Portrait of a Man

c. 1450

Andrea del Castagno

Painter, Florentine, before 1419 - 1457

Andrea del Castagno

The head, shoulders, and chest of a man wearing a deep rose-red garment fills this vertical portrait painting. His body is angled slightly to our left, and he looks directly at us from the corners of his eyes. His brown hair falls across his forehead, sweeps down over his ears, and curls gently at the nape of his neck. His eyebrows arch over brown eyes, and he has a long, angular nose. His upper lip is full, and his mouth is closed. He has high cheekbones and a cleft in his chin. The high collar is a black band over the voluminous red garment, which falls in pleats or folds down his chest. His right hand, on our left, lifts to clutch the fabric near his chest, in the lower left corner of the painting, and he wears a gold ring on his pinky finger. The background behind the man fades from dark aquamarine blue across the top to pale arctic blue at his shoulders, which span the width of the composition.

Media Options

This object’s media is free and in the public domain. Read our full Open Access policy for images.
On View

West Building Main Floor, Gallery 6

Artwork overview

  • Medium

    tempera on panel

  • Credit Line

    Andrew W. Mellon Collection

  • Dimensions

    painted surface: 54.2 x 40.4 cm (21 5/16 x 15 7/8 in.)
    support: 55.5 x 41.2 cm (21 7/8 x 16 1/4 in.)
    framed: 86.4 x 74.9 x 8.9 cm (34 x 29 1/2 x 3 1/2 in.)

