Giuliano de' Medici
c. 1478/1480
Painter, Florentine, 1446 - 1510
This portrait of young Giuliano de’ Medici was likely painted after his murder in 1478. The downward tilt of his head, lowered eyelids, half-open window, and turtledove on a dead branch can all symbolize death. Giuliano and his brother Lorenzo de’ Medici were targets of an assassination plot. Members of the Pazzi family wanted to remove the Medicis from power.
They were attacked in the Duomo (cathedral) of Florence during High Mass on Easter. Lorenzo escaped with wounds, but Giuliano was killed. Portraits of Lorenzo (such as this painted terracotta bust) were made to show citizens that he was still alive and in power. Those of Giuliano were commemorative.
West Building Main Floor, Gallery 7
Artwork overview
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Medium
tempera on panel
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Credit Line
-
Dimensions
overall: 75.5 x 52.5 cm (29 3/4 x 20 11/16 in.)
framed: 105.7 x 81.3 x 11.3 cm (41 5/8 x 32 x 4 7/16 in.) -
Accession
1952.5.56
Artwork history & notes
Provenance
Grand Duke Ferdinand I de' Medici [1551-1609], Florence.[1] Marchese Alfonso Tacoli Canacci [1724-1801], Florence, by 1796;[2] by inheritance to his nephew, Pietro Tacoli [1773-1847], Modena; by inheritance to his daughter, Adelaide Tacoli; through her marriage into the Bellincini Bagnesi family, Modena; by descent to Marchesa Adele Bagnesi;[3] sold 1940 through (Zelindo Bonaccini [1890-1967], Modena)[4] to Count Vittorio Cini [1885-1977], Venice;[5] sold to (Wildenstein & Co., Inc., New York), probably in 1948;[6] sold June 1949 to the Samuel H. Kress Foundation, New York;[7] gift 1952 to NGA.
[1] The emblem of the queen bee surrounded by her subjects, visible on the reverse of the painting, appears also on the reverse of a medal made by Michele Mazzafirri for Grand Duke Ferdinand I de' Medici in 1588; see Karla Langedijk, The Portraits of the Medici, 15th-18th Centuries, Florence, 1983: 2:760-761. It is uncertain whether the NGA painting is the one described as "1o quadro colla testa di Giuliano de' Medici" ("one picture with the head of Giuliano de' Medici") in the 1503 inventory of the Cafaggiolo branch of the family collection (see John Shearman, "The Collections of the Younger Branch of the Medici," Burlington Magazine 117 [1975]: 26); in fact, several versions of Giuliano's portrait must have been painted, a number of which still exist today. No portrait of him is mentioned, however, in the 1492 inventory of the Medici Palace in Via Larga (see Libro d'inventario dei beni di Lorenzo di Magnifico, ed. by Marco Spallanzani and Giovanni Gaeta Bertelà, Florence, 1992; and Maria Grazia Ciardi Duprè Dal Poggetto, "I dipinti di Palazzo Medici nell'inventario di Simone de Stagio delle Pozze: Problemi di committenza e di arredo," in Toscana al temp di Lorenzo il Magnifico: Politica, economia, cultura, arte. Convegno di studi promosso dale Università di Firenze, Pisa e Siena, 5-8 novembre 1992, 3 vols., Pisa, 1996: 160-161) or in the 1560 inventory of the apartments of Cosimo I de' Medici in the Palazzo Vecchio (see James H. Beck, "The Medici Inventory of 1560," Antichità Viva 13 [1974]: no. 3, 64-66, and no. 5, 61-63). A "quadretto pittovi la testa di Giuliano di Piero de' Medici in carta pecora" ("a little picture with the head of Giuliano di Piero de' Medici painted on parchment"), certainly not identifiable with the NGA painting, is listed in inventories of 1553 and later (Karla Langedijk, The Portraits of the Medici. 15th-18th Centuries, 3 vols., Florence, 1981-1987: (1983):1063).
[2] The presence of a label with the inscription Etruria pittrice (see also note 5) suggests that by 1796 the painting belonged to marquis Alfonso Tacoli-Canacci, in whose catalogue it is registered under no. 444. As Dr. Vincenzo Buonocore informs Miklós Boskovits in a letter of 17 June 2002 (copy in NGA curatorial files), the painting was probably acquired by Tacoli Canacci after 1792, as it does not appear in the list of his paintings compiled in that year (now in the Real Biblioteca in Madrid, ms. II/574).
[3] The Getty Provenance Index states that the painting used to belong to the Coccapani Imperiali family. A handwritten note on the back of a photograph in Bernard Berenson's photographic files at the Biblioteca Berenson, I Tatti, Florence, states that the painting was "found" in Modena and that it entered the Cini collection through a Modenese dealer (see following notes). According to Dr. Vincenzo Buonocore, who is preparing a detailed study on the history of the Tacoli-Canacci collection, after the death of marquese Alfonso, his paintings went to his nephew and heir, Pietro Tacoli, and subsequently to the daughter of the latter, Adelaide, wife of Alessandro Bellincini Bagnesi in Modena.
