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Liliane Fredericks
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BIBIENA FAMILY (1659-1756)
Italian School, Italy (18 Century )
Theatrical Design
( Italy
c. 1750
)
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Medium
Black chalk, pen and brown ink, brown wash
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Signed/Inscribed/Dated
Letter 'B' in pen and brown ink on middle upper right of the sheet.
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Dimensions
217.00mm wide
279.00mm high
(8.54 inches wide 10.98 inches high)
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Provenance
Juan and Felix Bernasconi Collection (not in Lugt); Anonymous sale, London, Christies, 9thDecember 1986, Lot 100.
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Literature:
Related readings: Hadamowsky Ed., Die Familie Galli-Bibiena in Wien, Wien-Porachner (1962); ‘Drawings by the Bibiena Family’, Exh. Cat. The Philadelphia Museum of Art (Jan./Feb.1968); Fuhring P., Design into Art, Drawings for Architecture and Ornament, The Lodewijk Houthakker Collection, Ed. Gary Swartz (1989), Vol. I & II.; Fuhring P., ‘Drawings by the Bibiena Family and their Followers’, Hazlitt, Gooden and Fox, London 1991).
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Condition:
Good.
Very slight oxydised marks on center of the sheet.
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Description / Expertise
The sons and grandsons of the Galli Bibiena family dominated the field of theatre and stage design throughout the Courts of Europe for nearly a century. Their designs were ground breaking, covering many aspects of trompe l’oeil decoration and quadratura painting, temporary decorations, Teatra Sacra and stage designs, and some members of the family were also architects. Yet, their work is often impossible to differentiate, with several members working on the same design or drawing; or members of the family working independently but using the same design sources and elements from their common repository of ornament. Additionally, Francesco (1659-1739) was the Director of the Accademia Clementina in Bologna where Fernandino (1657-1743) also taught. Furthermore, their influence spread through the drawings they made for collectors, engravings and their published treatises.
This sheet is closely related in style and technique to two stage designs by Francesco Galli Bibiena found in the Vienna Sketchbook . Indeed, while they emulate similar elements such as sketches of grand staircases, columns, niches and fountains, they are not so flamboyant. Our drawing is more elaborate, overflowing with more finished and sophisticated architectural elements such as pediments, statuary, two tier/three tier fountains. Moreover, the niche has a shell above its alcove, fantasy Corinthian columns and altogether a strong Rococo character implying it may be a creation by Giuseppe Galli Bibiena (1696-1756), one of Fernandino’s two sons. Projecting ideas of Italian ‘melodramma’, these are created by its composition filled with late Baroque theatrical and architectural components, figurative and fantastic. As a result, this attribution is based not only on stylistic characteristics but also tentative in nature.
Bibiena family designs for stage-sets mainly show projects for the trompe l’oeil painting of the backdrop as can be seen in the present drawing. However, when a backdrop project depicts an architectural composition, it is not always evident if it was intended for the stage or as a capriccio especially in the second half of the 18th century. The often fantastic and imaginary character of the subjects chosen for stage sets helped enormously to capture the attention of the public. For sure, the stage-set designs of the members of the Bibiena family illustrate their grand conceptions and mastery in the genre. Indeed, these ephemeral decorations were often preserved and repainted before being re-used.
It is also likely that such drawings were made specifically for the collector or curieux. Indeed, in many 18th century sale catalogues of French collections of drawings, the Bibienas are mentioned in connection with stage set designs or architectural compositions. Thus, it is known that collectors were interested in the draughtsmen’s marvellous illusions of space which revolutionised stage design and characterized that specific aspect of work by the family. The very fact that so few drawings were signed also underlines the fact that the accomplished and highly profitable family style was based on the principle of anonymity or interchange ability.
The provenance of this sheet was kindly pointed out by Hugo Chapman.
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