  • Accession Number

    1937.1.17

Artwork history & notes

Provenance

Probably Del Nero family, Florence, and, by descent, to Baron Cerbone Del Nero [1756-1816];[1] by inheritance to his widow, Ottavia Torrigiani [1758-1825], and her brother, Marquis Pietro Torrigiani [1773-1848], Palazzo Torrigiani (formerly Del Nero), Florence;[2] by inheritance to his son, Marquis Luigi Torrigiani [1804-1869], Palazzo Torrigiani;[3] by inheritance to one of his sons, probably Raffaele Torrigiani [1853-1927], Palazzo Torrigiani;[4] acquired by (Charles Fairfax Murray, London and Florence) on joint account with (Thomas Agnew & Sons, Ltd., London);[5] sold 1896 to Rodolphe Kann [1846-1905], Paris;[6] (Duveen Brothers, Inc., London and New York) and (Nathan Wildenstein, Paris);[7] sold 1907 to J. Pierpont Morgan [1837-1913], New York;[8] by inheritance to his son, J. Pierpont Morgan, Jr. [1867-1943], New York; on consignment 1935 with (M. Knoedler & Co., New York and London);[9] purchased February 1935 by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 1 May 1937 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[10] gift 1937 to NGA.
[1] According to evidence collected by the Duveen Brothers (see prospectus in NGA curatorial files and also the statement published in Duveen Pictures in Public Collections of America, New York, 1941: no. 55), the portrait was "said traditionally to be a member of the Del Nero family" and came from the collection of Baron Cerbone Del Nero. So far no supporting evidence has emerged to confirm this tradition, which was probably passed on to Duveen Brothers by the Torrigiani family; nonetheless, at least as far as the provenance is concerned, this appears plausible. In any case, the Galleria Torrigiani (see below), where the painting is recorded for the first time by the mid-nineteenth century (see Otto Mündler, "The Travel Diaries of Otto Mündler, 1855-1858," ed. Carol Togneri Dowd, in Walpole Society 51 [1985]: 132), was in the palace originally belonging to the Del Nero family. Old guides to Florence do not mention a Palazzo Torrigiani or family collections. Palazzo del Nero, instead, built around the middle of the sixteenth century on Baccio d'Agnolo's design, is listed as early as 1591 by Francesco Bocchi (Le bellezze della città di Firenze, ed. Giovanni Cinelli, Florence, 1677 [originally 1591]: 288-290, reprinted Bologna, 1973), who also records some valuable Renaissance paintings housed there. The palace also represented an important cultural point of reference, as it was the headquarters of the Accademia degli Alterati, founded in 1568. Along with the meetings of the Academy, the building housed an important collection of antiques and works of art, which in 1715 numbered some one hundred pieces (see Leonardo Ginori Lisci, I palazzi di Firenze, 2 vols., Florence, 1972: 2:675-682, and Liliano Gregori's unpublished 1993 Ph.D. dissertation for Università Cattolica, Milan, on the library of the Del Nero family). Carlo, born in 1433 and still living in 1477, was a champion of humanistic interests in the family and active in economic and political life; owing to his artistic sensibility he could possibly be the sitter in the portrait. The family died out at the beginning of the nineteenth century with Cerbone, baron of Porcigliano (see Agostino Ademollo, Marietta de' Ricci ovvero Firenze al tempo dell'assedio, 2nd ed. by Luigi Passerini, 6 vols., Florence, 1845: 4:1341-1344 n. 10). At his widow's death, their property passed to her brother, Pietro Torrigiani (see Luigi Passerini, Genealogia e storia della famiglia Guadagnia, Florence, 1873: pl. VII between pp. 148 and 149).
[2] In 1795 Pietro, the second child of Giambattista Guadagni, became the heir of his uncle, Cardinal Luigi Torrigiani, whose last name he assumed. See Passerini, Genealogia e storia, 1873: 153-158.
[3] The creator of the Gallery was probably Luigi Torrigiani, described as "un appassionato per le belle arti" who "arricchi di preziosi capolavori la pinacoteca della famiglia" ("an afficionado of the fine arts who enriched the family collection with precious masterpieces"; see Passerini, Genealogia e storia, 1873: 159), adding to the works already in Palazzo Del Nero those coming from his family and from its inheritances from the Santini and Minerbetti (see Ginori Lisci, Palazzi di Firenze, 1972: 679), as well as the Pazzi families (see Pompeo Litta, Familglie celebri italiane, 2nd ser., vol. 5 [n.d., but 1851]: "Pazzi," pl. X). Only in the late 1840s do Florentine guides begin to mention a Galleria Torrigiani, describing some of its artistic treasures (see Federico Fantozzi, Nuova guida ovvero descrizione storico-artistico-critica della città e dei contorni di Firenze, Florence, 1841: 600-601; Giuseppe François, Nuova guida della città di Firenze, Florence, 1850: 549). Otto Mündler visited the collection in September 1856 and described the painting: "Portrait of a man, by Pollajuolo (?), It has a good deal of A. Verocchio and of L. di Credi. Backgroun, sky, very much injured." See "The Travel Diaries of Otto Mündler 1855-1858," ed. Carol Togneri Dowd, Walpole Society 51 (1985): 132, 310. Sir Charles Eastlake, director of London's National Gallery, also saw the painting in 1856, describing it as follows: "Portrait - man - hair close to brow - hand - lk red dress - sky in up. Part darkened - probably Verrocchio - suffered" (Susanna Avery-Quash, "The Travel Diaries of Sir Charles Eastlake," 2 vols., Walpole Society 73 [2011]: 1:311; kindly brought to the Gallery's attention by Alexander Röstel, curatorial fellow, National Gallery, London, e-mail of 12 February 2019, in NGA curatorial files).
[4] Only specific archival research could establish exactly how the contents of the gallery were divided among Luigi Torrigiani's four sons, Pietro, Filippo, Raffaele, and Carlo. According to information gathered by Duveen Brothers, however (see note 1), the painting belonged to Raffaele.
[5] According to the widow of Luigi Torrigiani, it was the decision of his four sons to break up the family gallery (see Elisa Torrigiani, Mon journal, Florence, 1905: 409-410). It seems that, as early as the 1860s, negotiations were begun with antique dealers and agents in the city for the sale of some of the works (see John Fleming, "Art Dealing in the Risorgimento," The Burlington Magazine 121 [1979]: 576). Nonetheless, only in 1896 were some paintings sold, including two cassone panels by Pesellino with stories from the life of David, now in the National Gallery in London (see Catalogue of Pictures forming the Collection of Lord and Lady Wantage, London, 1902: 113-119) and stories from the life of Esther by Filippino Lippi, purchased for the collection of the princes of Liechtenstein in the same year and in more recent times sold to the National Gallery of Canada in Ottawa; see Myron Laskin, Jr., and Michael Pantazzi, Catalogue of the National Gallery of Canada, Ottawa. European and American Painting, Sculpture and Decorative Arts, 2 vols., Ottawa, 1987: 1:167-169. Probably in the same year the NGA painting also changed hands; however, while the Ottawa panels were sold through Stefano Bardini, the NGA painting, according to the Getty Provenance Index, was acquired by Kann through Agnew's and Charles Fairfax Murray. The painting was Agnew's stock number 7624.
[6] See Wilhelm von Bode, Die Gemälde-Galerie des Herrn Rudolf Kann in Paris, Vienna, 1901: 27-28; Emile Michel, "La Galerie de M. Rodolphe Kahn[sic]-2," Gazette des Beaux-Arts 3e, 43 (1901): 496.
[7] See Edward Fowles, Memories of Duveen Brothers, London, 1976: 35-42.
[8] As can be seen from correspondence between Bernard Berenson and Isabella Stewart Gardner (and in particular a letter from Berenson dated 4 August 1907), J.P. Morgan purchased the entire Kann collection as a block, with the intention of keeping for himself only some thirty paintings. Mrs. Gardner, with Berenson's encouragement, tried to obtain the NGA painting for her collection, but was unsuccessful.
[9] Not officially announced, in the early months of 1935 news nonetheless began to spread of the sale of a certain number of paintings belonging to the Morgan collection (see "Morgan Sales," Art Digest 9 [February 1935]: 18; "Morgan Sale," Art Digest 9 [July 1935]: 22; Pantheon 15 [April 1935]: 116). Messrs. Knoedler & Co. were entrusted with the sale; the Getty Provenance Index provides the information that the painting was Knoedler's number CA 765 (see T.L.H., "Masterpieces from the Morgan Collection Sold," Apollo 21 [1935]: 167). It does not appear that Wildenstein & Co. was involved, as Shapley asserts (Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:128).
[10] Mellon purchase date and date deeded to Mellon Trust are according to Mellon collection files in NGA curatorial records and David Finley's notebook (donated to the National Gallery of Art in 1977, now in the Gallery Archives).

