Francesco ALBANI (Bologne, 1578 – 1660)

Provenance:
• France, private collection

Bibliography:
• Antonio Bolognini Amorini, Vita del celebre pittore Francesco Albani, Bologna, 1837
• Françoise Viatte, Le dessin italien sous la Contre-Réforme, Paris: Réunion des musées nationaux, 1973
• *L’Albane, L’Albane 1578-1660* [exh. cat.], Paris, Musée du Louvre, 2000-2001,*Les dossiers du musée du Louvre, 2000

« Albani, the most charming painter, and one of the most learned to have ever existed.”

In Bologna during the final decade of the 16th century, the Carracci—Ludovico and his cousins Agostino and Annibale—paved the way for a new approach to nature. Initiating successive reforms, the three artists advocated a synthesis between the classicism of the High Renaissance and the ideal of antique sculpture, thus bringing an end to Mannerism. Their art sought a direct and unembellished treatment of nature, revealing it in all its truth. To promote this new artistic vision, the Carracci founded an academy in 1582, initially named *dei Desiderosi* and later *degli Incamminati*, aimed at those leading the evolution of art.

Among the academy’s students was the young Francesco Albani, who likely joined in 1595 at the age of 17. Having received early training under Denys Calvaert (1540–1619) and later under Guido Reni (1575–1642), alongside his contemporary Domenichino (1581–1641), Albani developed a well-rounded artistic knowledge. Under the guidance of the Carracci, he practised fresco painting and large-scale church commissions, both of which required extensive preparatory studies. This experience reinforced his understanding of drawing as the foundation of his compositions. Seeking to revitalise Bolognese art, the academy placed great emphasis on drawing as an essential element of all artistic creation. The study of nature was paramount, allowing artists to capture facial expressions and body postures with spontaneity. This aesthetic was deeply rooted in lessons from the Old Masters, drawing inspiration from Rome through the works of Michelangelo and Raphael, Venice through Veronese, and Parma through Correggio. In this new method, the antique model was regarded as the ultimate reference for beauty.

The *Academia degli Incamminati* required its students to achieve a balance between drawing and colour, realism and idealism. As part of this training, artists were encouraged to study a wide range of subjects, including artisans and peasants, who gradually became central figures in the works of Bologna’s most renowned 17th-century painters.

Likely a preparatory study for a painted work, the present drawing depicts a young boy in profile, his gaze directed towards the sky as though captivated by something to his left. The precision of Albani’s draughtsmanship is evident in his masterful use of red chalk. He conveys volume through delicate hatching, particularly around the neck and chin, extending up to the nose and beneath the eyes. His treatment of the boy’s hair consists of flowing, sinuous lines from the crown of the head down to the nape of the neck. Red chalk was extensively employed by the Carracci, its chalky properties allowing for nuanced depictions of flesh and subtle tension. Other drawings by Albani, such as *Study of a Woman’s Head* (*ill. 1*), demonstrate his mastery of this medium, as do his numerous studies of profiles, including *Study of a Man’s Head* (*ill. 2*).

“Annibale Carracci had more intensity, Guercino more mystery, Domenichino more strength and truth, and Guido Reni more sentimentality. Yet Albani alone, in his time, infused his paintings with that joyful sensuality that unites and blends natural beauty with allegorical beauty.”*

Introduced to France in 1625 during Cardinal Francesco Barberini’s legation to the court of Marie de’ Medici—intended to appeal to the queen’s well-known appreciation of Italian art—Albani enjoyed considerable success among the French aristocracy. Despite lasting only three decades (1590–1620), he played a pivotal role in a transformative period in the history of drawing. Revered as *L’Albane* in France, he was collected by Europe’s most influential figures, including Louis XIV, who greatly admired his work and amassed a significant collection of his pieces. His influence was particularly notable at Versailles, where his classicising compositions served as inspiration for the artists responsible for decorating the Marble Trianon.

We extend our thanks to Professor Nicholas Turner for suggesting the attribution to Francesco Albani.

M.O.