1544 — Venice — 1620

Standing Saint, perhaps St. Anthony of Padua

pen & brown ink. 81/8 x 31/4" (205 x 85mm). watermark.

Prof. Isaac's collection; with Herman Schickman Gallery, 1973;
Philippe de Montebello, NY, 1973-2010.

Palma was problably the most accomplished and prolific artist of his generation in Venice. While his painting style could vary considerably, incorporating the technique of Titian, the style of Tintoretto, the naturalism of Bassano, a good number of his painted single saints assumed a pose not disimilar from that of the present drawing, ie. figure standing akimbo, with weight-bearing leg behind the bent-kneed forefront leg, seen at a 3/4 view, head turned towards the viewer, one hand extended foward in its gesture. However, I have not seen in painted version a figure in this pose in this garb, likely that of a Franciscan with the short cape. That this as a preparatory study, there can be little doubt, along with the supposition that this figure was cut from a larger sheet of studies, perhaps including either a composition or further studies which might have revealed the context and subject of our drawing.

Unusual for Palma is the lack of any chalk underdrawing.