Associated Names

Exhibition History

1917

  • Loan Exhibition of Italian Primitives, F. Kleinberger Galleries, New York, 1917, no. 21, repro.

1920

  • Fiftieth Anniversary Exhibition, The Metropolitan Museum of Art, New York, 1920, unnumbered catalogue.

1923

  • Loan Exhibition of the Arts of the Italian Renaissance, The Metropolitan Museum of Art, New York, 1923, no. 1.

1924

  • Loan Exhibition of Important Early Italian Paintings in the Possession of Notable American Collectors, Duveen Brothers, New York, 1924, no. 32 (no. 8 in illustrated 1926 version of catalogue).

1935

  • Fifteenth Century Portraits, M. Knoedler & Co., New York, 1935, no. 5, repro.

1936

  • The Twentieth Anniversary Exhibition of the Cleveland Museum of Art. The Official Art Exhibit of the Great Lakes Exposition, 1936, no. 118.

1979

  • Berenson and the Connoisseurship of Italian Painting, National Gallery of Art, Washington, D.C., 1979, no. 110, repro.

2011

  • The Portrait in Renaissance Italy: From Masaccio to Bellini, Gemäldegalerie, Staatliche Museen zu Berlin; The Metropolitan Museum of Art, New York, 2011-2012, no. 21, repro.

Bibliography

1864

  • Crowe, Joseph Archer, and Giovan Battista Cavalcaselle. A New History of Painting in Italy from the Second to the Sixteenth Century. 3 vols. London, 1864-1866: 2(1864):397, as by the Pollaiuolo brothers.

1869

  • Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. Geschichte der italienischen Malerei. 6 vols. Leipzig, 1869-1876: 3(1870):137, as by the Pollaiuolo brothers.

1872

  • Förster, Ernst. Geschichte der italienischen Kunst. 3 vols. Leipzig, 1872: 3:272.

1873

  • Horner, Susan, and Joanna Horner. Walks in Florence. 2 vols. London, 1873: 2:267.

1879

  • Burkhardt, Jacob. Die Cicerone. 4th ed. Ed. Wilhelm von Bode. Leipzig, 1879: 543 n. 1.

1884

  • Ostoya, Gaetan. Les Anciens maîtres et les oeuvres à Florence. Guide Artistique. Florence, 1884: 301.

1886

  • Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. Storia della pittura in Italia dal secolo II al secolo XVI. 11 vols. Florence, 1886-1908: 6(1894):136-137, as by the Pollaiuolo brothers.

1895

  • Griffi, Elvira. Saunterings in Florence. A New Artistic and Practical Handbook. 5th ed. Florence, 1895: 426.

1896

  • Berenson, Bernard. The Florentine Painters of the Renaissance: with an index to their works. New York, 1896: 109.

