LORENZO PASINELLI (Bologna 1629 – 1700 Bologna)
Lorenzo Pasinelli (Bologna 1629 – 1700 Bologna)
A Sheet with Head Studies
Red chalk in blue paper, 190 x 197 mm (7.5 x 7.8 inch); laid down onto a grey paper mounting sheet with framing lines in grey ink
Private collection, The Netherlands
Lorenzo Pasinelli was was born in Bologna and initially trained in the studio of Simone Cantarini, after which he pursued his artistic training in Rome.1 Although he lived during the Baroque period, his extand works shown an awareness of sixteenth-century Mannerism, which Pasinelli appears to have favoured.
After 1648 Pasinelli collaborated with Flaminio Torre. He is known to have painted a Miracle of St. Anthony for the church of San Francesco in Bologna. He painted for the local Senatore Francesco Ghisilieri a painting entitled Love disarmed by the nymphs of Diana, now in the Pinacoteca of Modena. He painted a Holy Family and a Resurrection of the Dead, also for the church of San Francesco in Bologna. He also painted Christ's Entry into Jerusalem and a Christ's return from Purgatory for the former Certosa of Bologna. Pasinelli’s pupils included Gian Antonio Burrini, Gioseffo dal Sole, Giovanni Pietro Zanotti, Giuseppe Maria Mazza, Antonio Lorenzini, and Donato Creti.
Drawings by Pasinelli are rare.2 The present sheet may be compared to Pasinelli’s drawing Winged Putti with Open Music Books in the Metropoitan Museum of Art (fig.).3 The delineation of the eyes and eyebrows is particularly related in both drawings.
We are grateful to Dr Jonathan Bober of the National Gallery of Art in Washington for his valuable remarks about this drawing.4
1. For the artist, see Carmela Baroncini and Anthony Charles Dewhurst, Lorenzo Pasinelli: pittore (1629–1700): catalogo generale, Rimini 1993.
2. For drawings by Pasinelli, see Michele Danieli “The Last Chiaroscuro of Lorenzo Pasinelli”, Master Drawings, vol. 54, no. 2, 2016, pp. 244-45.
3. Red chalk, 249 x 178 mm; inv. no. 87.12.32; Jacob Bean and Lawrence Turčić,17th century Italian Drawings in The Metropolitan Museum of Art, New York, 1979, p. 228, no. 299, repr.
4. Email correspondence, 2 November 2022.