Joseph Mallord William Turner 1775–1851
Folio 4 Verso:
Sketches and Notes Relating to Paintings in the Galleria Borghese and the Palazzo Pallavicini-Rospigliosi, Rome 1819
Turner Bequest CXCIII 3 a
Turner Bequest CXCIII 3 a
Pencil on white wove paper, 115 x 94 mm
Inscribed by the artist in pencil (see main catalogue entry)
Accepted by the nation as part of the Turner Bequest 1856
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.575, as ‘Various slight sketches of pictures – “Barrocheo”, &c.; “... of the dark cloud above”, &c. (Perhaps Corregio’s “Diana bathing”)’.
John Gage, Colour in Turner: Poetry and Truth, London 1969, pp.143, 259 note 75.
Cecilia Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, pp.145 note 79, 151 note 1, 155, 158, 160–1, 433, as ‘(a) Slight diagrammatic sketch of the landscape background of the left-hand part of Titian’s Sacred and Profane Love (P, I, 233), as if Turner had originally planned to use ff. 3a-4 to sketch that work, (b) Barrochio Aen... and ... and slight sketch of Barocci’s Aeneas fleeing from Troy (P, II, 99), (c) Continuation of Turner’s note on Guido’s Aurora, begun on f.3’ and reproduced pl.85 as ‘Notes and sketches relating to the paintings in Palazzo Borghese, Rome’.
Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, pp.59, 65, 68, 203 notes 1, 17 and 44.
Cecilia Powell, ‘Guido Reni’, in Evelyn Joll, Martin Butlin and Luke Herrmann (eds.), The Oxford Companion to J.M.W. Turner, Oxford 2001, p.257.
In the centre of the page is a study of a painting by Barocci Federico (?1535–1612), Aeneas Fleeing from Troy 1598, also in the Galleria Borghese.2 The drawing is labelled ‘Barrochio Aeneas and M’, and is further annotated with notes, ‘[?Aen]’ and ‘[?White]’. Cecilia Powell has suggested that the fiery colours enlivening the figures of Aeneas and his family may have struck a chord with Turner’s own approach to the use of emotive colouring within his paintings.3
At the bottom of the page is part of a handwritten note referring to the Aurora of Guido Reni (1575–1642), a fresco dating from 1613–14 which decorates the ceiling of the Casino dell’Aurora in the Palazzo Pallavicini-Rospigliosi, Rome. The inscription reads: ‘of the dark cloud above, more than its | sun quality. the cloud rather ylo as | the figures are – ’. See folio 4 (D16766; Turner Bequest CXCIII 3) for the first part of the inscription and further discussion of Turner’s comments.
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