1900

  • Bode, Wilhelm von. Gemälde-sammlung des Herrn Rudolf Kann in Paris. Vienna, 1900: xxvi-xxvii, pl. 76.

  • Berenson, Bernard. The Florentine Painters of the Renaissance. 2nd ed. New York and London, 1900: 113.

1901

  • Michel, Emile. “La Galerie de M. Rodolphe Kahn-2.” Gazette des Beaux-Arts 43 (1901): 496.

1903

  • Marguillier, Auguste. “La collection de M. Rodolphe Kann.” Les Arts no. 13 (1903): 3.

  • Berenson, Bernard. The Drawings of the Florentine Painters. 2 vols. London, 1903: 1:16.

1904

  • Schaeffer, Emil. Das Florentiner Bildnis. Munich, 1904: 103, repro.

1905

  • Bode, Wilhelm von. “Rudolf Kann und ihre Sammlungen.” Kunstchronik 16, no. 19 (1905): 293, as by Botticelli.

1907

  • Bode, Wilhelm von. _Catalogue of the Rodolphe Kann Collection _. 2 vols. Paris, 1907: 2:27, no. 120, repro., as by Botticelli.

  • Bode, Wilhelm von. “Der Verkauf der Sammlung Rudolf Kann in Paris nach Amerika.” Kunst für Alle 23 (1907): 20, as by Botticelli.

1908

  • Nicolle, Marcel. “La collection Rodolphe Kann.” Revue de l’art ancien et moderne 23 (1908): 191.

1909

  • Berenson, Bernard. The Florentine Painters of the Renaissance. 3rd ed. London, 1909: 130.

1913

  • Cagnola, Guido. “Il ‘Davide’ di Andrea del Castagno.” Rassegna d’Arte 13 (1913): 49.

1916

  • Berenson, Bernard, and William Roberts. Pictures in the Collection of P.A.B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania: Early Italian and Spanish Schools. Philadelphia, 1916: unpaginated.

1919

  • Offner, Richard. “The Unique Portrait by Andrea del Castagno.” Art in America 7 (1919): 227-234, repro.

1920

  • “Italian Paintings.” Bulletin of the Metropolitan Museum of Art 15, no. 7 (July 1920): 162-163.

1921

  • Bode, Wilhelm von. Botticelli. Berlin, 1921: 106, as by Botticelli.

1923

  • Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 10(1928):372, 373-374, repro. 11(1929):418.

  • Poore, Dudley. “Italian Renaissance Exhibition.” Arts 3, no. 6 (June 1923): 408.

  • Mather, Frank Jewett, Jr. A History of Italian Painting. New York, 1923: 146.

1924

  • Offner, Richard. “A Remarkable Exhibition of Italian Paintings.” The Arts 5, no. 5 (1924): 248.

  • Bode, Wilhelm von. “Italian Portrait Paintings and Busts of the Quattrocento.” Art in America 12 (1924): 5.

  • Alazard, Jean. Le Portrait florentin de Botticelli à Bronzino. Paris, 1924: 18 n. 1.

1925

  • Fiocco, Giuseppe. “Andrea del Castagno nel Veneto.” Belvedere 7 (1925): 158.

1928

  • Deutsch, Werner R. “Andrea del Castagno.” Ph.D. Diss., University of Königsberg, 1928: 34, 40-42, 52-53.

1930

  • Valentiner, Wilhelm R., ed. Unknown Masterpieces in Public and Private Collections. London, 1930: n.p., pl. 11.

1932

  • Berenson, Bernard. Italian Pictures of the Renaissance. Oxford, 1932: 466, as by Antonio del Pollaiuolo.

1933

  • Venturi, Lionello. Italian Paintings in America. 3 vols. New York and Milan, 1933: 2:pl. 234.

  • Gamba, Carlo. “Filippino Lippi e l’amico di Sandro.” In Miscellanea di storia dell’arte in onore di Igino Benvenuto Supino. Florence, 1933: 467.

1934

  • Deutsch, Werner R. “Zur Entwicklung des Andrea del Castagno.” Pantheon 14 (1934): 364.

1935

  • Tietze, Hans. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935: 47, repro.

  • Pudelko, Georg. “Florentiner Porträts der Renaissance.” Pantheon 15 (1935): 96-98, repro.

1936

  • Pudelko, Georg. “Two Portraits Ascribed to Andrea del Castagno.” The Burlington Magazine 38 (May-June 1936): 240.

