Curtis_O_Baer_2010

In the aforementioned essay of 1971 , Knab gave the Baer drawing, along with a draw ing in the Kupferstichkabinett in Berlin back to Claude, arguing that they “do not correspond with the rest of the group […] credit for both drawings should be given back to Claude, because in their animated and broad execution they blend in well with his drawings of the 40 s, for example with the Edge of a Wood With a Draughtsman and an Onlooker in the Albertina, where we find similar clouds.” Zafran, somewhat skeptical of Knab’s argument, writes that the drawing is also related to the Campagna Landscape from the blue paper group at the Art Museum, Princeton, as both versos have similar drawings of Roman ruins. Zafrin concludes that “with its picturesque use of blue ground, fluent chalk work, and sensitive application of white heightening, […] the Master of the blue Paper was a highly talented artist working the ambiente of Claude. “