Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2008)

TERÉZ GERSZI: Frans Floris' Early Drawings in Budapest

This sitting figure's position with its pulled-up legs and head shown in profile is almost identical to that of one of the figures of an engraving entitled Lot mid His Daughters, made by Balthasar van den Boss (1518-1580) in 1555 after Floris. Van de Velde 1975, no. P 6, fig. 159. Pegasus und die Künste, eds. Claudia Brink and Wilhelm Hornbostel, exh. cat, Hamburg, Museum für Kunst und Gewerbe, Munich 1993, no. IV. 4; 111. Bartsch 31, 4-1 (463). C. van de Velde, "A Roman Sketchbook of Frans Floris", Master Drawings VII, no. 3, 1969, 255-86. Van de Velde 1975, no. T 27, fig. 124, 125; E. Brugerolles, Renaissance et Maniérisme dans les Ecoles du Nord. Dessins des collections de VEcole des Beaux-Arts, exh. cat, Hamburg, Kunsthalle, 1985, no. 66. He had the opportunity to acquaint himself with the works of antiquity and Italian art in the workshop of his master, Lambert Lombard, in Liege, and through the mediation of his brother, Cornelis Floris (both of them were in Italy around 1538). Besides the great Renaissance masters, Raphael and Michelangelo, he mainly studied and copied works by Polidoro da Caravaggio, Giulio Romano, Perino del Vaga and Francesco Salviati. Antonio Fantuzzi (he was in Fontainebleau between 1537 and 1550) after Francesco Primaticcio? (1504-1570), Muses at the Foot of Mount Parnassus, etching, 1542-1543, see H. Zerner, Die Schule von Fontainebleau. Das graphische Werk, Vienna and Munich 1969, no. A. F. 20. Francesco Primaticcio, Diana and the Three-faced Hekate Adorn Pegasus with a Wreathe, pen, brown ink, light grey wash on yellowish-white paper, 248 x 198 mm, ca. 1533-1535, private collection, ex. cat, Hamburg 1993, no. IV. 2, pi. 42. Van de Velde 1975, 81-83, 121. [bid., no. S 193, fig. 102. Ibid, nos. P 107-116, figs. 256-265, and P 117-123, figs. 270-276. Ibid, no. S 120, fig. 58; J. S. Held, Museo de Arte de Ponce, Ponce 1965, 65-67, fig. 47; the sketch made for the composition of the Ponce picture has also survived: Stockholm, National Museum, see Van de Velde 1975, no. T 44, fig. 143. Van de Velde 1975, no. P 133, fig 286. Carel van Mander, Het Leven der Doorhichtige Nederlandsche en Hooghduytsche Schilders, Alckmaer 1604, fob 242. Van de Velde 1975, no. S 120, fig. 58. Held 1965, 65-67, fig. 47. J. Hall, Dictionary' of Subject and Symbols in Art, New York and London 1979, 278-79 (Liberal Arts), 217-18 (Muses). H. C.J. Schraven, "Ontwakende muzen, slapende kunsten", Kunstlicht 15 (1985), 17-24.