abstract figures and those resulting from anatomical studies from life, we also find stylized models which reveal the artist's use of mannequins. This practice, in use since the 15th century, is evident in this sketch, in which the artist analyzes the pose and drapery of the seated tyrant in "The Martyrdom of Saint Vitalis" (1580-1583, Milan, Pinacoteca di Brera).

Black chalk, red chalk, charcoal, heightened with white, double squared in black chalk and red chalk, blue paper

277 x 416 mm.

Inv. 11619 F verso

FOR MARTYRDOM OF SAINT VITALIS

MILAN, PINACOTECA DI BRERA (1580-1583)

Black chalk, red chalk, double squared in red chalk and black chalk, traces of stylus, paper
300 x 184 mm.
Inv. 11285 F

In this drawing, the study of the pose of one of the executioners in "The Martyrdom of Saint Vitalis" (1580-1583, Milan, Pinacoteca di Brera) reveals a peculiar process in which we observe the tension between the abstract and the real. On top of the initial stylized concept, where only the outline is sketched out using charcoal, a second and better-defined figure in red chalk is added, specifically to render the anatomy of the lower half of the body.

Black chalk, red chalk, double squared in red chalk and black chalk, traces of stylus, paper

300 x 184 mm.

Inv. 11285 F

FOR MADONNA DEL POPOLO

FLORENCE, UFFIZI (1575-1579)

Black chalk, red chalk, white chalk, partially squared in black chalk, some incisions, faded blue paper
216 x 322 mm.
Inv. 1401 F recto

Barocci begins with a detailed life study of a nude male model, which he eventually transforms into the female figure that appears in the foreground of the painting "Madonna del Popolo" (1575-1579, Florence, Uffizi Gallery). Unlike the body of the man, which is well-proportioned with a solid and controlled outline, the woman's body is depicted using quick flowing strokes, making it difficult to use this as a model for future reworkings. This analysis is substantiated by the lack of squaring or traces of outlining around the womanly figure, whereas these are present around the figure on the left. Clearly, if the latter was the model, the study on the right must be considered a test that the painter quickly sketched out just to evaluate other potential adaptations.

Black chalk, red chalk, white chalk, partially squared in black chalk, some incisions, faded blue paper

216 x 322 mm.

Inv. 1401 F recto

FOR REST ON THE FLIGHT TO EGYPT

VATICAN CITY, VATICAN MUSEUMS (1570-1573)

Black chalk, red chalk, paper
160 x 127 mm.
Inv. 925 O

Studies of animals and precise details, such as his famous "arie di teste" (head studies), have always been considered emblematic of Barocci's immediate and direct approach to natural figures. However, they were often the result of studied reworking and a careful mental process. This is certainly the case in this sketch of a donkey where the animal's pose is dictated by its role in the overall composition of the painting, "Rest on the Flight into Egypt" (1570-1573, Vatican City, Pinacoteca Vaticana).

The artist's study of chiaroscuro effects, created using a combination of black and red chalk, falls into the same category. As these drawings show, reality for Barocci could be either an initial starting point for reflection or a benchmark for comparison throughout the creative process.

Black chalk, red chalk, paper

160 x 127 mm.

Inv. 925 O

FOR PRESENTATION OF THE VIRGIN IN THE TEMPLE

ROME, CHURCH OF SANTA MARIA IN VALLICELLA (ante 1603)

Charcoal, black chalk, heightened with white, partially squared in black chalk, blue paper
259 x 200 mm.
Inv. 11290 F

Barocci's interest in light and color plays an important role in the form and expression of his paintings. His studies of these aspects were not reserved to the final stages of creation, as claimed by Giovanni Pietro Bellori, instead, they were present throughout the entire graphic process.

Charcoal, black chalk, heightened with white, partially squared in black chalk, blue paper

259 x 200 mm.

Inv. 11290 F

FOR PRESENTATION OF THE VIRGIN IN THE TEMPLE

ROME, CHURCH OF SANTA MARIA IN VALLICELLA (ante 1603)

Black chalk, charcoal, red chalk, pink pastel, heightened with white, blue paper
413 x 281 mm.
Inv. 11629 F

The skillful use of pastels helps to create a surprisingly realistic rendering of the skin of the hand, as does the cerulean paper, which acts as an intermediate tone.

