Admission is always free Directions

Open today: 10:00 to 5:00

Provenance

Possibly the Manfrin collection, Palazzo Venier, Venice.[1] (Count Alessandro Contini-Bonacossi, Florence), by 1937; purchased 1939 by the Samuel H. Kress Foundation, New York;[2] gift 1943 to NGA.

Exhibition History
1989
Sebastiano Ricci, Villa Manin di Passariano, Udine, 1989, no. 37, color repro. (cat. by Aldo Rizzi).
1991
Venedigs Ruhm im Norden, Forum des Landesmuseums Hannover, Hannover; Kunstmuseum Düsseldorf im Ehrenhof, Düsseldorf, 1991-1992, no. 68, repro.
2009
Venice in Canaletto's Age, The John and Mable Ringling Museum of Art, Sarasota; Memphis Brooks Museum of Art, 2009-2010, no catalogue.
Bibliography
1941
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 169, no. 533.
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 250, repro. 176.
1945
Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 140, repro.
1950
Osti, Ornella. "Sebastiano Ricci in Inghilterra." Commentari 2 (1950): 123, n. 1.
1952
Pallucchini, Rodolfo. "Studi Ricceschi I, Contributo a Sebastiano." Arte Veneta 6 (1952): 77-78, repro.
1954
Watson, Francis J. B. "English Villas and Venetian Decorators." Journal of the Royal Society of the Institute of British Architects 61 (1954): 174, repro.
1957
Ghidiglia Quintavalle, Augusta. "Premesse giovanile di Sebastiano Ricci." Rivista archeologica, 1956-1957: 85, fig. 19 (reprinted in San Secondo: Arte storia attualità. Parma, 1970.
1957
Millar, Oliver, and Margaret Whinney. English Art 1625-1714. The Oxford History of English Art 8. Oxford, 1957: 310, pl. 82.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 230, repro.
1962
Croft-Murrary, Edward. Decorative Painting in England 1587-1837. 2 vols. London, 1962; Feltham, 1970: 2:15, 266.
1964
Garas, Klára. "New Documents Concerning Sebastiano Ricci." The Burlington Magazine 106 (1964): 131.
1964
Martini, Egidio. La pittura veneziana del settecento. Venice, 1964: 161, n. 46.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 114.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 102, repro.
1969
Zampetti, Pietro. Dal Ricci al Tiepolo. Exh. cat. Palazzo Ducale, Venice, 1969: 28.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 175.
1973
D'Arcais, Francesca. "I complessi decorativi fiorentini di Sebastiano Ricci III." Saggi e Memorie di Storia dell'Arte 12 (1973): 10-11, 13, fig. 11.
1973
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XVI-XVIII Century. London, 1973: 127-128, fig. 250.
1974
Simon, John. English Baroque Sketches. Exh. cat. Marble Hill House, Twickenham. London, 1974: unpaginated, no. 71.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 306, repro.
1976
Daniels, Jeffery. L'opera completa di Sebastiano Ricci. Milan, 1976: 118, no. 325, repro.
1976
Daniels, Jeffery. Sebastiano Ricci. Hove, 1976: 40, 117, 153, no. 530, fig. 122.
1976
Daniels, Jeffery. "Sebastiano Ricci in England." Atti del Congresso internazionale di studi su Sebastiano Ricci e il suo tempo. Milan, 1976: 72, fig. 55.
1976
Pilo, Giuseppe Maria. Sebastiano Ricci e la pittura veneziana del settecento. Pordenone, 1976: 98 n. 156, 99 n. 159.
1978
Works by Sebastiano Ricci from British Collections. Exh. cat. P. & D. Colnaghi & Co., Ltd., London, 1978: unpaginated, no. 11.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: I:400-402, II:pl. 285.
1982
Christiansen, Keith. "The Baptism of Christ." Metropolitan Museum of Art: Notable Acquisitions 1981-82. New York, 1982: 42.
1984
Aikema, Bernard. "Proposte per Sebastiano Ricci e per Nicola Grassi." Nicola Grassi e il Rococò europeo. (Atti del Congresso internazionale di Studi, 20-22 maggio 1982.) Udine, 1984: 95, fig. 97.
1984
Daniels, Jeffery. "Grassi: Direct or Indirect?" Nicolas Grassi e il Rococò europeo. (Atti del Congresso internazionale di Studi, 20-22 maggio 1982.) Udine, 1984: 109.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 351, repro.
1991
Scarpa Sonino, Annalisa. Marco Ricci. Milan, 1991: 22-25, repro.
1996
De Grazia, Diane, and Eric Garberson, with Edgar Peters Bowron, Peter M. Lukehart, and Mitchell Merling. Italian Paintings of the Seventeenth and Eighteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 230-236, color repro. 233.
Technical Summary

The support is a loosely woven, medium-weight, plain-weave fabric. The moderately thick ground is white. Infrared reflectography reveals that the architectural surround overlaps the figure composition, partially obscuring the figure exiting at the left and completely hiding a seated figure at the right. Minor pentimenti, such as small changes in the hand on the left side of the table and in the right contour of Judas' right elbow, are also revealed by infrared reflectography. The composition inside the frame was blocked in with opaque, fluid paint in broad, flat areas. Slightly more full-bodied paint was applied over this underlayer for details, ornamentation, and architectural elements. Daubs of somewhat pastose paint, quickly and surely applied, define the features, musculature, and clothing. The most prominent are daubs of white that constitute the brightest highlights. The application of the darker valued colors in thin layers or glazes contrasts with the thicker application of the lighter valued colors.

The presence of cusping, most pronounced at the top and bottom, suggests that while the tacking margins have been removed, the composition has not been cropped. Inpainting over the scattered abrasions and losses, most concentrated at the edges, has become discolored. The more severe damages in the lower-left volute and at the forward corner of the table may have resulted from tears in the original support. The varnish is moderately thick, but clear. The painting was relined, discolored varnish was removed, and the painting was restored by Stephen Pichetto in 1940.