[4] The anonymous author of an article in the magazine Europeo (8 July 1951, translation in NGA curatorial files) states that the painting was acquired "before the war [World War II] [by] Count Vittorio Cini through Prof. Zelindo Bonaccini of Modena." Working also as a painter, Bonaccini was known mostly for his activity as a dealer (see Alberto Barbieri, Arte ed artisti a Modena, Modena, 1982: 407).
[5] A publication on the paintings and works of art belonging to the Cini collection (Nino Barbantini, Il Castello di Monselice, Venice, 1940) does not yet mention the painting. However, Dr. Buonocore owns a list of paintings sold in 1940 by Adele Bagnesi to Count Cini which includes the Giuliano de' Medici (communication to Miklós Boskovits).
[6] According to a handwritten note on a photograph owned by Bernard Berenson (see note 3), the painting was with Wildenstein's by 1948; it was offered by this firm to Rush H. Kress for acquisition on 30 March 1949 (copy of letter in NGA curatorial files).
[7] The Wildenstein invoice to the Kress Foundation for 16 items, including the Botticelli painting, is dated 23 June 1949 (copy in NGA curatorial files, see also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/971).
Associated Names
Exhibition History
1999
Renaissance Florence: The Art of the 1470s, The National Gallery, London, 1999-2000, no. 1, repro.
2001
Virtue and Beauty: Leonardo's 'Ginevra de' Benci' and Renaissance Portraits of Women, National Gallery of Art, Washington, D.C., 2001-2002, no. 27, color repro.
2009
Botticelli, Städelsches Kunstinstitut und Städtische Galerie, Frankfurt, 2009-2010, no. 5, 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. 52, repro.
Bibliography
n.d.
Gallucci, Mary. “Mistaken Identities? Alessandro de’ Medici and the Question of “Race”.” Journal for Early Modern Cultural Studies 15, no. 3 (2015): 56, fig. 2.
1796
Catalogue raisonné, ou description exacte de plusieurs excellens tableaux…dans un recueil appurtenant à monsieur le marquis Alphonse Tacoli Canacci à Florence. Parma, 1796: 88, no. 444.
1942
Bettini, Sergio. Botticelli. Milan, 1942:25-26, repro. 46.
1948
Kunstschätze der Lombardei: 500 vor Christus – 800 nach Christus. Exh. cat. Kunsthaus, Zurich, 1948: 221.
1949
Collobi Ragghianti, Licia. Catalogo della mostra d’arte antica: Lorenzo de’ Medici e le arti. Exh. cat. Palazzo Strozzi, Florence, 1949: 61.
1956
Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation 1951-56. Introduction by John Walker, text by William E. Suida and Fern Rusk Shapley. National Gallery of Art. Washington, 1956: 36-39, no. 10, repro.
Walker, John. "The Nation's Newest Old Masters." The National Geographic Magazine 110, no. 5 (November 1956): 624, color repro. 635.
R. F. C. “Il quindicesimo anniversario della National Gallery di Washington.” Emporium 124 (1956): 67.
1957
Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 62.
Wittgens, Fernanda. Dipinti celebri della Accademia Carrara, Bergamo. Milan, 1957: 13.
1958
Salvini, Roberto. Tutta la pittura del Botticelli, 2 vols. Milan, 1958: 1:21, 47-48, pl. 50.
Tervarent, Guy de. Attributs et symbols dans l’art profane, 1450-1600. 3 vols. Geneva, 1958-1964: 2(1959):385-386.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 68, repro.
Friedmann, Herbert. “Two Paintings by Botticelli in the Kress Collection.” In Studies in the History of Art Dedicated to William E. Suida, Washington, DC, 1959: 116-119, 122, repro.
1960
The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 6.
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1961
Walker, John, Guy Emerson, and Charles Seymour. Art Treasures for America: An Anthology of Paintings & Sculpture in the Samuel H. Kress Collection. London, 1961: 45, color repro. pl. 38.
DeWald, Ernest T. Italian Painting 1200-1600. New York, 1961: 276.
1962
Cairns, Huntington, and John Walker, eds. Treasures from the National Gallery of Art. New York, 1962: 18, color repro.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 84, repro.
Berenson, Bernard. Italian Pictures of the Renaissance. Florentine School. 2 vols. London, 1963: 1:39. 2:pl.1083.
1964
Boskovits, Miklós. Botticelli. Budapest, 1964: 27.
