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Home>About the National Gallery of Art>Annual Reports>2019 Annual Report: President’s Foreword>2019 Annual Report: Changes of Attribution

    Changes of Attribution

    2019 Annual Report

    Introduction

    Changes of attribution are the result of scholarly research using the latest art historical investigations and scientific examinations, and it is the policy of the Gallery to publish these changes regularly. The following changes of attribution were proposed by Gallery curators and approved by the Gallery’s Board of Trustees during fiscal year 2019. The list is arranged in alphabetical order according to former attribution, and includes changes of title and/or date if they were a part of the change of attribution.

    Drawings

    Sigismondo Coccapani, Head of a Woman in Profile, c. 1620, black and red chalk with wash on laid paper, Gift of Ruth Cole Kainen, 2005.145.1

    2005.145.1
    Old: Italian 16th Century, Head of a Woman, undated
    New: Sigismondo Coccapani, Head of a Woman in Profile, c. 1620

    Anna Nistri Tonelli, after Adam Buck (?), Charlotte Sneyd, c. 1790, pastel on laid paper, Ailsa Mellon Bruce Fund, 2018.89.1

    2018.89.1
    Charlotte Sneyd
    Old: James Sharples, late 18th century
    New: Anna Nistri Tonelli, after Adam Buck (?), c. 1790

    Anna Nistri Tonelli, after Adam Buck (?), Mary Sneyd, c. 1790, pastel on laid or wove paper prepared with a gray ground; laid down, Ailsa Mellon Bruce Fund, 2018.89.2

    2018.89.2
    Mary Sneyd
    Old: James Sharples, late 18th century
    New: Anna Nistri Tonelli, after Adam Buck (?), c. 1790

    Paintings

    A man stands at a coastline with his back to us, gesturing toward a group of seven men sailing on the rolling sea in this horizontal painting. All the people have pale, peach skin. The man standing near us to our left wears a light blue tunic under a shell-pink garment that drapes around his hips and falls to his ankles. A thin gold halo encircles his head over curly brown, shoulder-length hair. Green land extends along the foreground close to us, and trees rise to either side. It is unclear whether the man stands on the land or on the water with bare feet. His body is angled away from us and to our right as he looks and gestures with one arm raised toward the boat on the water beyond. Choppy waves and swirling, dense clouds ranging from topaz to navy blue dominate the landscape. Each of the seven men in the sailboat does something different. For instance, one leans over the edge to grasp a fishing net while another pulls a rope for the sail. Two of the men have white halos. One stands at the back of the boat looking into the far distance and the other begins to step onto the surface of the water.

    Circle of Jacopo Tintoretto (Probably Lambert Sustris), Christ at the Sea of Galilee, c. 1570s, oil on canvas, Samuel H. Kress Collection, 1952.5.27

    1952.5.27
    Christ at the Sea of Galilee
    Old: Circle of Tintoretto (Probably Lambert Sustris)
    New: Circle of Jacopo Tintoretto (Probably Lambert Sustris)

    Circle of Jacopo Tintoretto, Lamentation, 1580s, oil on canvas, Timken Collection, 1960.6.37

    1960.6.37
    Lamentation
    Old: Circle of Tintoretto
    New: Circle of Jacopo Tintoretto
     

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