Red chalk (recto); pen and brown ink (verso). Inscribed Cigoli twice on the recto.
See the verso here.
On paper with watermark Star, similar to Briquet 6089.
PROVENANCE: originally sold at Christie’s, London, 11-13 December 1985, Important Ol Master Drawings, lot 194. Private collection, Milan.
According the 1985 catalogue, on the basis of photographs, Miles Chapel suggested that the present drawing is comparable both in style and model with studies for the Loggia di Psiche in the Scipione Borghese’s Vigna at Rome of about 1612.
Cigoli trained in Florence under Alessandro Allori; later he was influenced by the most prominent of the Counter-Maniera painters, Santi di Tito, as well as by Barocci. The leading painter in Florence at the end of the 16th century, Cigoli shed the shackles of mannerism and infused his later paintings with an expressionism often lacking from 16th-century Florentine painting. A number of important altarpieces for various Florentine churches throughout the late 1580's and 1590's culminated in his masterpiece, the Martyrdom of Saint Stephen, painted in 1597 for the convent of Montedomini. In 1604 Cigoli moved to Rome, where he received some of the most prestigious artistic commissions given, including altarpieces for St. Peter's, Santa Maria Maggiore and San Paolo.
Like a number of his Florentine contemporaries, Cigoli placed great emphasis on his drawings, both as preparatory studies for his canvases and as technical exercises in their own right. The historian and biographer Filippo Baldinucci, an avid collector of the artist's drawings, credits Cigoli with reestablishing the principles of life drawing among the painters of Florence. Using both nude and draped models posed in the studio, Cigoli's studies from life - invariably executed in red chalk - are an integral part of his graphic output.