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Studies of Saint Jerome and the Lion

Date

ca. 1588

Creator

Agostino Carracci

Location

Raclin Murphy Museum of Art

Probably the least well-known member of the illustrious Carracci family of artists, Agostino now is regarded as a fine painter, draftsman, and printmaker. His printmaking, however, has always been considered of special significance, as he is known to have produced some 225 engravings. Agostino created an exceptional body of prints after a wide variety of images by such other artists as Tintoretto, Raimondi, Veronese, and Barocci. He also created masterful engravings after his own designs. The present drawing, with its typically strong graphic contours and systematic lines of parallel hatching, shows how much the artist's draftsmanship was affected by his proficiency as a printmaker. Attributed to Agostino by Babette Bohn over a decade ago, the sheet of studies in the Reilly Collection definitely appears related to Tintoretto's 1575 painting, The Virgin Appearing to St. Jerome. In 1588 Agostino produced an engraving after Tintoretto's painting. The Reilly drawing, rather than being considered a direct preparatory study for that engraving, is thought to be part of the artist's process of intensely studying the Tintoretto. from Spiro, Master Drawings: Recent Gifts from the John D. Reilly Collection (Notre Dame, 2001)

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Probably the least well-known member of the illustrious Carracci family of artists, Agostino now is regarded as a fine painter, draftsman, and printmaker. His printmaking, however, has always been considered of special significance, as he is known to have produced some 225 engravings. Agostino created an exceptional body of prints after a wide variety of images by such other artists as Tintoretto, Raimondi, Veronese, and Barocci. He also created masterful engravings after his own designs. The present drawing, with its typically strong graphic contours and systematic lines of parallel hatching, shows how much the artist's draftsmanship was affected by his proficiency as a printmaker. Attributed to Agostino by Babette Bohn over a decade ago, the sheet of studies in the Reilly Collection definitely appears related to Tintoretto's 1575 painting, The Virgin Appearing to St. Jerome. In 1588 Agostino produced an engraving after Tintoretto's painting. The Reilly drawing, rather than being considered a direct preparatory study for that engraving, is thought to be part of the artist's process of intensely studying the Tintoretto. from Spiro, Master Drawings: Recent Gifts from the John D. Reilly Collection (Notre Dame, 2001)
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  • Probably the least well-known member of the illustrious Carracci family of artists, Agostino now is regarded as a fine painter, draftsman, and printmaker. His printmaking, however, has always been considered of special significance, as he is known to have produced some 225 engravings. Agostino created an exceptional body of prints after a wide variety of images by such other artists as Tintoretto, Raimondi, Veronese, and Barocci. He also created masterful engravings after his own designs. The present drawing, with its typically strong graphic contours and systematic lines of parallel hatching, shows how much the artist's draftsmanship was affected by his proficiency as a printmaker. Attributed to Agostino by Babette Bohn over a decade ago, the sheet of studies in the Reilly Collection definitely appears related to Tintoretto's 1575 painting, The Virgin Appearing to St. Jerome. In 1588 Agostino produced an engraving after Tintoretto's painting. The Reilly drawing, rather than being considered a direct preparatory study for that engraving, is thought to be part of the artist's process of intensely studying the Tintoretto. from Spiro, Master Drawings: Recent Gifts from the John D. Reilly Collection (Notre Dame, 2001)
  • Probably the least well-known member of the illustrious Carracci family of artists, Agostino now is regarded as a fine painter, draftsman, and printmaker. His printmaking, however, has always been considered of special significance, as he is known to have produced some 225 engravings. Agostino created an exceptional body of prints after a wide variety of images by such other artists as Tintoretto, Raimondi, Veronese, and Barocci. He also created masterful engravings after his own designs. The present drawing, with its typically strong graphic contours and systematic lines of parallel hatching, shows how much the artist's draftsmanship was affected by his proficiency as a printmaker. Attributed to Agostino by Babette Bohn over a decade ago, the sheet of studies in the Reilly Collection definitely appears related to Tintoretto's 1575 painting, The Virgin Appearing to St. Jerome. In 1588 Agostino produced an engraving after Tintoretto's painting. The Reilly drawing, rather than being considered a direct preparatory study for that engraving, is thought to be part of the artist's process of intensely studying the Tintoretto. from Spiro, Master Drawings: Recent Gifts from the John D. Reilly Collection (Notre Dame, 2001)
  • Probably the least well-known member of the illustrious Carracci family of artists, Agostino now is regarded as a fine painter, draftsman, and printmaker. His printmaking, however, has always been considered of special significance, as he is known to have produced some 225 engravings. Agostino created an exceptional body of prints after a wide variety of images by such other artists as Tintoretto, Raimondi, Veronese, and Barocci. He also created masterful engravings after his own designs. The present drawing, with its typically strong graphic contours and systematic lines of parallel hatching, shows how much the artist's draftsmanship was affected by his proficiency as a printmaker. Attributed to Agostino by Babette Bohn over a decade ago, the sheet of studies in the Reilly Collection definitely appears related to Tintoretto's 1575 painting, The Virgin Appearing to St. Jerome. In 1588 Agostino produced an engraving after Tintoretto's painting. The Reilly drawing, rather than being considered a direct preparatory study for that engraving, is thought to be part of the artist's process of intensely studying the Tintoretto. from Spiro, Master Drawings: Recent Gifts from the John D. Reilly Collection (Notre Dame, 2001)
Agostino Carracci (Italian, 1557 - 1602)
ca. 1588
Drawings
Pen and brown ink on laid paper with watermark
2000.074.014
Not on view, please request access
13 7/8 x 9 1/4 in. (35.2 x 23.6 cm)
Gift of John D. Reilly, ND '63, '64

Our collection information is a work in progress and may be updated as new research findings emerge. If you have spotted an error, please contact Raclin Murphy Museum of Art at RMMACollections@nd.edu.