(Urbino circa 1535–1612)
Head study of a woman in profile,
oil on panel, 43.4 x 33.3 cm, framed

on the reverse: seal Boncompagni Ludovisi (upper left) and the seal Boncompagni Ruffo (lower right)

Provenance:
Ugo Boncompagni (1614–1676), 4th Duke of Sora and Arce, Rome;
Gregorio II Boncompagni (1642–1707), 5th Duke of Sora and Arce, Rome, in 1701;
Antonio I Boncompagni (1658–1731), 6th Duke of Sora and Arce, Rome, after 1702 called Boncompagni Ludovisi;
thence by descent;
sale Dorotheum, Vienna, 21 October 2014, lot 61 (sold for where acquired by the present owner)

Documentation:
Quadri delle Case de Principi in Roma, Gabinetto Comunale delle Stampe, Rome, inv. no. 2452, f. 91r, 1701: Dal S.r Duca di Sora, Principe di Piombino, Due Testine, in tavola, del Barocci n.o 2 (see literature);
ASV, Archivio Boncompagni Ludovisi, Inventory of Gregorio Boncompagni 17th March 1707 (prot. 659, nr. 5) 42 /n.2: Quadri da mezza testa per alto con cornici dorate, rappresentanti due teste con busti di Donne al naturale dipinti in tavola

Literature:
G. De Marchi, Mostre di quadri a S. Salvatore in Lauro (1682–1725). Stime di collezioni romane. Note e appunti di Giuseppe Ghezzi, in: Miscellanea della Società Romana di Storia Patria, no. 27, Rome 1987, listed on p. 150

The present painting is a study for Federico Barocci’s altarpiece of the Seven Acts of Mercy, also known as the Madonna del Popolo, an important work by the artist, executed in the 1570s, which is today conserved in the Gallerie degli Uffizi, Florence (inv. 1890, no. 751).

The female figure of the present composition was transferred to the altarpiece into the elegantly dressed woman kneeling at the far left of the painting, where every detail of her hair and jewellery seems to have satisfied the intentions of the painter, who replicates her without significant change.

There are also preparatory drawings for the woman in this composition, including one conserved in the Cabinet of Drawings and Prints in the Gallerie degli Uffizi, Florence (inv. no. 11603 F, verso), in which every fold of her garments is meticulously depicted. It is known that Barocci executed his portraits or figure studies, in his studio, using a dressed mannequin, while he captured the figure´s expression directly from nature in an everyday situation.

As such the present study is a significant example of Barocci’s working practice and an integral part of the painting with which it is related. The long and restless creative process that accompanied his most demanding projects was primarily intended to give him a sense of confidence in the realistic reproduction of his pictorial composition.

In the evolution of Barocci’s career, the Madonna del Popolo represents a milestone in which the artist clearly manifests intention of depicting friendship and the beauty of the community reflected in the humanity of Christ. Indeed, the entire composition is geared towards creating proximity and highlighting connections of friendship, suggested by gestures and a sense of familiarity. The characters in the scene present a veritable succession of recurring faces of friends and family members, a tradition that had already taken hold in Barocci’s Martyrdom of Saint Sebastian for the Cathedral of Urbino. The painter’s working methods are described by Giovanni Pietro Bellori in his Vite de’ pittori, scultori et architetti moderni which was published in 1672.

Barocci was most probably born in 1535, and while still extremely young worked in the Vatican Gardens, where he participated in decorating the interior of the Casino of Pius IV with frescos, as well as other spaces within the Belvedere from 1562 onwards. After recovering from an unknown illness that had struck him in Rome, Barocci refused to return there, despite the great success he had. He had spent three hard years, working indefatigably and suffering ill health as a consequence, which was considered by many historians as poisoning.

Barocci’s vocation to Christian spirituality and meditation reappeared as his health returned. It is therefore plausible, as claimed by biographers, that he joined the small monastery of Crocicchia. Barocci’s works reveal conformity and acceptance of the doctrine of Saint Francis as is reflected in his Madonna del Popolo, commissioned by the Fraternità dei laici of Arezzo.

The commission of the Madonna del Popolo in the 1570s is recorded in a series of documents, such as the letters from Ambassador Maschi in Spain to both Barocci and the confraternity, which allows us to trace the commission in detail. The complex development of the project took place between 1575 and 1579, and finally the painting was delivered by hand, perhaps passing the ridge of the Apennines between Tuscany and the Duchy of Urbino by the paths of the Alpe della Luna, between Montefeltro and Casentino, and ultimately reaching Arezzo. Barocci personally took take care of every detail of the picture’s placement to ensure the effectiveness of the lighting planned for the Tuscan altar.

Andrea Emiliani assisted in cataloguing of the present painting.