![[Music Iconography] [Mozart, Wolfgang Amadeus. (1756–1791)] [Parmigianino, Francesco Mazzola. (1503-1540)] Quaglio I, Lorenzo. (1730-1805), attributed to. Gruppo Musicale - Original Drawing after Parmigianino](http://www.schubertiademusic.com/cdn/shop/files/Quaglio_2C_Lorenzo_Gruppo_Musicale_Drawing_23516.jpg?v=1722190792)
[Music Iconography] [Mozart, Wolfgang Amadeus. (1756–1791)] [Parmigianino, Francesco Mazzola. (1503-1540)] Quaglio I, Lorenzo. (1730-1805), attributed to.. Gruppo Musicale - Original Drawing after Parmigianino . Original ink drawing on laid paper after the original drawing by Parmigianino. 6 x 7.5 inches (16 x 19 cm), signed lower left "Quaglio fec. 1795." Small loss to left corner just touching the start of signature, unexamined out of frame, but otherwise in apparently fine condition. In a lovely period gilt wood frame, 8.5 x 10 inches (21.5 x 25.5 cm) overall. Provenance: Private Collection, Paris.
A pastoral scene of music making, depicting four primary figures - one with a large viol; one with a violin or viola da braccio; one with a partially obscured strummed instrument; and one lying in the foreground and enjoying the music around him! In the more loosely drawn background, another figure is visible at left, together with a group of goats and other animals emerging from a woodland scene.
The present drawing is a finely accomplished interpretation after the original drawing by the Italian Mannerist painter and printmaker Francesco Mazzola (more commonly known as Parmigianino) which dates from over 250 year earlier. It is likely that Quaglio based this work not on the original, but rather on the sanguine etching by Benigno Bossi (1727 - 1792), which was plate 19 [https://www.royalacademy.org.uk/art-artists/work-of-art/musical-group] in his 1772 volume Raccolta di disegni Originali di Francesco Mazzola detto il Parmigianino, one of many reproductions of paintings and drawings by Parmigianino published and circulating in the eighteenth century.
The influential Quaglio family of artists hailed originally from Laino in Northern Italy but resided from the late 18th century onwards in Munich, where a large number of its members were active over several generations as theatrical and architectural painters. Some were especially notable for their designing of operatic and theatrical stage-sets for the Electoral Courts of Mannheim and Munich and the Imperial Court of Vienna, chief among whom was Lorenzo (1730–1805), who designed the first production of Mozart's opera Idomeneo in 1781 and also the reconstruction of the Schlosstheater (1768) and the building of the Nationaltheater (1777–8), both in Mannheim, as well as (probably) Schloss Wain, Laupheim, Württemberg (1780), and the Rathaus (Town Hall), Lauingen (1783–90).
The influential Quaglio family of artists hailed originally from Laino in Northern Italy but resided from the late 18th century onwards in Munich, where a large number of its members were active over several generations as theatrical and architectural painters. Some were especially notable for their designing of operatic and theatrical stage-sets for the Electoral Courts of Mannheim and Munich and the Imperial Court of Vienna, chief among whom was Lorenzo (1730–1805), who designed the first production of Mozart's opera Idomeneo in 1781 and also the reconstruction of the Schlosstheater (1768) and the building of the Nationaltheater (1777–8), both in Mannheim, as well as (probably) Schloss Wain, Laupheim, Württemberg (1780), and the Rathaus (Town Hall), Lauingen (1783–90).
Idomeneo was first performed at the Cuvilliés Theatre of the Munich Residenz on 29 January 1781, under the musical direction of Christian Cannabich. The opera apparently owed much of its success at its first performance to Quaglio's set designs: a notice in the Munich press did not mention Mozart by name (!!) but said (translation): "The author, composer and translator are all natives of Salzburg; the decors, among which the view of the port and Neptune's temple were outstanding, were masterpieces by our renowned theatre designer, court Councillor Lorenzo Quaglio, and everyone admired them tremendously." (Heartz, Daniel (1995). Haydn, Mozart and the Viennese School: 1740–1780. W. W. Norton. p. 708)
[Music Iconography] [Mozart, Wolfgang Amadeus. (1756–1791)] [Parmigianino, Francesco Mazzola. (1503-1540)] Quaglio I, Lorenzo. (1730-1805), attributed to.. Gruppo Musicale - Original Drawing after Parmigianino . Original ink drawing on laid paper after the original drawing by Parmigianino. 6 x 7.5 inches (16 x 19 cm), signed lower left "Quaglio fec. 1795." Small loss to left corner just touching the start of signature, unexamined out of frame, but otherwise in apparently fine condition. In a lovely period gilt wood frame, 8.5 x 10 inches (21.5 x 25.5 cm) overall. Provenance: Private Collection, Paris.
A pastoral scene of music making, depicting four primary figures - one with a large viol; one with a violin or viola da braccio; one with a partially obscured strummed instrument; and one lying in the foreground and enjoying the music around him! In the more loosely drawn background, another figure is visible at left, together with a group of goats and other animals emerging from a woodland scene.
The present drawing is a finely accomplished interpretation after the original drawing by the Italian Mannerist painter and printmaker Francesco Mazzola (more commonly known as Parmigianino) which dates from over 250 year earlier. It is likely that Quaglio based this work not on the original, but rather on the sanguine etching by Benigno Bossi (1727 - 1792), which was plate 19 [https://www.royalacademy.org.uk/art-artists/work-of-art/musical-group] in his 1772 volume Raccolta di disegni Originali di Francesco Mazzola detto il Parmigianino, one of many reproductions of paintings and drawings by Parmigianino published and circulating in the eighteenth century.
The influential Quaglio family of artists hailed originally from Laino in Northern Italy but resided from the late 18th century onwards in Munich, where a large number of its members were active over several generations as theatrical and architectural painters. Some were especially notable for their designing of operatic and theatrical stage-sets for the Electoral Courts of Mannheim and Munich and the Imperial Court of Vienna, chief among whom was Lorenzo (1730–1805), who designed the first production of Mozart's opera Idomeneo in 1781 and also the reconstruction of the Schlosstheater (1768) and the building of the Nationaltheater (1777–8), both in Mannheim, as well as (probably) Schloss Wain, Laupheim, Württemberg (1780), and the Rathaus (Town Hall), Lauingen (1783–90).
The influential Quaglio family of artists hailed originally from Laino in Northern Italy but resided from the late 18th century onwards in Munich, where a large number of its members were active over several generations as theatrical and architectural painters. Some were especially notable for their designing of operatic and theatrical stage-sets for the Electoral Courts of Mannheim and Munich and the Imperial Court of Vienna, chief among whom was Lorenzo (1730–1805), who designed the first production of Mozart's opera Idomeneo in 1781 and also the reconstruction of the Schlosstheater (1768) and the building of the Nationaltheater (1777–8), both in Mannheim, as well as (probably) Schloss Wain, Laupheim, Württemberg (1780), and the Rathaus (Town Hall), Lauingen (1783–90).
Idomeneo was first performed at the Cuvilliés Theatre of the Munich Residenz on 29 January 1781, under the musical direction of Christian Cannabich. The opera apparently owed much of its success at its first performance to Quaglio's set designs: a notice in the Munich press did not mention Mozart by name (!!) but said (translation): "The author, composer and translator are all natives of Salzburg; the decors, among which the view of the port and Neptune's temple were outstanding, were masterpieces by our renowned theatre designer, court Councillor Lorenzo Quaglio, and everyone admired them tremendously." (Heartz, Daniel (1995). Haydn, Mozart and the Viennese School: 1740–1780. W. W. Norton. p. 708)