  • Milliken, William Mathewson. “Twentieth Anniversary Exhibition of the Cleveland Museum of Art.” Art News 34 (14 June 1936): 7, 9, repro.

  • Berenson, Bernard. Pitture italiane del rinascimento. Milan, 1936: 400, as by Antonio del Pollaiuolo.

  • Salmi, Mario. Paolo Uccello, Andrea del Castagno, Domenico Veneziano. Rome, 1936: 48, 116, pl. 121.

1937

  • Jewell, Edward Alden. "Mellon's Gift." Magazine of Art 30, no. 2 (February 1937): 73, 79, repro.

  • Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 17.

  • Frankfurter, Alfred M. “The Mellon Gift to the Nation.” Art News 35 (9 January 1937): 9-10.

1938

  • Berenson, Bernard. The Drawings of the Florentine Painters. 3 vols. Chicago, 1938: 1:15-16, as by Antonio del Pollaiuolo.

  • Salmi, Mario. _ Paolo Uccello, Andrea del Castagno, Domenico Veneziano_. 2nd ed. Milan, 1938: 60, 120, 160-161, 171, pl. 141.

  • Wackernagel, Martin. Der Lebensraum des Künstlers in der florentinischen Renaissance. Leipzig, 1938: 178.

1939

  • Arslan, Edoardo. “Review of Mario Salmi, Paolo Uccello (1936).” Zeitschrift für Kunstgeschichte 8 (1939): 314.

1941

  • Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 55, repro.

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 157-158, no. 17, as by Antonio del Pollaiuolo.

  • Richter, George Martin. "The New National Gallery in Washington." The Burlington Magazine for Connoisseurs 78 (June 1941): 177.

  • Richter, George M. “The Beginnings of Andrea del Castagno.” Art in America 29 (1941): 199, fig. 24.

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 171, as by Antonio del Pollaiuolo.

1943

  • Richter, George M. Andrea del Castago. Chicago, 1943: 20, pl. 54.

  • Colacicchi, Giovanni. Antonio del Pollaiuolo. Florence, 1943: xxxi, pl. 5, as by Antonio del Pollaiuolo.

1944

  • Cairns, Huntington, and John Walker, eds. Masterpieces of Painting from the National Gallery of Art. New York, 1944: 36, color repro., as by Antonio del Pollaiuolo.

  • Kennedy, Ruth Wedgwood. Review of George M. Richter, Andrea del Castagno, 1943. The Art Bulletin 26, no. 3 (September 1944): 201.

  • Sabatini, Attilio. Antonio e Piero del Pollaiolo. Florence, 1944: 123.

1945

  • “Italian Paintings in the Andrew W. Mellon Collection.” Connoisseur 115, no. 496 (June 1945): 116, 117, repro.

  • Fiocco, Giuseppe. La pittura toscana del Quatrocento. Novara, 1945: xxii.

1948

  • Ortolani, Sergio. Il Pollaiuolo. Milan, 1948: 188-189.

1949

  • Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 21, repro., as by Antonio del Pollaiuolo.

1950

  • Bodmer, Heinrich. “Eine Hochzeitstruhe des Domenico Veneziano.” In Jahrsgabe 1950 des Bodmer-Familien-Fonds in Zürich. Zurich, 1950: 9.

1951

  • Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 44-47, repro., as by Antonio del Pollaiuolo.

1954

  • Berti, Luciano. “Notizia di Andrea del Castagno.” In Mostra di quattro maestri del primo Rinascimento. Exh. cat. Palazzo Strozzi, Florence, 1954: 134.

1956

  • Walker, John. National Gallery of Art, Washington. New York, 1956: 18, repro., as by Pollaiuolo.

  • Levi D’Ancona, Mirella. “Un’opera giovanile del Pollaiuolo già ascritta ad Andrea del Castagno.” Rivista d’Arte 31 (1956): 91.

  • Hartt, Frederick. “A New Attribution for a Famous Drawing.” Art Quarterly 19 (1956): 166.

1957

  • Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 61.

  • Russoli, Franco. Andrea del Castagno. Milan, 1957: 24, 33, pl. 26.

1959

  • Hartt, Frederick. “The Earliest Works of Andrea del Castagno: Part One.” The Art Bulletin 41 (June 1959): 159-160.

