John Mcewen comments on Studies of the Virgin and Child with the Infant Baptist

THE Italian Renaissance unfolded first in Florence (1400–90), then Rome (1490–1540) and finally Venice (1510– 50). Supplementary centres of Renaissance art emerged from 1450 in provincial cities, such as those of the Emilia-romagna region of north Italy: Bologna, Ferrara, Mantua (Emilian by affiliation) and Parma. The latter, famous for its architecture, music, art, prosciutto ham and Parmesan cheese, is the second city of Emilia after Bologna and long renowned for its cathedral, begun in 1059, and the university, which was founded in 1117. Its artistic prominence dates from the 16th century with the careers of Correggio (Antonio Allegri) and Parmigianino (Girolamo Mazzola). Among the local artists they inspired was Giorgio Gandini del Grano.

He may have been directly indebted to Correggio (indeed, when in the collection of Sir Joshua Reynolds and until quite recently, these drawings were attributed to the older artist) and certainly shows his influence—described as a palpable humanity; motion expressive of emotion.

This is very evident in these sketches, the animation of which suggests they could have been drawn from life. There is no mention in the title of John the Baptist, the son of Elizabeth, the Virgin’s cousin, but the drawings show two children of different ages, an infant and a slightly older child, who looks bored in the higher group and seeks attention in the lower. Could this be John, who will baptise Jesus? The stretching boy distinguishes the higher drawing and the tenderness of mother and infant in the lower.

It says everything for Gandini del Grano’s reputation that he was commissioned to paint the choir vault and apse of Parma’s ancient cathedral, where Correggio had painted the dome, but death intervened.