Abstract
Jacopo de’ Barbari (1), whose family name was Walch, and who, on account of the caduceus with which he signed many of his prints, has been given the surname of “le maître au caducée” by several French critics, is a very hybrid member of the Venetian school.
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Reference
A complete (almost too complete) bibliography up to 1908 is found in P. Kristeller, Thieme-Becker, Künstlerlexikon. The following I think will prove sufficient: P. Bautier, J. d. B. et Marguérite d’Autriche, La Revue d’Art, Antwerp, 1924.
B. Berenson, Lorenzo Lotto, London, 1901, p. 26.
T. Borenius, Four early Italian Engravers, London, 1923, p. 55.
A. E. Canditto, J. d. B. et A. Dürer (with appendix by A. H. François ), Brussels, 1881.
Ch. Ephrussi, Notes biographiques sur J. d. B., Paris, 1886; reprint from Gazette des Beaux Arts, XIII, 1876, p. 529.
E. Galichon, Ecole de Venise, J. d. B. dit le Maître au Caducée, Paris, 1874; reprint from Gazette des Beaux Arts, 1st serie, XI, 1861, pp. 311, 445.
The Same, Quelques notes nouvelles sur J. d. B., Idem, second period, VIII, 1873, p. 223.
G. Gronau, Per la storia di un quadro attribuito a J. d. B., Rassegna d’Arte, V, 1905, p. 28.
E. Harzen, J. d. B. der Meister mit den Schlangenstaben, Naumann’s Archiv. f. Zeichn. Kunste, I, 1855, p. 210.
Hendcke, Dürer’s Beziehungen zu J. d. B., Pollaiuolo u. Bellini, Jahrb. der K. Preus. Kunstsamml., XIX, 1898, p. 161.
A. d’e Hevesy, J. d. B., le Maitre au Caducée, Paris-Brussels, 1925.
The Same, Two unknown Drawings by J. d. B., Burlington Magazine, XLV, 1924, p. 143.
The Same, The Drawings of..J. d. B., Idem, XLIV, 1924, p. 76.
The Same, An important Picture by J d. B., Idem, XLIV, 1924, p. 299.
P. Kern, Friedrich der Weise u. J. d. B., Jahrb. der K. Preus. Kunstsamml., XLVI, 1925, p. 130.
K. (risteller), in Thieme-Becker, Künstlerlexikon, II, 1908, p. 461.
P. Kris-teller, Das Werk des J. d. B., Internationale Chalcographische Gesellschaft, Berlin, 1896.
G. Morelli, Italian Painters: the Galleries of Munich and Dresden, London, 1893, p. 194 (or Italian Masters in German Galleries, London, 1883, p. 141 ).
O. Mündler, B., Zeitschr. f. Bild. Kunst, I V, 1870.
E. Panofsky, Dürer’s Darstellungen des Apollo und ihr Verhältniss zu B., Jahrb. der K. Preus. Kunstsamml., XLI, 1920.
Pauli, Warburg Vorträge, 1921–22, p. 57. C. Ricci, Iconografia storica, Il ritratto di Luca Pacioli
For the documents concerning J. d. B. v. Jahrb. der Kunsthist. Samml. der Allerh. Kaiserh., III, 1885, Nos. 2284, 2397, 2550, 2880. Le Glay, Correspondance de l’empereur Maximilien I et de Marguérite d’Autriche, I, Paris, 1839, p. 96. De Hevesy, J. d. B., p. 35.
Hevesy, op. cit., Burlington Magazine, XLIV, p. 299. The Same, J. d. B., pl. 13.
Harck, Arch. stor. dell ‘arte, IV, 1891, p. 86. Schaefer, Rassegna d’Arte, 1912, p. 73. Berenson, Catal. of the Ital. Pictures of the Johnson Collection, No. 167.
R. van Marle, Iconographie de l’art profane au Moyen-Age et à la Renaissance, II, The Hague, 1932, p. 476.
K. W. Jähnig), Die Staatl. Gemäldegalerie zu Dresde; I, Der Romanische Länder, Dresden-Berlin (1929), pp. 27, 28.
Passavant, op. cit., IV, p. 25. Gust, Jahrb. d. Preus. Kunstsamml., XIII, 1892, p. 142. M. Geisberg, Der Deutsche Einblatt Holzschnitt: Bildercatalog, Munich, 1930, No. 651.
