Susanna

c. 1580s

Domenico Tintoretto

Painter, Venetian, 1560 - 1635

A mostly nude young woman with pale skin leans, half-sitting, back on one hand while she reaches for a silver vessel held by a second woman in this vertical painting. The woman who offers the vessel also has light skin, and both have auburn-brown hair bound up and interwoven with strands of pearls. The body of the woman at the center of the painting, Susanna, faces us and she turns her head to our left, to look at the vessel with shaded, dark eyes. She has a straight nose, and her ruby-red, full lips are closed. A glint on one earlobe suggests a jeweled earring behind curls that frame her face and brush her shoulders. She has small, firm breasts and wears a bronze-colored bracelet on each wrist. Crimson-red cloth hangs from the backs of her shoulders and drapes over her seat. Sheer white fabric covers her lap across her upper thighs. The toes of one foot rest on the ground while the other foot dips into the water of a pool. The other woman, holding the round vessel, faces away from us as she leans into the painting so only her head, shoulders, and arms are visible. Her dark pink sleeve wraps around the upper arm we can see, and she wears a gold-colored bracelet on that wrist. A swath of brick-red fabric hangs between the two women. A dark, shadowy bush dotted with deep pink roses fills the space behind Susanna and, in the distance to our left, two people stand under an arched trellis covered with vines. Wearing light-colored robes and hoods, the people in the distance are painted with silvery gray and cream white, and are translucent against the sky.

Media Options

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The story of the beautiful and chaste Susanna is recounted in Daniel 13. Two elders of Babylon lusted for Susanna, the wife of the priest Joachim. They spied upon her as she bathed, then threatened to falsely accuse her of adultery with another man unless she submitted to their advances. Although the subject can be interpreted as a parable of justice—Susanna is ultimately vindicated—artists of the period clearly favored the image of the nude Susanna at the bath for its sensual appeal.

The painting may have originally been part of a decorative ensemble of six biblical scenes that hung above a series of doors. The nude figure is stylistically comparable to those in other paintings that can be identified as Tintoretto studio products of the 1570s and 1580s. These nude figures can be distinguished from those by Jacopo Tintoretto himself, which show a more convincing sense of the figures’ underlying anatomy, as well as more varied and dynamic compositions. Here, Susanna is a much simpler conception, focusing on the nude figure, with only the barest allusion to narrative elements in the two sketchy figures of the elders in the background.

The identification of different hands in the Tintoretto shop remains a challenge. Here, however, the maid’s facial type is one that appears regularly in paintings that can be associated with Domenico, Tintoretto’s son. The picture can thus provisionally be assigned to Domenico, working in his father’s studio.

On View

West Building Main Floor, Gallery 28


Artwork overview

  • Medium

    oil on canvas

  • Credit Line

    Samuel H. Kress Collection

  • Dimensions

    overall: 150.2 x 102.6 cm (59 1/8 x 40 3/8 in.)
    framed: 185.7 x 137.8 x 10.8 cm (73 1/8 x 54 1/4 x 4 1/4 in.)

