Head of the Swooning Virgin: Study for the Deposition (recot) Base of Column (verso)

Prints and Drawings

1568/69

Federico Barocci
Italian, c. 1535-1612

After Raphael, Federico Barocci was the most important painter from Urbino; like Raphael, Barocci prepared for his painted compositions with an elaborate series of drawings. One of thirty-six known studies for his Deposition, painted c. 1568 / 69 for the Chapel of San Bernardino in the Cathedral of Perugia, this is one of three life-sized drawings, or “cartoons,” from which he transferred his design to its support.

Status: Currently Off View
Department: Prints and Drawings

Artist: Federico Barocci
Title: Head of the Swooning Virgin: Study for the Deposition (recot) Base of Column (verso)
Place: Italy (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1568–1569
Medium: Black chalk and charcoal, with stumping and traces of white chalk, on tan laid paper, pieced and incised
Inscriptions: Inscribed recto, on former mount (GCI): "F. Baroccio / P.M. from sale of Chesney Collection at Sothebys-1885"
Dimensions: 29.4 × 23.9 cm (11 5/8 × 9 7/16 in.)
Credit Line: The Leonora Hall Gurley Memorial Collection
Reference Number: 1922.5406
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/112731/manifest.json

Ulrich Middeldorf, “Old Master Drawings from the Fifteenth through the Eighteenth Centuries: Two Hundred Examples from the Collection of the Art Institute of Chicago, Selected and Described by Ulrich Middeldorf,” unpublished manuscript, Department of Prints and Drawings, The Art Institute of Chicago, 1938/40, no. 106.
Ulrich Middeldorf, “Three Italian Drawings in Chicago,” in Art in America 27 (1939), pp. 11-14, fig. 1.
Hans Tietze, European Master Drawings in the United States (New York, 1947) pp. 94-95, no. 47 (ill.).
Harald Olsen, “Federico Barocci: A Critical Study in Italian Cinquecento Painting,” Figura 6 (1955), p. 120.
Harald Olsen, “Federico Baroccio”, Figura 6, 2nd ed.(Copenhagen, 1962), pp. 152-53, no. 21.
Frederick Cummings, Art in Italy, 1600-1700, exh. cat. (Detroit, 1965), pp. 73-74, no. 64.
Graham Smith, “Federico Barocci at Cleveland and New Haven,” Burlington Magazine 120 (1978), p. 333, fig. 107.
Edmund P. Pillsbury and Louise S. Richards, The Graphic Art of Federico Barocci, exh. cat. (New Haven, 1978), pp. 49-50, no. 22 (ill.).
Harold Joachim and Suzanne Folds McCullagh, Italian Drawings in The Art Institute of Chicago (Chicago and London, 1979), p. 38, no. 31, pl. 34.
Harold Joachim, Italian Drawings of the 15th, 16th, and 17th Centuries, compiled by Suzanne Folds McCullagh and Sandra Haller Olsen (Chicago and London), p. 19, no. 1C4 (ill. microfiche).
Suzanne Folds McCullagh, “Serendipity in a Solander Box: A Recently Discovered Pastel and Chalk Drawing by Federico Barocci,” Italian Drawings at The Art Institute: Recent Acquisitions and Discoveries, The Art Institute of Chicago Museum Studies, vol. 17, no. 1 (1991), p. 65, fig. 17.
Suzanne Folds McCullagh and Laura M. Giles, Italian Drawings before 1600 in The Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1997), pp. 15-17, no. 15 (ill.).

Newark Museum, “Old Master Drawings,” March 17-May 22, 1960, cat. 29 (ill.).
Detroit Institute of Arts, “Art In Italy: 1600-1700,” 1965, pp. 73-74, cat. 64.
The Cleveland Museum of Art, “Federico Barocci: Selected Drawings and Prints,” February 15-March 26, 1978, pp. 49-50, cat. 22 (ill.), cat. by Edmund P. Pillsbury and Louise S. Richards, also traveled to Yale University Art Gallery, April 11-June 4, 1978.
Washington, D.C., National Gallery of Art, “Italian Drawings in The Art Institute of Chicago,” cat. 31, pl. 34, cat. by Harold Joachim and Suzanne Folds McCullagh; traveled to The Art Institute of Chicago, 1979-80.
The Art Institute of Chicago, “Drawings Rediscovered: Italian Drawings before 1600 in The Art Institute of Chicago,” April 10-June 22, 1997 (recto only).
St. Louis Art Museum, “Federico Barocci (c. 1535-1612)”, October 17, 2012 - January 20, 2013.
The Art Institute of Chicago, “Strokes of Genius: Italian Drawings from the Goldman Collection,” November 1, 2014-February 1, 2015.

Provenance: Edward Cheney (1803–1884), London [inscription; Lugt 444]; sold, Sotheby’s, London, April 29–May 5, 1885, Edward Cheney sale, part of lot 932 (as Baroccio and others, Studies of Heads). Sir John C. Robinson (1924–1913), London (Lugt 1433) [Sotheby’s annotated sale catalogue]. Unidentified script P.M. Sold, Puttick & Simpson, London, July 24, 1913, part of lot 186, to William F. E. Gurley (1854–1943), Chicago [his stamp (not in Lugt) recto, lower left, in black]; given to the Art Institute, 1922.

McCullagh & Giles 15

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Head of the Swooning Virgin: Study for the Deposition (recot) Base of Column (verso)

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.