From the Lippmann, Miethke and Przibram collections.
v. Cranach’s picture of Christ blessing in the von Miller collection, Munich. M. J. Friedländer u. J. Rosenberg, Die Gemälde von Lucas Cranach, Berlin, 1932, fig. 47. See also figs. 71, 110, 113.
Once in the Felix and F. Murray collections. V. Scherer, Dürer (Klassiker der Kunst), 5904, fig. 17. H. Tietze u. E. Tietze-Conrat, Der Junge Dürer, Augsburg, 1928, fig. 244. Cranach’s picture in the von Miller collection is particularly resembling.
A. E. Bye, A portrait of Henry the Peaceful of Mecklenburg, Art in America, XVIII, 1930, p. 221.
Compare for example Cranach’s portrait of Dr Christoph Scheurl: Friedländer u. Rosenberg, op. cit., fig. 22, and other portraits reproduced in the same volume, figs. 49, 51, 55, 57, etc.
No. 15 of the catalogue of the exhibition of ancient Italian art in Dutch possession, Amsterdam, 1934. Previously in the Chillingworth collection, Lucerne.
See for example Friedländer u. Rosenberg, op. cit., fig.
Besides the picture of Pacioli in Naples, I think the following works are wrongly ascribed to Jacopo de’ Barbari: portraits of a man in the Heugel coll., Paris, Cook coll., Richmond and a private coll. in England (Hevesy, op. cit., pls. 37, 38, 39); the last mentioned which is by Gossart de Mabuse, is now in the Rosenfeld coll., New York (M. J. Friedländer, Die Altneiderländische Malerei, XIII, Berlin, 193o, No. 52); a half-figure of a man against a curtain and landscape background, with a nude couple embracing, standing in architecture on the back, in the gallery of Berlin (1664); the portrait is more German in style while the nude figures show an Italian influence; this work has also been ascribed to Bartolomeo Veneto but Mr Berenson, who suggests Barbari with a question-mark, has contested this attribution; a portrait of a woman at one time in the Quedeville coll., Paris; the painted frieze on the tomb of Melchior Trevisani in the Frari church, Venice, and the figures of warriors on that of Agostino Onigo in S. Niccolo, Treviso (Morelli, op. cit., p. 198 et seq.); the latter is now recognized as a work by Lotto; a falcon, once in the Layard coll., now in the National Gallery, London, which is attributed to Barbari by A. Venturi, L’Arte, XV, 1912, p. 453, is by Gryeff; and a half-figure of Christ in the gallery of Verona, No. 805. Hevesy, op. cit., cites among the wrong attributions to Barbari a St. Andrew in the Fetis
Hevesy, op. cit., Burlington Magazine, XLIV, p. 76. The Same, J. d. B., p. 41, with the bibliography.
Frizzoni, L’Arte, XI, 1908, p. 403. Berenson, Lotto, p. 32.
A print of St. Sebastian is generally accepted as his, though there is much controversy regarding that of the bust of a woman with her head turned and inclined, and I hardly think that we have conclusive reasons to believe that the last mentioned engraving is from his hand.
Baldish, op. cit., VII, p. 516. Passavant, III, p. 134. Delaborde, op. cit., p. 134. Kristeller, op. cit. The Same, Kupferst. u. Holzschn., p. 194•
Hind, loc. cit. Borenius, loc. cit. Bock, op. cit., p. 308.
Pittaluga, op. cit., p. 11r. Calabi, op. cit., p. 9.
Hevesy, op. cit., Burlington Magazine, XLV, p. 143.
Hevesy, A Picture by Niccolo de’ Barbari, Burlington Magazine, XLVIII, 1926, p. 206. This picture is described also by Geiger, Jahrb. d. Preus. Kunstsamml., XXXIII, 1912, p. 139; by Meyer, Allgemein. Künstlerlexikon, II, p. 716 and by Crowe and Cavalcaselle, Painting in N. Italy, ed. Borenius, I, p. 233, who believe that a panel of SS. Jerome, Catherine and another saint in the museum of Padua is by the same artist.
D’Engenio’s information is repeated by di Pietro, Hist. nap., 1634 and by Celano, Notizie del bello della città diNapoli, Naples, 1692.
