{"secondaryobjectnumber":null,"periodterms":[],"creditline":"Bequest of Dan Fellows Platt, Class of 1895","caption":"Federico Barocci (1535–1612; born and died Urbino, Italy), Studies for Saint Sebastian, ca. 1592–96. Black chalk and charcoal, heightened with white chalk, with stumping and touches of red chalk, on tan laid paper prepared with a medium brown wash, squared in black chalk; 42.5 × 26.3 cm, 61.1 × 45.7 × 3.2 cm (frame). 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Black chalk and charcoal, heightened with white chalk, with stumping and touches of red chalk, on tan laid paper prepared with a medium brown wash, squared in black chalk; 42.5 × 26.3 cm, 61.1 × 45.7 × 3.2 cm (frame). Bequest of Dan Fellows Platt, Class of 1895 (x1948-598)","displaydate":"ca. 1592–96","medium":"Black chalk and charcoal, heightened with white chalk, with stumping and touches of red chalk, on tan laid paper prepared with a medium brown wash, squared in black chalk","media":[{"id":110987,"uri":"https://media.artmuseum.princeton.edu/iiif/3/collection/x1948-598_1","isprimary":1,"rank":1,"mediatypeid":1,"mediaviewtype":"(not assigned)","restrictions":null,"caption":"PUAM photo"}],"displayperiod":null,"extended_content":true,"campuscollections":"false","bibliography":[{"boilertext":"Laura Giles, Lia Markey, Claire Van Cleave,<i> </i>et. al., <i>Italian Master Drawings from the Princeton University Art Museum</i>, (Princeton, NJ: Princeton University Art Museum, 2014).","citation":"Laura Giles, Lia Markey, Claire Van Cleave,<i> </i>et. al., <i>Italian Master Drawings from the Princeton University Art Museum</i>, (Princeton, NJ: Princeton University Art Museum, 2014)., p. 100, cat. no. 41; p. 101 (illus.)","date":2014,"id":1855,"uri":"https://search.worldcat.org/title/869726410"},{"boilertext":"Jacob Bean, <em>Italian drawings in the Art Museum, Princeton University; 106 selected examples, </em>(New York: October House, 1966).","citation":"Jacob Bean, <em>Italian drawings in the Art Museum, Princeton University; 106 selected examples, </em>(New York: October House, 1966)., no. 14","date":1966,"id":691,"uri":"https://search.worldcat.org/title/686041"},{"boilertext":"<i>Princeton University Art Museum: Handbook of the Collections </i>(Princeton, NJ: Princeton University Art Museum, 2013)","citation":"<i>Princeton University Art Museum: Handbook of the Collections </i>(Princeton, NJ: Princeton University Art Museum, 2013), p. 319","date":2013,"id":1994,"uri":"https://search.worldcat.org/title/865020505"},{"boilertext":"<i>Princeton University Art Museum: Handbook of the Collection</i> (New Haven, CT: Yale University Press, 2007)","citation":"<i>Princeton University Art Museum: Handbook of the Collection</i> (New Haven, CT: Yale University Press, 2007), 267 (illus.)","date":2007,"id":474,"uri":"https://search.worldcat.org/title/191864564"},{"boilertext":"Janos Scholz, \"Italian Drawings in the Art Museum of Princeton University,\"<em> Burlington Magazine</em> 109 no. 770 (May, 1967): p. 290-299.","citation":"Janos Scholz, \"Italian Drawings in the Art Museum of Princeton University,\"<em> Burlington Magazine</em> 109 no. 770 (May, 1967): p. 290-299., p. 293","date":1967,"id":5332,"uri":"https://www.jstor.org/stable/875302"},{"boilertext":"Agnes Mongan, \"Drawings in the Platt Collection\", <em>American magazine of art</em> 25, no. 1 (Jul., 1932): p. 47-54.","citation":"Agnes Mongan, \"Drawings in the Platt Collection\", <em>American magazine of art</em> 25, no. 1 (Jul., 1932): p. 47-54., p. 53","date":1932,"id":5414,"uri":"https://www.jstor.org/stable/23935380"},{"boilertext":"Agnes Mongan, \"Notes on drawings: Federigo Baroccio\",&nbsp;<EM>Old master drawings</EM> 7, no. 25 (Jun., 1932): p. 5-6.","citation":"Agnes Mongan, \"Notes on drawings: Federigo Baroccio\",&nbsp;<EM>Old master drawings</EM> 7, no. 25 (Jun., 1932): p. 5-6., p. 5-6; pl. 12, 13","date":1932,"id":5436,"uri":"https://search.worldcat.org/title/1642887"},{"boilertext":"Harald Olsen, <em>Federico Barocci: a critical study in Italian Cinquecento painting</em>, (Stockholm: Almqvist &amp; Wiksell, 1955).","citation":"Harald Olsen, <em>Federico Barocci: a critical study in Italian Cinquecento painting</em>, (Stockholm: Almqvist &amp; Wiksell, 1955)., p. 153","date":1955,"id":5437,"uri":"https://search.worldcat.org/title/2217673"},{"boilertext":"<EM>Visions and revisions: [exhibition] Museum of Art, Rhode Island School of Design, Providence, October 10- November 24 1968</EM>, (Providence: Museum of Art, Rhodes Island of Design, 1968).","citation":"<EM>Visions and revisions: [exhibition] Museum of Art, Rhode Island School of Design, Providence, October 10- November 24 