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Bartolommeo
Veneto and His Portrait of a Lady
by Creighton Gilbert
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Notes
11 One portrait signed
and dated 1506 is a ghost work which never existed, but has been
created by a slip of the pen of a very good scholar. Giovanni
Morelli (loc. cit.) referred to a portrait so signed and
dated as belonging to a Mr Carew in London. It has never been
reported since, and most writers have omitted any reference to it,
but some thorough surveyors of Bartolommeo (Michalski, Hevesy)
have quoted Morelli's report and expressed regret that this dated
work was no longer available. The puzzle can evidently be solved by
referring to the second case of a signed and dated work of 1506, the
Circumcision,
frequently cited as in the collection of an
Honourable Mrs E. M. Trollope from 1907 (when she lent it to the
London Royal Academy, exhibition no. 30), to 1921 (when she sold it
at a Christie auction in London to the dealer Buttery). What is less
often noted is that this signed and dated work of 1506 had earlier
belonged to a Colonel Carew in Somersetshire, who lent it to an
exhibition in Leeds in 1868 (catalogue no.66), with the result that
it was included in 1871 by Crowe and Cavalcaselle in their pioneer
list of four known works by Bartolommeo; the editor of the second
edition of Cavalcaselle, Borenius, in 1912, vouches that the Carew Circumcision
is the same as the Trollope Circumcision. It thus
follows either that by an extraordinary coincidence Carew owned both
the works by Bartolommeo signed and dated 1506 (one cited by Morelli
only, the other exhibited, photographed, and cited by many people
but not by Morelli), or else that there was only one Carew picture,
the Circumcision, known from the exhibitions and photographs, and that Morelli simply erred in calling it a portrait. This
is certainly the case, since Morelli used Cavalcaselle's list of
four paintings yet did not pick up the Circumcision from it;
he seemingly, at this point, simply wrote "portrait" under
the influence of Bartolommeo's predominant theme and
"London" as the automatic location of an English collection he did not know at first hand. The small differences between
the inscription he reports, "Bartolommeo de Venecia 1506,"
and the one recorded in the exhibition catalogues, "1506
Bartho1omaeus de Venetia," do not argue for two different paintings, since
in this context exact readings cannot be relied upon. To the
contrary, the identity might be confirmed by the shared divergence
from the artist's more usual "Veneto." The uncertainty
expressed about Morelli's non-existent "portrait" has
persisted in part because later writers on Bartolommeo have
generally ignored the report by Cavalcaselle, which in its brevity
seemed to be of little use, and was soon superseded by thorough
treatments, but where alone the clue to the puzzle was to be found.
Thus the recent bibliography of Bartolommeo in the Dizionario
biografico degli Italiani (loc. cit.), with many minor
references, and apparently exhaustive, omits both Cavalcaselle and
Morelli. If this helps to simplify the study of signed works of
Bartolommeo slightly, it does not solve another typical Bartolommeo problem: Is the Carew-Trollope Circumcision, last
recorded in 1921, to be identified with the Louvre Circumcision,
first recorded in 1925? The two dates of disappearance and
appearance fit perfectly, both paintings are signed and dated 1506,
and the dimensions match within five millimeters (Trollope: 2 ft.
9-7/8 x 4 ft. 7-5/8 in; Louvre: .865 x 1.415 m). Yet it seems
extraordinary that the reports of the gift to the Louvre in 1925,
from Michael Friedsam, omitted the established earlier history of
the painting, if it is the same one. More extraordinary, the 1925
Louvre photograph shows two figures not to be seen in the 1921
photograph of the Trollope picture, which instead shows a blank dark
wall at that point. These new figures might have been revealed by
cleaning in the brief ownership of Buttery or Friedsam, and such a
hypothesis gains support from the fact, kindly brought to my
attention by Mr Myron Laskin Jr., that Buttery was a professional
cleaner of paintings. The form of signature reported in the
Trollope and Louvre catalogues is completely identical, and recurs
nowhere else. This would be consistent with identity, but also with
the execution of two versions of the composition in the same year,
an entirely plausible occurrence in the artist's career, and
particularly so in his religious work during his youth. In that
case, the coincidence of one version's disappearing just before
the other first appeared would be the one true oddity of the story.