Black chalk, charcoal, red chalk, pink pastel, heightened with white, blue paper

413 x 281 mm.

Inv. 11629 F

Red chalk, squared in red chalk, paper
218 x 132 mm.
Inv. 11450 F recto

The chiaroscuro contrast, which aims to give a sense of volume to the angel's body, is obtained by a sparing use of the paper and a soft application of the red chalk. It therefore seems clear that Barocci was capable of interpreting natural figures with a sensitivity also demonstrated by Annibale Carracci (Bologna, 1560 - Rome, 1609) over the same period in Bologna.

FOR CALLING OF SAINT ANDREW

BRUXELLES, MUSÉE ROYAUX DES BEAUX-ARTS DE BELGIQUE (1580-1583)

Charcoal, red chalk, pink pastel, white chalk, paper
325 x 224 mm.
Inv. 11397 F

In this study, which is characterized by an extremely high degree of formal and expressive freedom, the facial features are rendered by the use of broad, grainy strokes of charcoal, while pink pastel, in conjunction with red and white chalks, carefully reproduces the effects of light hitting the skin.

Charcoal, red chalk, pink pastel, white chalk, paper

325 x 224 mm.

Inv. 11397 F

VARIED REITERATION

Barocci constantly rethinks the figure, modifying it and reusing it, while tailoring it to fit precise mental and compositional needs. This prolonged, almost exasperating period of deliberation explains his method of creating varied reiteration of particular forms on a single sheet of paper. Of course, repetition is a very common process among artists, but for Barocci it almost became an obligatory step which helped him develop multiple aspects of the same study simultaneously.

FOR CALLING OF SAINT ANDREW

BRUXELLES, MUSÉE ROYAUX DES BEAUX-ARTS DE BELGIQUE (1580-1583)

Black chalk, charcoal, traces of white chalk, paper
280 x 388 mm.
Inv. 11331 F

In this drawing, believed to be a preparatory study for "The Calling of Saint Andrew", now located in Brussels (1580-1583, Royal Museums of Fine Arts of Belgium), the artist created various iterations of the saint figure not only to bring into focus its pose, but also to examine the spatial relationship between the Saint and Christ who is seen from behind. In the following drawings, in which Barocci studies the two figures separately, the compositional structure seems to be quite literally reversed with regard to the initial concept.

Black chalk, charcoal, traces of white chalk, paper

280 x 388 mm.

Inv. 11331 F

FOR CALLING OF SAINT ANDREW

BRUXELLES, MUSÉE ROYAUX DES BEAUX-ARTS DE BELGIQUE (1580-1583)

Black chalk, charcoal, squared in black chalk, paper
347 x 272 mm.
Inv. 11316 F

Here, Barocci studies the figure of Saint Andrew in reverse with respect to the previous sheet, with inverse positioning of the arms and legs. The pose seems less unbalanced and more solid, and the slightly twisted torso and inclined head lend a sense of dynamism to the work. The artist's close attention to anatomical rendering is linked to his interest in chiaroscuro contrasts, while the shading creates the idea of a powerful source of light from the right, a feature which was also used in the final painting.

Black chalk, charcoal, squared in black chalk, paper

347 x 272 mm.

Inv. 11316 F

FOR CALLING OF SAINT ANDREW

BRUXELLES, MUSÉES ROYAUX DES BEAUX-ARTS DE BELGIQUE (1580-1583)

Black chalk, charcoal, red chalk, heightened with white, hazel prepared paper
420 x 284 mm.
Inv. 11363 F recto

Particular attention is given to progressive perfecting of the drapery of Christ's clothing, as well as the detailed depiction of certain elements which were studied separately, such as his arm and his leg.

Black chalk, charcoal, red chalk, heightened with white, hazel prepared paper

420 x 284 mm.

Inv. 11363 F recto

FOR CALLING OF SAINT ANDREW

BRUXELLES, MUSÉES ROYAUX DES BEAUX-ARTS DE BELGIQUE (1580-1583)

Black chalk, charcoal, white chalk, stump, paper
410 x 269 mm.
Inv. 11418 F

The artist extends his study to the three-dimensional development of the figure. The prominent lighting effects, produced by a masterful use of white chalk, tend to shatter and obliterate the underlying drawn lines.

