Overview

No overview.

Inscription

null

Marks and Labels

null

Provenance

Dr. J. Seymour Maynard, London; (his sale, Christie, Manson & Woods, London, 29 January 1954, no. 58);[1] (Thomas Agnew and Sons, London); sold that same day to (David M. Koetser Gallery, New York, London, and Zurich);[2] purchased 1955 by the Samuel H. Kress Foundation, New York;[3] gift 1961 to NGA.

Exhibition History

1986
The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries, Pinacoteca Nazionale, Bologna; National Gallery of Art, Washington, D.C.; The Metropolitan Museum of Art, New York, 1986-1987, no. 166, color repro.
1991
Giovanni Francesco Barbieri, Il Guercino 1591-1666, Schirn Kunsthalle, Frankfurt, 1991-1992, no. 37, color repro.
1991
Il Guercino e la Bottega, Pinacoteca Civica e Chiesa del Rosario, Cento, Italy, 1991, no. 64, color repro. (cat. titled Il Guercino, 1591-1666: Giovanni Francesco Barbieri, Bologna).
1992
Guercino: Master Painter of the Baroque, National Gallery of Art, Washington, D.C., 1992, no. 29, color repro.

Bibliography

1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 65.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 57, repro.
1968
Mahon, Denis. Il Guercino (Giovanni Francesco Barbieri, 1591-1666: Catalogo critico dei dipinti). Exh. cat. Palazzo dell'Archiginnasio, Bologna, 1968: 156.
1968
Zucker, Mark J. "Guercinio's Portrait of Cardinal Francesco Cennini." Report and Studies in the History of Art I (1967-68): 113-114, repro.
1973
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XVI-XVIII Century. London, 1973: 78, fig. 141.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 168, repro.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: I:245-246, II:pl. 167.
1981
Mahon, Denis. "Guercino as a Portraitist and His 'Pope Gregory XV.'" Apollo 113 (1981): 232, 234, repro.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 230, no. 294, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 195, repro.
1988
Salerno, Luigi. I dipinti del Guercino. Rome, 1988: 173; 190, no. 108.
1988
Southorn, Janet. Power and Display in the Seventeenth Century. The Arts and Their Patrons in Modena and Ferrara. Cambridge, 1988: 115, pl. 84.
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: 158-162, color repro. 161.

Conservation Notes

The support is a heavy, open-weave twill fabric. The ground is a medium-thick layer of somewhat pebbly, dark pink. The heavy, uneven texture visible in x-radiographs results from its uneven application and obscures any changes that might have been made by the artist. The paint is applied rapidly and thickly in broad, heavily loaded brushstrokes, producing a light impasto. The flesh tones, however, are applied much more thinly and laboriously; the shadows are painted in a particularly thin manner.

The tacking margins have been removed, but cusping suggests that the painting retains its original dimensions. Small areas of loss and abrasion are scattered throughout and have been inpainted. The milky, discolored varnish distorts the tonal relationships. Discolored varnish was removed and the painting was restored by Mario Modestini in 1955.

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