Who painted Study of Two Putti and a Draped Arm [verso]?

Study of Two Putti and a Draped Arm [verso] was painted by Giovanni Battista Cipriani in 1756.

Where can I see Study of Two Putti and a Draped Arm [verso]?

Study of Two Putti and a Draped Arm [verso] is held by National Gallery of Art.

What movement is Study of Two Putti and a Draped Arm [verso]?

Study of Two Putti and a Draped Arm [verso] is associated with Baroque.

Artwork

Study of Two Putti and a Draped Arm [verso]

Giovanni Battista Cipriani , 1756

Study of Two Putti and a Draped Arm [verso] is a chalk drawing by the Baroque artist Giovanni Battista Cipriani. It dates from 1756 and is held in the collection of the National Gallery of Art.

About this work

Overview

Giovanni Battista Cipriani produced a preparatory drawing in 1756 titled *Study of Two Putti and a Draped Arm*. Executed with black chalk on laid paper, the sheet measures a modest size and serves as a compositional sketch for a larger print project. The work exemplifies Cipriani’s routine of generating detailed designs before they were transferred to the engraving stage.

Subject & Meaning

The composition features two youthful, chubby figures—commonly identified as putti—positioned beside a partially concealed arm wrapped in drapery. The arrangement suggests a narrative moment, perhaps a mythological or allegorical scene, where the cherubic figures interact with the concealed limb, creating a sense of playful mystery typical of decorative motifs in the period.

Technique & Style

Cipriani employed a refined black chalk application, varying pressure to achieve both delicate line work and richer tonal areas. The laid paper surface, with its subtle texture, enhances the drawing’s depth, allowing the artist to model form through hatching and cross‑hatching. This method aligns with the academic drawing practices of mid‑18th‑century Italy and England.

History & Provenance

After relocating to England in 1755, Cipriani quickly entered the British artistic market, supplying designs for prints that were often executed by his collaborator Francesco Bartolozzi. While the present sheet’s early ownership is not fully documented, it likely remained within the artist’s studio inventory before entering a private collection in the 19th century.

Context

Created during the late Baroque era, the drawing reflects the period’s interest in dynamic composition and expressive gestures, even as the style was transitioning toward Rococo elegance. The use of preparatory studies like this one was a common step for artists who intended to produce engravings for the burgeoning print market of mid‑18th‑century England.