Black chalk, charcoal, white chalk, stump, paper

410 x 269 mm.

Inv. 11418 F

FOR STIGMATIZATION OF SAINT FRANCIS

URBINO, GALLERIA NAZIONALE DELLE MARCHE (1594-1595)

Pen and ink with wash, paper
225 x 171 mm.
Inv. 11479 F recto

This is an initial study for the figure of Brother Leone in the altarpiece depicting "The Stigmata of Saint Francis", painted between 1594 and 1595 for the main altar of the Capuchin church in Urbino, and now displayed at the National Gallery of the Marche. It is one of a series of four drawings which are linked by the use of the pen and diluted ink technique, as well as similar stylistic and formal characteristics. In this sequence, the figure is developed through continuous and seamless reworking.

Pen and ink with wash, paper

225 x 171 mm.

Inv. 11479 F recto

FOR STIGMATIZATION OF SAINT FRANCIS

URBINO, GALLERIA NAZIONALE DELLE MARCHE (1594-1595)

Pen and ink with wash, paper
214 x 153 mm.
Inv. 1396 F recto

Building on his previous idea, the artist depicts a pose known as "serpentinata" (snake-like) due to its spiral quality, creating a vivid impression of movement. The body, nude in the first study, is clothed and rotated in a single movement; the disequilibrium of the figure is also mitigated by the different positioning of the limbs. As well as depicting postural variations, these two studies have different purposes. In the first, the focus is on the anatomical analysis of a twisted body, rendered with incisive and calligraphic pen strokes. In the second, the artist’s use of diluted ink applied with a brush, suggests the stark contrast between brightness and shade, produced by the source of light above. The artist's habit of studying figures from different perspectives seems to be linked to his custom of creating small wax or clay models, which according to Bellori helped obtain a naturalistic rendering of the drapery. These models in fact played a key role in helping the artist understand the three-dimensional nature of shapes.

Pen and ink with wash, paper

214 x 153 mm.

Inv. 1396 F recto

FOR STIGMATIZATION OF SAINT FRANCIS

URBINO, GALLERIA NAZIONALE DELLE MARCHE (1594-1595)

Pen and ink with wash, heightened with white, paper
200 x 136 mm.
Inv. 11494 F recto

Barocci examines another possibility for Brother Leone, which brings to mind an etching by Niccolò Boldrini (based on an original idea by Tiziano) depicting the same subject. The artist's final solution for his painting is therefore a synthesis, achieved through a lengthy development process.

Pen and ink with wash, heightened with white, paper

200 x 136 mm.

Inv. 11494 F recto

FOR DEPOSITION

PERUGIA, CATHEDRAL OF SAN LORENZO (1568-1569)

Black chalk, heightened with white, charcoal, partially squared in black chalk, traces of stylus, blue paper
278 x 411 mm.
Inv. 11312 F recto

The varied reiteration reflects the speed and complexity of the artist's creative thinking as it gradually shapes the figures, as seen in the sketch for "The Deposition" in Perugia Cathedral (1568-1569) demonstrates. Barocci experiments with several variations of the position of the Virgin and the devout woman supporting her, and analyzes one of the poses of the nude male model. Each study has its own specificity in terms of both style and form, but it is subordinate to the unique design intent within the context of the overall work.

Black chalk, heightened with white, charcoal, partially squared in black chalk, traces of stylus, blue paper

278 x 411 mm.
Inv. 11312 F recto

FOR LAMENTATION

BOLOGNA, PALAZZO D’ACCURSIO (post 1600)

Black chalk, red chalk, paper
222 x 391 mm.
Inv. 11403 F recto

In his drawing for "The Lamentation of Dead Christ", commissioned around 1600 and never completed, Barocci replicates the same idea several times starting with a pure contour sketch, and gradually analyzing the anatomy of the figure and the contrast between light and shade. The artist's attention to the smallest changes in the posture and expression of the body plays a crucial role in defining the figures. This can be seen in the transition from one study to the next, but also within each sheet with the overlap of lines in red and black chalk.

