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119 - FRIEDRICH OVERBECK_x001D_ Lübeck 1789–1869 Rome: St. Felippo Benizzo surrounded by young monks. Outline drawing based on the fresco by Andrea del Sarto, created around 1510, in the Chiostricino of the Chapel of San Felippo Benizzo at the Church of the Santissima Annunziata, Florence. Pencil drawing (outline) based on the fresco by Andrea del Sarto, painted around 1510, in the Chiostricino of the Chapel of San Felippo Benizzo at the Church of the Santissima Annunziata, Florence. B. Heise, Friedrich Overbeck. Artists of the Lukasbund (exh. cat. Winterberg), Heidelberg 2009, no. 11. – Inscribed on the reverse by another hand: “Fr. Overbeck fec.” On light vélin. 26.5 x 19 cm. Slightly foxed. Mounted on backing board along the edges. Dr. Heise writes in the above-mentioned exhibition catalog regarding this sheet: “It was above all the painters of the Early Renaissance who impressed the Nazarenes, and Overbeck in particular. They sought to take their cue from the painters’ simple, unadorned style—which eschewed sensuous effects—in order to create a new, modern art on this foundation... Among the admired painters of the High Renaissance, however, was Andrea del Sarto, whose infallibility in contouring was celebrated. In the Church of SS. Annunziata, a church of the Servite Order, the painter created the frescoes in the narthex depicting the life of the Servite monk Saint Felippo Benizzo. Andrea del Sarto was regarded by his contemporaries as a masterful colorist. For Overbeck, however, color was a rather sensual element; the idea behind the depiction was to be revealed above all in the linework. Consequently, this sketch—in which the artist has reproduced a detail from the fresco cycle—is limited to the outline. The scene depicts Felippo Benizzo exorcising the devil from a young girl who is possessed by a demon. Overbeck focuses on the group of monks on the left, who are turning toward the action taking place in the center. In silent concentration, they observe Filippo Benizzo, who, with a calm gesture, is working on the young girl, who is being supported by her relatives. The artist limits himself primarily to the outline; only a few hatches suggest the internal structure of the robes. The highly schematic rendering of the folds in the robes—which forgo any three-dimensional effect and taper off in a slight curve or hook—recurs repeatedly in these studies by Overbeck. The inscription “verso” does not originate from the artist himself. “His adopted daughter, Caroline Hoffmann, often labeled the sheets while reviewing the estate.” Provenance: Collection of Prince Johann Georg, Duke of Saxony (Lugt 1162 c) with the inventory number “S. I. No. 3510.” [ms]
FRIEDRICH OVERBECK_x001D_ Lübeck 1789–1869 Rome: St. Felippo Benizzo surrounded by young monks. Outline drawing based on the fresco by Andrea del Sarto, created around 1510, in the Chiostricino of the Chapel of San Felippo Benizzo at the Church of the Santissima Annunziata, Florence. Pencil drawing (outline) based on the fresco by Andrea del Sarto, painted around 1510, in the Chiostricino of the Chapel of San Felippo Benizzo at the Church of the Santissima Annunziata, Florence. B. Heise, Friedrich Overbeck. Artists of the Lukasbund (exh. cat. Winterberg), Heidelberg 2009, no. 11. – Inscribed on the reverse by another hand: “Fr. Overbeck fec.” On light vélin. 26.5 x 19 cm. Slightly foxed. Mounted on backing board along the edges. Dr. Heise writes in the above-mentioned exhibition catalog regarding this sheet: “It was above all the painters of the Early Renaissance who impressed the Nazarenes, and Overbeck in particular. They sought to take their cue from the painters’ simple, unadorned style—which eschewed sensuous effects—in order to create a new, modern art on this foundation... Among the admired painters of the High Renaissance, however, was Andrea del Sarto, whose infallibility in contouring was celebrated. In the Church of SS. Annunziata, a church of the Servite Order, the painter created the frescoes in the narthex depicting the life of the Servite monk Saint Felippo Benizzo. Andrea del Sarto was regarded by his contemporaries as a masterful colorist. For Overbeck, however, color was a rather sensual element; the idea behind the depiction was to be revealed above all in the linework. Consequently, this sketch—in which the artist has reproduced a detail from the fresco cycle—is limited to the outline. The scene depicts Felippo Benizzo exorcising the devil from a young girl who is possessed by a demon. Overbeck focuses on the group of monks on the left, who are turning toward the action taking place in the center. In silent concentration, they observe Filippo Benizzo, who, with a calm gesture, is working on the young girl, who is being supported by her relatives. The artist limits himself primarily to the outline; only a few hatches suggest the internal structure of the robes. The highly schematic rendering of the folds in the robes—which forgo any three-dimensional effect and taper off in a slight curve or hook—recurs repeatedly in these studies by Overbeck. The inscription “verso” does not originate from the artist himself. “His adopted daughter, Caroline Hoffmann, often labeled the sheets while reviewing the estate.” Provenance: Collection of Prince Johann Georg, Duke of Saxony (Lugt 1162 c) with the inventory number “S. I. No. 3510.” [ms]