1968</EM>, (Providence: Museum of Art, Rhodes Island of Design, 1968)., no. 7-1 (illus.)","date":1968,"id":5438,"uri":"https://search.worldcat.org/title/491952540"},{"boilertext":"Edmund P. Pillsbury, <EM>The graphic art of Federico Barocci: selected drawings and prints</EM>, (New Haven, CT: Yale University Art Gallery, 1978).","citation":"Edmund P. Pillsbury, <EM>The graphic art of Federico Barocci: selected drawings and prints</EM>, (New Haven, CT: Yale University Art Gallery, 1978)., cat. no. 61, p. 83; p. 84 (illus.)","date":1978,"id":5439,"uri":"https://search.worldcat.org/title/4136569"},{"boilertext":"Andrea Emiliani, <em>Federico Barocci (Urbino 1535-1612)</em>, (Bologna: Nuova Alfa Editoriale, 1985).","citation":"Andrea Emiliani, <em>Federico Barocci (Urbino 1535-1612)</em>, (Bologna: Nuova Alfa Editoriale, 1985)., Vol. 2: p. 309; p. 312, fig. 662","date":1985,"id":5441,"uri":"https://search.worldcat.org/title/14002017"},{"boilertext":"Felton Gibbons, <i>Catalogue of Italian Drawings in The Art Museum, Princeton University</i>, (Princeton, NJ: Princeton University Press, 1977).","citation":"Felton Gibbons, <i>Catalogue of Italian Drawings in The Art Museum, Princeton University</i>, (Princeton, NJ: Princeton University Press, 1977)., Vol. 1: pp. 9-10, no. 24 (illustrated in Vol. 2 under the same catalog number)","date":1977,"id":263,"uri":"https://search.worldcat.org/title/2136968"}],"nowebuse":"False","periods":[],"department":"Prints and Drawings","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"},{"id":2199327,"term":"Prints and Drawings","termtype":"Collecting Area"}],"daterange":"A.D. 1500-1600","dateend":1597,"depicted":[],"titles":[{"title":"Studies for Saint Sebastian","titletype":"Primary Title","displayorder":1},{"title":"Studies for Saint Sebastian: Male Nude Viewed from the Front, and Two Separate Studies of Right","titletype":"Published","displayorder":2}],"hasimage":"true","creditlinerepro":null,"objectnumber":"x1948-598","inscribed":"Inscribed lower right, in graphite: Baroccio","texts":[{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"<P>From Mongan, “Drawings in the Platt collection”: Preliminary studies for the figure of St. Sebastian in the “Crucifixion” of Genoa Cathedral. (See reference Bib. 4472);</P>\r\n<P><BR>From Scholz, “Italian drawings…”: same level as spectacular example in Metropolitan or Head of Lady at Smith. (See reference Bib. 4382);<BR></P>","remarks":"From accession card. "},{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"Executed for Barocci’s large <EM>Crucifixion</EM> altarpiece in the cathedral in Genoa, this study for the athletic figure of Saint Sebastian conveys the core of the artist’s preparatory process, in which he refined the lighting and modeling of poses he had already established through studies from life, clay models, or after casts of antique sculptures. Knowing that the altarpiece would complete the decoration of a funerary chapel that included life-size marble statues of family saints, Barocci intended the semi-nude Sebastian to have a competing three-dimensional presence. Employing a battery of devices, Barocci enlivened and particularized each part of Sebastian’s body with flickering shadows and atmospheric <EM>sfumato </EM>(seamless blending of tones, as in smoke, or<EM> fumo</EM>), forgoing clinical observation for the desired theatrical effect. ","remarks":"Italian Drawings"},{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\nA major artist of the Counter-Reformation period, Federico Barocci produced altarpieces that in their theological clarity and atmospheric drama ushered in the Baroque naturalism of the Carracci and Caravaggio. As part of his labor-intensive preparatory process, Barocci drew his studio assistants from life in a variety of poses, selecting the most natural ones for the finished composition, while further refining the lighting and modeling. Together with eleven other life studies (including one in the &shy;Museum’s collection), this luminous sheet was made by Barocci in preparation for the heroically posed figure of Saint Sebastian in the <I>Crucifixion with the Mourning Virgin, Saint John, and Saint Sebastian</I> (Senarega Chapel, Genoa Cathedral). The&nbsp;pictorial harmony achieved by Barocci’s economical strokes in different colored chalks results in an organic ensemble that conveys materiality of form without sacrificing expressive beauty.</P></SPAN>","remarks":null}],"datebegin":1587,"sortnumber":"1948  598x","published_date":"2026-03-28 02:00:03.336799","objectid":8047,"dimensions":"42.5 × 26.3 cm (16 3/4 × 10 3/8 in.)\r\nframe: 61.1 × 45.7 × 3.2 cm (24 1/16 × 18 × 1 1/4 in.)","on_view":false}