Black chalk, red chalk, paper

222 x 391 mm.

Inv. 11403 F recto

FOR MADONNA DEL POPOLO

FLORENCE, UFFIZI (1575-1579)

Black chalk, pink pastel, heightened with white, red chalk, squared in black chalk, traces of stylus, blue paper
291 x 417 mm.
Inv. 11359 F

In many of the drawings a complex and heterogenous stratification of symbols and semantics can be discerned, which reflects the idea of it being a constant “work in progress” in which sudden afterthoughts and alterations play a necessary part. A perfect example of this is the sketch for the hurdy-gurdy player in "Madonna del Popolo" (1575-1579, Florence, Uffizi Gallery). This drawing represents a transition stage in the development of the figure's posture.

In addition to the final solution, which corresponds to the one in the preparatory cartoon, where the figure is turned towards the divine apparition, there is a new reworking of the tilting angle of the head bent downwards, which was eventually recreated for the painting itself.

Black chalk, pink pastel, heightened with white, red chalk, squared in black chalk, traces of stylus, blue paper

291 x 417 mm.

Inv. 11359 F

FOR THE LAST SUPPER

URBINO, CATHEDRAL OF SANTA MARIA VERGINE ASSUNTA (ante 1599)

Black chalk, heightened with white, partially squared in black chalk, brown prepared paper
288 x 419 mm.
Inv. 11401 F

The pose of the kneeling servant in the foreground of the "Last Supper", completed in 1599 (Urbino Cathedral), was constructed by combining the model, which had been analyzed as a whole, and studies of its individual components, which were then recreated and further analyzed in subsequent versions.

The coexistence of the entire figure and single details on the same sheet is a recurring element and an almost inevitable step in the artist’s preparatory process. This practice, which is nothing new as far as life studies are concerned, had a very particular significance for the artist from Urbino, as evidenced by the frequency with which he used it and the variety of styles for which he employed it, adapting it time after time for different purposes.

Black chalk, heightened with white, partially squared in black chalk, brown prepared paper

288 x 419 mm.

Inv. 11401 F

FOR REST ON THE FLIGHT TO EGYPT

VATICAN CITY, VATICAN MUSEUMS (1570-1573)

Black chalk, red chalk, heightened with white, white chalk, stump, faded blue paper
262 x 399  mm.
Inv. 11624 F recto

In his countless studies of specific details Barocci considers variations which are often so minimal as to be imperceptible...

Black chalk, red chalk, heightened with white, white chalk, stump, faded blue paper

262 x 399  mm.

Inv. 11624 F recto

FOR MADONNA DEL GATTO

LONDON, THE NATIONAL GALLERY (1575 ca.)

Black chalk, red chalk, heightened with white, blue paper
269 x 420 mm.
Inv. 11635 F recto

Barocci's persistent reworking of every element seems to ally perfectly with his constant research (although this played a secondary role to the principle of verisimilitude) for decorum and varietas (variety) in his choice of poses and expressions.

Black chalk, red chalk, heightened with white, blue paper

269 x 420 mm.

Inv. 11635 F recto

FOR MARTYRDOM OF SAINT VITALIS

MILAN, PINACOTECA DI BRERA (1580-1583)

Black chalk, charcoal, heightened with white, blue paper
414 x 285 mm.
Inv. 11623 F recto

The artist, who was particularly interested in investigating the various manifestations of movement, eventually reinvented the practice of studying models, overcoming its static nature in order to create a dynamic view of poses. In some cases, the artist portrays an action while it is being carried out by depicting individual anatomical details and then reworking them through reiteration, as in the study for "The Martyrdom of Saint Vitalis" (1580-1583, Milan, Pinacoteca di Brera).

Black chalk, charcoal, heightened with white, blue paper

414 x 285 mm.

Inv. 11623 F recto

Black chalk, red chalk, double squared in red chalk and black chalk, paper
282 x 419 mm.
Inv. 11347 F recto

In this work, the suggestion of movement produced simulates the flight of the angels, which is emphasized by the development of the figures in the space, and by the series of reworkings of individual details, such as the right foot of the cherub in the top-right. The artist's need to constantly resort to shape repetition may have contributed to the development of his particular sensitivity to depicting the action while it is being carried out.