The Musée du Louvre regards its picture as the same previously
owned by Mr Carew and Mrs Trollope, but only on the basis of the
normal reasonable assumptions, made without noting the difference of
the two additional figures. It appears that no papers in the Louvre
files, bearing on the Friedsam gift, offer evidence of its earlier
history, but an X-ray of the panel would probably be decisive. I am
indebted to M. Pierre Rosenberg for discussing this question with
me.
12 Various points discussed in this essay illustrate the unusual
disorder of the available material on Bartolommeo, even including
ambiguity within a brief span of years about the identities and
locations of works. Extreme cases of this sort may be illustrated by
two more examples, which are not directly related to the Ottawa
portrait but virtually exhaust the contributions I am able to
offer toward clearing up the difficulties. One consists in referring
to the Portrait of a Man with a Globe, until recently in the
Arthur Erlanger collection, New York, a splendid and typical
mature work with a bibliographical history that would be incredible
in any other artist. It has been recorded for generations in a
variety of publications conspicuous in various ways: S. Reinach, Répertoire
des peintures du moyen age et de la renaissance
(1280-1580)
(Paris: E. Leroux, 1905); New York Times, Rotogravure
section (8 February 1931), on file at the Frick Art Reference
Library; Giorgione and his Circle (exhibition catalogue),
ed. G. de Batz (Baltimore: John Hopkins University, 1942), pl. 41;
H. Tietze's remarks on this exhibition, Arte Veneta, vol. I
(1947), p. 41. The portrait has at no time been mentioned, however,
in articles about Bartolommeo and his work, except in my own brief
entry in the Encyclopedia Britannica (1960). Previous
collections of this portrait include: Guido di Faenza, Rome
(1902, catalogue no. 397, pl. 8); Back, Szegdin, Hungary; Silberman,
New York.
The second case, conversely, seems to be the only occasion when
Bartolommeo has broken out of the specialized awareness of
collectors and specialists, into a context of broad culture which,
however, remained unknown to the specialists. This is the essay by
J. K. Huysmans, the once famous novelist of Against the Grain and other classics of the decadent Symbolist
movement, who was earlier one of the first favourable critics of
Impressionism. One of the three pictures surveyed in his book Trois
Primitifs (Paris: L. Vanier, A. Messein, 1905) is Bartolommeo's
"fancy picture" in the Stadel Institut, Frankfurt, often
called The Courtesan, but by Huysmans La Florentine. In
a paperback reprint (Paris: Flammarion, 1967), with many
illustrations and notes, it is the cover illustration in colour.
Huysmans more naturally did not know the specialist writing that had
begun shortly before (his term "primitif" was critically
obsolescent for this painting), and calls the work anonymous. He
finds this fact attractive as part of its enigma, whose chief
element is the anonymity of the girl. He proposes that she is the
mistress of Pope Alexander VI and mother of Lucrezia Borgia, and
calls her an "androgyne implacable et jolie," the purity
of impurity, at the same time instigator of lust and announcing the
expiation of sensual joys. Huysmans here exemplifies a tradition in
French nineteenth-century culture which saw in the Renaissance,
particularly in the Borgias, a precedent for one of its own
interests, the intense cultivation of sensuous experiences
interrelating religion, a sense of evil, and art. While the general
trend is best known in Baudelaire, classic instances of its turning
to Renaissance precedents are Musset's play Lorenzaccio, about
a Medici whose excesses of experiences end in murder, and Berlioz'
opera Benvenuto Cellini, emphasizing the artist's
participation in an invocation of witches. A mild belated echo of
this is the French art historian A. de Hevesy's article "Bartolommeo
Veneto et les portraits de Lucrèce Borgia," Art Quarterly, vol.
II (1939), which does not mention Huysmans.
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