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FRANCESCO MONTI
Bologna 1685 ~ 1768 Bergamo
Francesco
Monti has been described as a Bolognese-Brescian artist.1 The earliest influence on his style was that of Sigismondo Caula in Modena and this was followed by a period of study with the Bolognese artist, Giovan Gioseffo Dal Sole. Monti moved to Brescia in 1738 and spent the next thirty years working on a large number of decorative designs for churches in the neighbourhood. A fine example from this period is his fresco cycle in the Chapel of the Rosary (c.1742),
Church of San Bartolomeo, Bergamo.
The proximity of Venice is very evident in both the style and content of our drawing, and specific comparison has been made to the work of the Venetian painter, Pittoni.2 The architectural setting for the scene, with raised platform for the action and columns for a backdrop, certainly echoes many of Pittoni's compositions. The treatment of the figures and heavy use of chalk are also reminiscent of this master's draughtsmanship.
This biblical subject is made more secular by the sensual and dramatic treatment of the central figures, Christ and the kneeling Mary Magdalene. The broken black chalk line, creating a feathery treatment of
hair and beards, is very typical of Monti's drawing technique. Also characteristic is the neo-mannerist3 attenuation of the human form and the rhythmical flow of gestures from figure to figure across the picture plane. A similar example of his draughtsmanship is a black chalk drawing of The Last Supper,
Cini Foundation, Venice.4 However, in the latter sheet, the format is vertical, the figures are more static and rustic in appearance and elegant stools have been replaced by more humble seating.
1. Ugo Ruggieri, Francesco Monti Bolognese (1685–1768), Bergamo, 1968.
2. Ruggieri, ibid., p.46.
3. R. Roli, 'Traccia per Francesco Monti, Bolognese', Arte antica e moderna, 1962, p.90.
4. Ruggieri, op. cit., no. 46, Tav. 47.
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