Black chalk, red chalk, double squared in red chalk and black chalk, paper

282 x 419 mm.

Inv. 11347 F recto

FOR ASSUMPTION OF THE VIRGIN

MILAN, CASTELBARCO ALBANI COLLECTION (ante 1612)

Charcoal, red chalk, heightened with white, blue paper
248 x 198 mm.
Inv. 11298 F

Time and space extend across the two-dimensionality of a single sheet of paper, creating a cinema-like sequence. In this study for "The Assumption of the Virgin", the downward motion of the apostle's body is captured; this motion takes form before our very eyes as he leans forward to look into the empty tomb.

Charcoal, red chalk, heightened with white, blue paper

248 x 198 mm.

Inv. 11298 F

INITIAL IDEAS, SKETCHES AND PREPARATORY CARTOONS

To understand the dynamics of Barocci's operating method in greater detail, we should concentrate on the interplay between the study of individual figures and the composition of the scene as a whole. As part of his preparatory process, the artist created different types of compositional studies. These ranged from initial sketches and small cartoons, generally used to analyze the contrast between light and shade, to cartoons which were, as Bellori puts it “grandi quanto l’opera” (as large as the painting itself), ready to be transferred to the canvas. Even with respect to the final models, the composition of the painting itself almost always included further modifications and adjustments. This habit confirms once again the artist's singular conception of the creative process: the idea therefore represents not only the initial kernel to be developed, but an ever-present guiding principle, constantly revised in practice.

VATICAN CITY, VILLA OF POPE PIUS IV (1561-1563)

Pen and ink with wash, heightened with white, black chalk, faded blue paper
211 x 370 mm.
Inv. 11414 F recto

The close link between the various planning stages is demonstrated in two drawings for the fresco of the Holy Family which occupies a central position on the vaulted ceiling of the first room of the Villa of Pius IV in Rome (1561-1563).

Barocci depicts the whole scene with quick strokes of the pen, reworking and seamlessly integrating them to model the figures, the relationships between them, and the surrounding area in more detail.

Pen and ink with wash, heightened with white, black chalk, faded blue paper

211 x 370 mm.

Inv. 11414 F recto

VATICAN CITY, VILLA OF POPE PIUS IV (1561-1563)

Black chalk, pen and ink with wash, heightened with white, charcoal, squared in red chalk, stylus, blue paper
277 x 265 mm.
Inv. 11405 F recto

The artist focuses his attention on a single section of the composition, the left side to be precise, depicting the figures with varying degrees of definition. These figures are then re-examined separately, even on the reverse side of the sheet.

Black chalk, pen and ink with wash, heightened with white, charcoal, squared in red chalk, stylus, blue paper

277 x 265 mm.

Inv. 11405 F recto

Pen and ink with wash, heightened with white, blue paper
220 mm. (diameter)
Inv. 11313 F

In light of its unusual circular shape, the drawing could be a rare study for a majolica plate. We can clearly see the tension between the artist's rapid thought process and his attention to specific compositional details, in particular the contrast between light and shade. Another aspect that stands out is Barocci's ability to balance the figures with the surrounding landscape, using vibrant pen strokes in a technique that the artist himself seems to have invented, "scarpigno": quickly-drawn sketches in which the initial idea for the composition emerges from an intricate tangle of lines.

FOR “THE CIRCUMCISION OF CHRIST”

PARIS, MUSÉE DU LOUVRE (ante 1590)

Pen and ink with wash, heightened with white, black chalk, double squared in black chalk, traces of stylus, faded blue paper
430 x 588 mm.
Inv. 818 E

“Cartoncini per il chiaroscuro” (chiaroscuro cartoons), a type of drawing that Barocci originated, are designed to meet the need to study lighting effects in detail. In his study for "The Circumcision", a painting completed in 1590 which now hangs in the Louvre, the artist fine-tunes the compositional structure of the scene, with particular attention to his analysis of the chiaroscuro contrast.

Pen and ink with wash, heightened with white, black chalk, double squared in black chalk, traces of stylus, faded blue paper

430 x 588 mm.

Inv. 818 E