1960

  • Richter, Jean Paul. Italienische Malerei der Renaissance im Briefwechsel von Giovanni Morelli und Jean Paul Richter, 1876-1891. Ed. Irma and Gisela Richter. Baden Baden, 1960: 465, as by one of the Pollaiuolo brothers.

  • Horster, Marita. “Das florentiner Jünglingsporträt in München, Alte Pinakothek, Inv. 658.” Pantheon 28 (1960): 210, 212, repro.

  • Grassi, Luigi. I disegni italiani del Trecento e Quattrocento. Scuole fiorentina, senese, marchigiana, umbra. Venice, 1960: 162-163.

1961

  • Berenson, Bernard. I disegni dei pittori fiorentini. 3 vols. Milan, 1961: 1:47, as by Antonio del Pollaiuolo.

  • Salmi, Mario. Andrea del Castagno. Novara, 1961: 19, 47-48, pl. 43.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 299, repro.

  • Berenson, Bernard. Italian Pictures of the Renaissance. Florentine School. 2 vols. London, 1963: 1:47.

1964

  • Hartt, Frederick. Review of Mario Salmi, Andrea del Castagno, 1961. Renaissance News 17 (1964): 38.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 24.

1966

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:38, color repro.

  • Pope-Hennessy, John. The Portrait in the Renaissance. London and New York, 1966: 28, 29, 306 n. 41, fig. 26.

  • Berti, Luciano. Andrea del Castagno. Florence, 1966: 38-39, pl. 77.

1967

  • Bellosi, Luciano. "Intorno ad Andrea del Castagno." Paragone 18, no. 211 (1967): 9.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 17, repro.

  • Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 27-28, color repro.

  • Gilbert, Creighton. “The Renaissance Portrait.” Review of John Pope-Hennessy, The Portrait in the Renaissance (1963). The Burlington Magazine 110, no. 782 (May 1968): 281-282, 285 n. 21.

  • Degenhart, Bernhard, and Annegrit Schmitt. Corpus der italienischen Zeichnungen 1300-1450, 1: Süd- und Mittelitalien. 4 vols. Berlin, 1968: part 1, 2:515.

1971

  • Zeri, Federico, with Elizabeth Gardner. Italian Paintings. A Catalogue of the Collection of the Metropolitan Museum of Art. Florentine School. New York, 1971: 146.

  • Davidson, Berenice. “Tradition and Innovation: Gentile da Fabriano and Hans Memling.” Apollo 93, no. 111 (May 1971): 384-385.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 7, 645.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 58, repro.

1976

  • Hatfield, Rab. Botticelli’s Uffizi “Adoration”: A study in pictorial content. Princeton, 1976: 72 n. 16.

1978

  • Ettlinger, Leopold D. Antonio and Piero Pollaiuolo. Complete Edition with a Critical Catalogue. Oxford, 1978: 170.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:127-129; 2:pl. 88.

  • Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 22, pl. 5.

1980

  • Ragghianti, Carlo L. “Galleria di Washington.” Critica d’Arte 45, nos. 154-156 (1980): 218, as by Botticelli.

  • Wohl, Hellmut. The Paintings of Domenico Veneziano. Oxford, 1980: 175, pl. 15.

  • Pope-Hennessy, John, and Keith Christiansen. “Secular Painting in 15th-Century Tuscany: Birth Trays, Cassone Panels, and Portraits.” Bulletin of the Metropolitan Museum of Art 38 (Summer 1980): 37.

  • Horster, Marita. Andrea del Castagno. Oxford, 1980: 32-33, 50, 180-181, pl. 93.

1981

  • Jean Fouquet. Exh. cat. Musée du Louvre, Paris, 1981: 80 n. 47.

1982

  • Wohl, Hellmut. Review of Marita Horster, Andrea del Castagno, 1980. The Art Bulletin 64, no. 1 (March 1982): 147.

  • Natale, Mauro. Il Museo Poldi Pezzoli. Dipinti. Milan, 1982: 156.

1983

  • Bellosi, Luciano. "Andrea del Castagno." In Günter Meissner, ed. Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker. 3 vols. Leipzig, 1983-1990: 2(1986):984, 986.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 76, no. 24, color repro.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 77, repro.

  • Mündler, Otto. "The Travel Diaries of Otto Mündler." Ed. Carol Togneri Dowd. Walpole Society 51 (1985): 132, 310.

