Joseph Mallord William TurnerSketches and Notes Relating to Paintings in the Galleria Borghese and the Palazzo Pallavicini-Rospigliosi, Rome 1819

Share this artwork

Artwork details

Artist
Title
Sketches and Notes Relating to Paintings in the Galleria Borghese and the Palazzo Pallavicini-Rospigliosi, Rome
From Remarks (Italy) Sketchbook
Turner Bequest CXCIII
Date 1819
Dimensionssupport: 115 x 94 mm
Collection
Tate
Acquisition Accepted by the nation as part of the Turner Bequest 1856
Reference
D16767
Turner Bequest CXCIII 3 a
View this artwork by appointment, at Tate Britain's Prints and Drawings Rooms

Catalogue entry

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
D16767
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
The schematic drawing at the top of the page represents a rough study of the background of Titian’s famous painting, Sacred and Profane Love circa 1513–14, in the Galleria Borghese, Rome.1 For another sketch and a fuller description see folio 5 (D16768; Turner Bequest CXCIII 4).
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.

Nicola Moorby
February 2011

1
Powell 1984, p.433. Reproduced in Paola della Pergola, Galleria Borghese: I Dipinti, Rome 1955–9, vol.I, no.233.
2
Powell 1984, p.433. Reproduced in Pergola 1955–9, vol.II, no.99, fig.100 and Powell 1987, p.[69], fig.73.
3
Powell 1987, pp.68–[9].

About this artwork