Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.
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Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.
THERE is at the Fitzwilliam Museum this month an exhibition of sixty-two Italian drawings, dating mostly from the sixteenth and seventeenth centuries and lent by a large number of European collections. The drawings come from several countries and belong to different schools. What unites them is that all were wrongly ascribed; and all have now been restored to their author thanks to the remark-able attributive skills of Philip Pouncey. The exhibition marks Philip Pouncey's seventy-fifth birthday earlier this year. This issue of THE BURLINGTON MAGAZINE, With which he has been connected in divers capacities since 1937, is intended as a concurrent celebration and an expression of affectionate gratitude.
A drawing by Perino del Vaga in the possession of a Lon-don dealer during the mid-1960s was for unknown reasons split into two sheets. This villainous, though skilful, operation sundered recto from verso, and inevitably the pair thus severed parted company, the resultant two drawings winding up in different places: a New York private collection (Fig.2) and the Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco (Fig.6). This dissection is particularly unfortunate in the case of the Perino drawing under discussion because the two sides are significantly related. Together, they afford rare evidence for Perino's creative thought and methods and for the date of a major altar-piece from his Genoese period.
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