Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)
ANDREA CZÉRE: Giambettino Cignaroli's Drawing of the Virgin and Child in the Budapest Collection: On the Third Centenary of the Artist's Birth
10 This is revealed not only by his themes occasionally taken from ancient history or literature and by his clearly structured compositions but also by his actual study of ancient art. In Verona he was closely related to Scipione Maffei, the scholar who collected Greek, Etruscan and Roman memorial stones and published the translations of their epitaphs in 1749 under the title Museum Veronese. Cignaroli executed twenty-one drawings for this volume, which were engraved by the Venetian Francesco Zucchi (1692-1764). These compositions represented antique reliefs; R. R. Coleman, "Cignaroli in Tuscany: Drawings for the Picture in the Duomo at Pisa and for Francesco Maria Niccolö Gaburri", Gazette des Beaux-Arts CXXXIX (2002), 386-87, figs. 9. and 10. " On the artist's character and way of life see Warma 1988, 12-14. 12 Bevilaqua 1771; P.J. Mariette, Abecedario, Paris 1851-1853 (posthumous publication on the basis of the data provided by the artist in 1768); T. Temanza, Zibaldon, Rome 1838 (posthumous publication); G. Biadego, Di Giambettino Cignaroli pittore Veronese notizie e documenti, Venice 1890. 13 In one of his letters written to P. J. Mariette e. g. the artist enumerates his paintings and patrons in Europe, England and Russia, Mariette 1851-53, 371-74; cited in Coleman 2002, 390, note 8. 14 Biblioteca Ambrosiana Cod. F. 256-257-258 Inf. A great deal of his drawings are preserved in the Uffizi, Florence; Cinque secoli di disegno Veronese, cat. by S. Marinelli, Gabinetto disegni e stampe degli Uffizi LXXXVI, Florence 2000, 115-50. 15 F. R. Pesenti, "II ritrovamento di tre libri di disegni di Giambettino Cignaroli", Arte Lombarda IV, no. 1 (1959), 126-30; Coleman 2002, 382. "' F. R. Pesenti, "Appunti per Giambettino Cignaroli", Arte antica e moderna (January/March 1960), 418; D. Tosato, "La prima attività di Giambettino Cignaroli", Verona illustrata (1999), n. 12, 20-21; D. Tosato, "Giambettino Cignaroli a Venezia", Arte Veneta, no. 1 (1999), 102-15. 1 Cignaroli painted the two large-size works representing the deaths of Cato and of Socrates (inv. nos. 648 and 653) for the Hapsburg court, more precisely for Count Karl Firmian, Empress Maria Theresa's Lombard governor residing in Milan. They were presented to the National Museum by Károly Andrássy in 1845, from where they found their way to the Budapest Museum of Fine Arts. Essential literature: A. Pigler, Katalog der Galerie Alter Meister, Budapest 1967, 138-39; K. Garas, "Gianbettino Cignaroli és Pietro Rotari művei Magyarországon", Bulletin du Musée Hongrois des Beaux-Arts 39 (1972), 137-45, figs. 63-64; K. Garas, Eighteenth Century Venetian Paintings, third, revised edition, Budapest 1977, no. 48; Warma 1988, nos. 54-55; Museum of Fine Arts Budapest, Old Master's Gallery, A Summary Catalogue of Italian, French, Spanish and Greek Painting, ed. V. Tátrai, Budapest 1991, 26; J. Geiger, "Giambettino Cignaroli's Deaths of Cato and of Socrates", Zeitschrift für Kunstgeschichte LEX, no. 2 (1996), 270-78.
