CAMILLO PROCACCINI

Bologna 1555 — 1629 Milan

The Grotesque Lovers

red chalk. 73/4 x 101/2" (197 x 268mm). watermark: Briquet 6599. inscribed on the verso probably by Ramus: No. 19 Quentin Metsys (Massys) before 1460 - 1530 “The Lovers”
watermark (drawing of a flower). Charles F. Ramus Collection RC.37.782.MI (3889M)
attribution on old mat to Leonardo. On the back of the old mount besides the inscriptions cited above which are now typed are the words: formerly in “Cabinet” Lord Walrauen (attribution on old fragmentary mat when purchased in 1937 - to Leonardo. In addition measurements are provided for the drawing: 73/4 x 101/2".

provenance:
Cabinet Lord Walrauen (as Leonardo);
an unidentified collector’s mark of an R within a circle;
Charles F Ramus Collection, Denver (as Quentin Metsys) acquired in 1937. His mark, not in Lugt, is stamped on the verso.

This powerful yet sympathetic drawing is one of a group of autonomous chalk drawings of Grotesque Heads executed by Camillo for the burgeoning Milanese market. As pointed out by Nancy Ward Nielson, these drawings were “inspired by Leonardo’s similar work for the Sforza court and attest to a revival of interest in the work of the High Renaissance as well as to the early 17th century fashion for burlesques.” 1

Often Procaccini’s inventions of this type were repeated and Ms. Nielson believes some replicas were the products of Procaccini’s busy workshop. In the case of this composition, there are two known versions and perhaps the primary version, executed in both red and black chalk, is in the Louvre (inv. 3034).2 The Louvre drawing seems to be of slightly higher quality but the quality of our drawing is very high, sufficiently so to propose that it is autograph, as Ms. Nielson does. She also wonders if Procaccini left it unfinished.3

In her catalogue raisonee of the artist, Ms. Nielson notes Procaccini’s exploitation of the 16th century Emilian manner of drawing, particularly the use of red chalk as used by Parmigianino and his follower Bedoli. In the handling of the male’s head, one is also reminded of the studies of Agostino Carracci. Though Camillo migrated to Milan with the rest of his artistic family, he never relinquished his Emilian Mannerist style, unlike his younger brother Giulio Cesare who championed the new Baroque fashion in Lombardy. This drawing is exceptional not only because of its technical proficiency, but because these two lovers, depicted with such compelling realism, goiters and all, have a palpable presence with which we can empathize as they relate and empathize with one another.

Eduardo Testori, upon seeing the drawing, suggested that the hand, if not by Camillo himself, might be that of the young Giulio Cesare or Ercole Procaccini.4

1

Nancy Ward Nielson, Camillo Procaccini, Paintings and Drawings, New York & London, 1979, xiii.

2

Nielson, op. cit., p. 161, fig. 355.

3

in a letter dated 20 January 2005.

4

In conversation in NY on January 26, 2000.