Currently not on view

Studies for Saint Sebastian,

ca. 1592–96

Federico Barocci, 1535–1612; born and died Urbino, Italy
x1948-598
Executed for Barocci’s large Crucifixion 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 sfumato (seamless blending of tones, as in smoke, or fumo), forgoing clinical observation for the desired theatrical effect.

More About This Object

Information

Title
Studies for Saint Sebastian
Dates

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
Dimensions
42.5 × 26.3 cm (16 3/4 × 10 3/8 in.) frame: 61.1 × 45.7 × 3.2 cm (24 1/16 × 18 × 1 1/4 in.)
Credit Line
Bequest of Dan Fellows Platt, Class of 1895
Object Number
x1948-598
Inscription
Inscribed lower right, in graphite: Baroccio
Reference Numbers
Gibbons 24
Culture
Materials

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);

From Scholz, “Italian drawings...”: same level as spectacular example in Metropolitan or Head of Lady at Smith. (See reference Bib. 4382);

Studies for Saint Sebastian: Male Nude Viewed from the Front, and Two Separate Studies of Right