  • Rosenauer, Artur. “Zu einem frühen Porträt von Domenico Ghirlandaio.” In Andrew Morrough et al, eds. Renaissance Studies in Honor of Craig Hugh Smyth. Florence, 1985: 2:399.

1986

  • Frulli, Cristina. "Andrea del Castagno/Andrea di Bartolo di Simone." In Federico Zeri, ed. La pittura in Italia. Il Quattrocento. 2 vols. Milan, 1986: 2:556.

1988

  • Sterling, Charles. “Fouquet en Italie.” L’Oeil no. 392 (March 1988): 24-29.

1990

  • Campbell, Lorne. Renaissance Portraits: European Portrait-Painting in the 14th, 15th, and 16th Centuries. New Haven, 1990: 86, 120, 228, 232, pl. 248.

  • Syre, Cornelia. Frühe Italienische Gemälde aus dem Bestand der Alten Pinakothek. Munich, 1990: 103, 105, 106, repro.

1991

  • Spencer, John R. Andrea del Castagno and His Patrons. Durham and London, 1991: 10, 131-132, 175 nn. 1-4.

  • Paolieri, Annarita. Paolo Uccello, Domenico Veneziano, Andrea del Castagno. Florence, 1991: 70-72, 78, repro.

1992

  • Petrioli Tofani, Annamaria, ed. Il disegno fiorentino del tempo di Lorenzo il Magnifico. Exh. cat. Galleria degli Uffizi, Gabinetto Disegni e Stampe, Florence, 1992: 97.

  • Christiansen, Keith. “Portraits.” In Jane Martineau, ed. Andrea Mantegna. Exh. cat. Royal Academy, London, 1992: 333-335.

1993

  • Gagliardi, Jacques. La conquête de la peinture: L’Europe des ateliers du XIIIe au XVe siècle. Paris, 1993: 378, fig. 443.

  • De Nicolò Salmazo, Alberta. Il soggiorno Padovano di Andrea Mantegna. Venice, 1993: 101.

1996

  • Fossi, Gloria. “Virtù terrene e ‘bellezze dell’animo.’ Ritratti nella Firenze del Quattrocento.” In Gloria Fossi, ed. Il Ritratto: gli artisti, i modelli, la memoria. Florence, 1996: 64, fig. 83.

  • Wohl, Hellmut. "Andrea del Castagno." In Jane Turner, ed. The Dictionary of Art. 34 vols. New York and London, 1996: 6:12.

1997

  • Boskovits, Miklós. “Studi sul ritratto fiorentino quattrocentesco – II.” Arte Cristiana 85, no. 782 (1997): 336-338, fig. 17, as by Piero del Pollaiuolo.

  • Boskovits, Miklós. “Studi sul ritratto fiorentino quattrocentesco. Parte II” Arte Cristiana 85, no. 782 (September-October 1997): 336-339, 341-342 nn. 47, 48, 49, 50, 56, figs. 17, 19, as by Piero del Pollaiuolo.

  • Morel, Philippe, Daniel Arasse, and Mario D’Onofrio. L’Art italien du IVe siècle à la Renaissance. Paris, 1997: 329, pl. 359.

1999

  • Bartoli, Roberta. Biagio d’Antonio. Milan, 1999: 38, as Formerly Attributed to Andrea del Castagno.

  • Cecchi, Alessandro. "The Conservation of Antonio and Piero del Pollaiuolo's Altar-piece for the Cardinal of Portugal's Chapel." The Burlington Magazine 141, no. 1141 (February 1999): 84 n. 24.

2000

  • Fahy, Everett. Dipinti, disegni, miniature, stampe: L'Archivio storico fotografico di Stefano Bardini. Florence, 2000: 7, 15, 41, 198, 409, no. 307, repro., as by Piero del Pollaiuolo.

  • Wright, Alison. “The Memory of Faces: Choices in Portraiture.” In Giovanni Ciappelli and Patricia Lee Rubin, eds. Art, Memory, and Family in Renaissance Florence. Cambridge, 2000: 98, fig. 18.

2003

  • Boskovits, Miklós, David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, 2003: 588-595, color repro., as Attributed to Piero del Pollaiuolo.

2004

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 18, no 11, color repro.

  • Nuttall, Paula. From Flanders to Florence: The Impact of Netherlandish Painting, 1400-1500. New Haven and London, 2004: 214-215, fig. 231.