  • Accession

    1939.1.231

More About this Artwork


Artwork history & notes

Provenance

Probably Senator Lorenzo Dolfin [or Delfino, 1591-1663], Venice, by 1642.[1] George Oakley Fisher [1859-1933], Egremont House, Sudbury, England.[2] (David M. Koetser Gallery, London). (Count Alessandro Contini Bonacossi, Florence); sold June 1936 to the Samuel H. Kress Foundation, New York;[3] gift 1939 to NGA.
[1] In a passage first linked to the NGA painting by Wilhelm Suida (manuscript opinion in NGA curatorial files), Tintoretto's biographer Carlo Ridolfi wrote “Il Signor Lorenzo Delfino Senator ha … sei historie del vecchio testmento collocate sopra poste [presumed to be an error for “porte,” doors]; cioè …Susana nel giardino, & i due vecchi, che spuntano di lontano da un pergolato….” (“Senator Lorenzo Delfino has. . .six scenes from the Old Testament placed above doors; namely. . .Susanna in the garden, and the two old men, emerging in the distance from a pergola. . ."); Vita di Giacopo Robusti detto il Tintoretto, Venice, 1642: 72. The other subjects mentioned by Ridolfi as part of the ensemble were Adam and Eve, Hagar and the Angel, Lot and his Daughters, Abraham Sacrificing Isaac, and Ruth and Boaz. All seem to be lost. See also: Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl’illustri pittori veneti, e dello Stato, 2 vols., Venice, 1648: 2:45; Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl’illustri pittori veneti, e dello Stato (Venice, 1648), edited by Detlev von Hadeln, 2 vols., Berlin, 1914-1924: 2(1924):54.
If the painting described by Ridolfi is, as scholars believe, the NGA painting, it appears as item 45 of page 286 in a partition document dated 26 November 1655: "Tintoretto vecchio, Susana insediata da vicchi." See: The Getty Provenance Index Databases, Archival Inventories, no. I-3348 (Dolfin); and Linda Borean, "Appunti per una storia del collezionismo a Venezia nel Seicento: la pinacoteca di Lorenzo Dolfin," _Studi Veneziani_ 38 (1999): 259-291.

[2] Fisher was a book collector and antiquarian; the NGA painting does not appear in the several sales of his collection held by his executors in London in 1934 (see NGA curatorial files).
[3] The bill of sale for a group of paintings, including the Tintoretto, is dated 1 June 1936 (copy in NGA curatorial files). See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/2025.

Associated Names

Exhibition History

1996

  • Obras Maestras de la National Gallery of Art de Washington, Museo Nacional de Antropología, Mexico City, 1996-1997, unnumbered catalogue, 48-49, color repro.

1999

  • Masterpieces from the National Gallery of Art, Washington, Kyoto Municipal Museum of Art; Tokyo Metropolitan Art Museum, 1999, no. 79, repro.

Bibliography

1642

  • Ridolfi, Carlo. Vita di Giacopo Robusti detto il Tintoretto. Venice, 1642: 72.

1648

  • Ridolfi, Carlo. Le maraviglie dell’arte, overo Le vite de gl'illustri pittori veneti, e dello Stato. 2 vols. Venice, 1648: 2:45.

1914

  • Ridolfi, Carlo. Le maraviglie dell’arte, overo Le vite de gl'illustri pittori veneti, e dello Stato (Venice, 1648). Edited by Detlev von Hadeln. 2 vols. Berlin, 1914-1924: 2(1924):54.

1941

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 195, no. 342.

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 246, repro. 196.

1957

  • Berenson, Bernard. Italian Pictures of the Renaissance. Venetian School. 2 vols. London, 1957: 1:183.

1959

  • Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 205, repro.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 128.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 115, repro.

1970

  • De Vecchi, Pierluigi. L’opera completa del Tintoretto. Milan, 1970: 115, no. 216.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 201.

1973

  • Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XVI-XVIII Century. London, 1973: 58, fig. 110.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 340, repro.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:472-473; 2:pl. 337.

1982

  • Pallucchini, Rodolfo, and Paola Rossi. Tintoretto: le opere sacre e profane. 2 vols. Venice, 1982: 1:160, 210, and 264, no. 377; 2:fig. 487.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 227, no. 286, color repro.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 391, repro.

1991

  • Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 184, color repro.

1998

  • Apostolos-Cappadona, Diana. “Toilet Scenes." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:874.

1999

  • Borean, Linda. "Appunti per una storia del collezionismo a Venezia nel Seicento: la pinacoteca di Lorenzo Dolfin." Studi Veneziani 38 (1999): 274, 286, 298 fig. 6.

2009

  • Echols, Robert, and Frederick Ilchman. “Toward a New Tintoretto Catalogue, with a Checklist of Revised Attributions and a New Chronology.” In Jacopo Tintoretto: Actas del congreso internacional/Proceedings of the International Symposium, Museo Nacional del Prado, Madrid, February 26-27, 2007. Madrid, 2009: 143, no. S36.

Wikidata ID

Q20176783


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