(1655-1730) attributed to, Christ Healing the Sick at the Pool of Bethesba, pen and brown ink, over traces Spuren of black chalk, on paper, 24 x 40 cm, a study for a ceiling design on the reverse, browned, foxing, mounted, unframed, (Sch)
With a certificate by Prof. George Knox. Comparable literature: Adelheid M. Gealt/ Georg Knox, Domenico Tiepolo: A New Testament, Bloomington 2006, p. 133, 764. Davide Apolloni, Pietro Monaco e la raccolta di cento dodici stampe di pitture della storia sacra, Monfalcone 2000, p. 69. Sandra Moschini Marconi, Gallerie dell'Accademia, Rome 1970, p. 81. George Knox, Giovanni and Domenico Tiepolo: a study and catalogue raisonné of the chalk drawings, Oxford 1980, p. 243-246. Terisio Pignatti, Disegni Antichi del Museo Correr, 4, Venice 1987, p. 953. Georg Knox, "The Collection of Ergole Giusti at Verona", in: Verona Illustrata 10, 1987, pp. 29,30. The story of the present drawing goes back to the gospel of St. John (Joh., 5, 2-8). There are several examples for an iconographic tradition of the story in Venice in the 18th century (see: Gealt & Knox 2006, p. 133). Three of them may be related to the present sheet: an engraving by Pietro Monaco after a lost painting by Paolo Veronese (Apolloni 2006, p. 69), a lost painting by Gianantonio Fumiani in the collection of Ercole Giusti in Verona (Gealt & Knox 2006, p. 764), and a painting by Gregorio Lazzarini, formerly in the church of Sant'Angelo (1719), which is kept today in the Fondazione Giorgio Cini (Moschini Marconi 1970, p.81). The latter painting is of particular interest as it shows two scenes in one painting: the healing of a paralysed man and his walking away. A similar composition scheme was used by Domenico Tiepolo in his painting "Christus at the pool of Bethesba"(Louvre Inv. R. F. 1961-81) (comp. Knox 1980, pp. 243-246). The present drawing does not show the double scene, however,it shares the same harmony in the composition oft he figures. Only few drawings are known by Lazzarini today. One signed sheet with “Saint Lawrence Giustiniana” is preserved in the Correr Museum (comp. Pignatti 1987, p. 953) and another somewhat more extensively executed study for “Cleopatra” in Warsaw is related to two paintings by Lazzarini (Knox 1987, pp. 29 and 30)
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