2005

  • Wright, Alison. The Pollaiuolo Brothers: The Arts of Florence and Rome. New Haven and London, 2005: 133, fig. 102.

2006

  • Körner, Hans. Botticelli. Cologne, 2006: 73, fig. 75.

  • Fahy, Everett. "Early Italian paintings in Washington and Philadelphia." The Burlington Magazine 148, no. 1241 (August 2006): 539, as Attributed to Piero del Pollaiuolo.

2007

  • Tartuferi, Angelo. “I Pollaiolo agli Uffizi e oltre: osservazioni e proposte.” In Antonio Naldi and Angelo Tartuferi, eds. La stanza dei Pollaiolo: i restauri, una mostra, un nuovo ordinamento. Exh. cat. Galleria degli Uffizi, Florence, 2007: 21-22, 24, fig. 5, as by Piero del Pollaiuolo.

2009

  • Schumacher, Andreas, et al. Botticelli: Likeness, Myth, Devotion. Exh. cat. Städel Museum, Frankfurt am Main, 2009: 27, fig. 13, as by Piero del Pollaiuolo (?).

2010

  • Tartuferi, Angelo. I Pollaiolo: la pittura. Florence, 2010: 16, 18, as by Piero del Pollaiuolo.

2011

  • Johnson, Ken. “Getting Personal.” New York Times 161, no. 55,628 (December 23, 2011): C27, C30, color repro.

  • Boskovits, Miklós, ed. The Alana Collection, Newark, Delaware, USA. Vol. II: Italian Paintings and Sculptures from the Fourteenth to Sixteenth Century. Florence, 2011: 88, as by Piero del Pollaiuolo.

2012

  • Butterfield, Andrew. "They Clamor for Our Attention." (Review of The Renaissance Portrait from Donatello to Bellini, Berlin and New York, 2011-2012.) The New York Review of Books 59, no. 4 (March 8, 2012): 10, color repro.

2015

  • Tonkovich, Jennifer. “Discovering the Renaissance: Pierpont Morgan’s Shift to Collecting Italian Old Masters.” In Inge Reist, ed. A Market for Merchant Princes: Collecting Italian Renaissance Paintings in America (The Frick Collection Studies in the History of Art Collecting in America, 2). University Park, PA, 2015: 43.

  • Dunlop, Anne. Andrea del Castagno and the Limits of Painting. Turnhout, 2015: 28, 141 n. 10, 147 n. 83, 2-3, fig. 6.

2016

  • Madersbach, Lukas. "'fatto alla spera'? Das Porträt des Leon Battista Alberti aus den Orti Oricellari." Mitteilungen des Kunsthistorischen Institutes in Florenz 58, no. 3 (2016, published February 2017): 319-347, esp. 337 fig. 16.

2017

  • Schumacher, Andreas, ed. Florentiner Malerei. Alte Pinakothek: Die Gemälde des 14. bis 16. Jahrhunderts. Munich, 2017: 322, 323, 324, fig. 19.4, as by Andrea del Castagno or Piero del Pollaiuolo.

2018

  • Kranz, Annette. “The Portrait in the Florentine Quattrocento.” In Andreas Schumacher, ed. Florence and its Painters: From Giotto to Leonardo da Vinci. Exh. cat. Alte Pinakothek, Munich, 2018: 78-79, fig. 6, as Attributed to Andrea del Castagno.

  • Schumacher, Andreas, ed. Florence and its Painters: From Giotto to Leonardo da Vinci. Exh. cat. Alte Pinakothek, Munich, 2018: 294, 300.

2019

  • Zambrano, Patrizia. "Sandro Botticelli and the birth of modern portraiture." In Ana Debenedetti and Caroline Elam, eds. Botticelli Past and Present. London, 2019: 11-13, 15, fig. 1.2, as by Piero del Pollaiuolo.

2023

  • Tartuferi, Angelo. “Piero del Pollaiolo, Sant’Antonino ai piedi del Crocifisso: una nuova leggibilità per un capolavoro d’arte e di devozione.” Quaderni del Museo di San Marco, no. 5 (2023): 26, 36, fig. 7, as by Piero del Pollaiuolo.

2024

  • Rath, Markus. "Grundmuster: Ausdrucksfunktionen des monochromen Hintergrundes im Renaissanceporträt" Zeitschrift für Kunstgeschichte 87, no. 1 (2024): 97, fig. 11.

Wikidata ID

Q3937395

You may be interested in

Loading Results