De Dominici may have copied this early date from Massimo Stanzioni who died in 1656 but who left a manuscript entitled “Vite e memorie deli famosi pittori e sculturi napolitani”. Schulz, op. cit., p. 207 note 2. Lanzi, op. cit., repeats De Dominici’s fable in an abbreviated form.
Sebastiano, op. cit.
Rolfs, Arch. Stor. Napol., XXXIII, 1908, p. 736.
Grigioni, op. cit. A. Anselmi, Di due quadri marchigiani depositati nelle chiese di Lombardia e attribuiti a Perugino, Arte e Storia, XII, 1893, p. 186. Modigliani, op. cit.
They were repainted in the 17th century, in the middle of the 18th and in 1869.
Serra, op. cit., is of opinion that five entire frescoes and parts of two others are by the Sicilian painter Quarteraro.
V. the above cited works of D’Aloe, Faraglia, Croce, Serra and Rolf s. This important series of wall paintings is also mentioned or described by some of the ancient historians of art such for example as d’ Agincourt and Lanzi.
G. Frizzoni, Rassegna d’Arte, VII, 1907, p. 50. This attribution, which I think is quite correct, has been contested by Modigliani, op. cit., P. 19.
Berenson, Rassegna d’Arte, XIII, 1913, p. 59, reproduced the picture, hesitating in his attribution of it between Antonio da Saliba and Solario. Reprod. in L. Serra, L’Arte nelle Marche: Rinascimento, Rome, 1934, fig. 532. V. Vol. XV, p. 567 note. L. Venturi, L’Arte, XVIII, 1915, p. 205.
No. 345 of the catalogue of the exhibition of ancient Italian art in Dutch possession, Amsterdam, 1934.
Fry, op. cit., Burlington Magazine, VII, 1905. Cagnola, Rassegna d’Arte, VII, 1907, p. 17.
Fry, op. cit., Burlington Magazine, 1903. Croce, op. cit.
I. N. Muxel, Gemälde Sammlung in München, S. K. H. Herzog von Leuchtenberg, Munich (1841), No. 29bis; on p. 41 he repeats part of De
It never formed part of the Johnson collection, Philadelphia as is stated by Perkins, Rassegna d’Arte, 1905, p. 534.
O. Eisenmann, Zeitschr. f. Bild. Kunst., IX, 1874, p. 29.
B. Geiger. M. M. and der sogenannte Nordische Einflusz in seinen Bildern., Jahrb. K. Preus. Kunstsamml., XXXIII, 1912, pp. 1, 122.
Ludwig, Jahrb. K, Preus. Kunstsamml., XXVI, 1905, Beiheft, p. 34.
Thieme-Becker, XXIV, p. 191, (particularly short and incomplete).
G. De Nicola, L’Arte, XI, 1908, p. 386.
Suida, Pantheon, V, 1930, p. 25o.
V. Commercial supplement to the Burlington Magazine, December 1929, pl. 16.
A. Venturi, La Galleria Crespi, Milan, 1900, p. 329. No. 38 of the catalogue of the Crespi sale, Paris, June 1914. Prior to this it was in the Bertini coll. and formed No. 34 of the sale catalogue, Milan, May 1899; it then entered the Hatvany coll., Budapest.
It is not mentioned in A. Venturi’s catalogue of this collection. I find that Mr. Berenson attributes to Marziale still the following works: a picture of Christ and the adulterous woman in the gallery of Bergamo (410) and, with a point of interrogation, the bust-portrait of a man —Giulio Mellini and two putti near a tree in a landscape background, which is found on the back of the panel, in the Louvre (No. 1252A); it is catalogued as a work by Catena but does not seem to be by either of these artists.
Von Liphart, Starye Gody, January 1915, p. 4, assigns to him a Pietà which at that time was at Gatschina, near Petrograd, while in Crowe and Cavalcaselle, op. cit., p. 232 note 2, we find mention of a Crucifixion by Marziale in the Castelbarco coll., Milan, which was sold in Paris in 1870.
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Van Marle, R. (1936). Different Venetian Painters Influenced by Foreign Schools. Jacopo De’ Barbari, Antonio Da Solario, Marco Marziale. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2815-3_7
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