Lot n° 180
Estimation :
400 - 600
EUR
Result with fees
Result
: 715EUR
Jean-Robert ANGO (? 1710-1773 Rome) - Lot 180
Jean-Robert ANGO (? 1710-1773 Rome)
Double study: after Carlo Marata, in the Vatican; after Raphael, the School of Athens.
Black stone on paper H_16 cm W_21 cm Annotations probably in the hand of the Abbé de Saint-Non, situating the copied works. On the back, label stamped "service des expositions" by the French customs in Paris, with a handwritten number 640, probably dating from the early 20th century. Numbering in red pastel n°35. On the frame, label with handwritten annotations: 242 INX
Provenance: - Remained in Jean-Honoré Fragonard's family until his great-grandson Jacques, who settled in Gironde in the 1920s. - Acquired, most likely from the latter, by M.Milon-Ferret, framer in Bordeaux - Acquired from the latter by the current owner's grandfather.
Related works:- Jean Claude Richard, abbé de Saint-Non, Triple étude : d'après Caravage, d'après Carlo Marata, au Vatican ; d'après Raphaël, l'Ecole d'Athènes, etching, plate 29 of "Fragments" - Jean-Robert Ango, étude d'après Maratta, sanguine, Caen, Musée des Beaux-Arts, inv. unknown,
Bibliography of related works: - P. Rosenberg, with B. Brejon de Lavergnée, Saint-Non, Fragonard, Panopticon Italiano, Rome 1986, page 348, n°54 and 54a
The drawings made in Italy by Ango, alongside Fragonard and Abbé Saint-Non, and copied from the Old Masters, form an important and moving part of his corpus.
Fragonard spent five years in Italy, from 1756 to 1761. He spent his early years as a boarder at the Académie de Rome, but in the spring of 1760 he met the Abbé de Saint-Non, whose enthusiastic patronage enabled him to travel throughout the country. The abbé had proposed the same deal to Jean-Robert Ango: all he asked in exchange was to reproduce the most important works of art they came across.
Pierre Rosenberg and Barbara Brejon de Lavergnée, in their book Panopticon Italiano (1986), describe some 370 drawings made by the two artists in this context.
The practice of studying artistic predecessors was not new, and had in fact long been encouraged by the Académie de France in Rome.
Ango and Fragonard not only copied entire compositions, but also selected the most interesting figures worthy of recording, in order to build up a repertoire of motifs for re-use in painted compositions.
Some of these drawings were proofed, or translated in etching, by the Abbé de Saint-Non, for inclusion in his work "Fragments choisis dans les Peintures et les Tableaux les plus interessants des Palais et des Eglises d'Italie", alas never fully published.
Such is the case with ours, included at the bottom of plate 29.
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