Forster, Kurt W. “Probleme um Pontormos Porträtmalerei (I).” Pantheon 22, no. 6 (November – December 1964): 378.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 17.
Busignani, Alberto. Botticelli. Florence, 1965: 32.
Chastel, André. Le Grand atelier d’Italie. Paris,1965: 260.
Hatfield, Rab. “Five Early Renaissance Portraits.” The Art Bulletin 47, no. 3 (September 1965): 328, fig. 5.
1966
Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:46, color repro.
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 121-122, fig. 335.
Dalli Regoli, Gigetta. Lorenzo di Credi. Milan, 1966: 41.
1967
Mandel, Gabriel. The Complete Paintings of Botticelli. Milan and New York, 1967: 90, repro.
Russoli, Franco. Accademia Carrara: Galleria di Belle Arti in Bergamo. Bergamo, 1967: 25.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 10, repro.
Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 30-31, color repro.
Ragghianti, Carlo, ed. National Gallery, Washington. New York, [1968]: 30-31, repro.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 34.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 38, repro.
De Logu, Giuseppe, and Guido Marinelli. Il ritratto nella pittura italiana. 2 vols. Bergamo, 1975: 1:162.
Katalog der ausgestellten Gemälde des 13-18 Jahurhunderts. Gemäldegalerie Berlin. Berlin, 1975: 58.
1976
Ettlinger, Leopold D., and Helen S. Ettlinger. Botticelli. London, 1976: 168.
Hatfield, Rab. Botticelli’s Uffizi “Adoration”: A study in pictorial content. Princeton, 1976: 76-78, repro.
1978
Lightbown, Ronald. Botticelli: Life and Work. 2 vols. Berkeley, CA, 1978: 1:40-44, pl. 18. 2:30-32, cat. B20.
Sleptzoff, L.M. Men or Supermen? The Italian Portrait in the Fifteenth Century. Jerusalem, 1978: 58-59.
Zucker, Mark J. “Review of Rab Hatfield, Botticelli’s Uffizi “Adoration”.” Art Quarterly 1 (1978): 410.
1979
Lazzari, Lino, ed. _ Visitiamo assieme l’Accademia Carrara_. 2 vols. Bergamo, 1979-1980: 2(1980):36.
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:83-84; 2:pl. 55.
Morse, John D. Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists. New York, 1979: 26, 28, repro.
Rossi, Francesco. La Galleria dell’Accademia in Bergamo. Rome, 1979: 34.
1980
De Angelis, Rita. Boticelli: Every Painting. Milan and New York, 1980: 32.
1981
Kemp, Martin. Leonardo da Vinci: The Marvellous Works of Nature and Man. Cambridge, MA, 1981: 155.
1983
Langedijk, Karla. The Portraits of the Medici: 15th-18th Centuries. 3 vols. Florence, 1981-1987: 1:32-33; 2(1983):1068, 1073, repro.
Berenson, Mary Logan. Mary Berenson: A Self Portrait from Her Letters & Diaries. Ed. Barbara Strachey and Jayne Samuels. New York, 1983: 188 n.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 97, no. 59, color repro.
Sokolowski, Thomas W., and Thomas W. Styron. From Veneziano to Pollock: Masterworks Donated to the Chrysler Museum by Walter P. Chrysler, Jr. Norfolk, VA, 1984: 7.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 57, repro.
Boehm, Gottfried. Bildnis und Individuum. Über den Ursprung der Porträtmalerei in der italienischen Renaissance. Munich, 1985: 52, 100, 218-219, fig. 24.
1986
Gemäldegalerie Berlin. Gesamtverzeichnis der Gemälde. Berlin, 1986: 17.
Zeri, Federico, and Francesco Rossi. La raccolta Morelli nell’Accademia Carrara. Bergamo, 1986: 89-91.
1987
Stapleford, Richard. “Botticelli’s Portrait of a Young Man Holding a Trecento Medallion.” The Burlington Magazine 129 (July 1987): 434.
1988
Baldini, Umberto. Botticelli. Florence, 1988: 52, 267, repro.
De Giorgi, Elsa. L’eredità Contini Bonacossi: L’ambiguo rigore del vero. Milan, 1988: 234.
1989
Pons, Nicoletta. Botticelli: catalogo completo. Milan, 1989: 62, cat. 38
Lightbown, Ronald. Botticelli: Life and Work. Milan, 1989: 58-65, pl. 24.
Sekine. Istituto Giapponese di Cultura. The Japan Foundation. Annuario 23 (1989): 64-65.
1990
Caneva, Caterina. Botticelli: catalogo completo dei dipinti. Florence, 1990: 56.
Campbell, Lorne. Renaissance Portraits: European Portrait-Painting in the 14th, 16th and 16th Centuries. New Haven and London, 1990: 69, 86, 115-116, pl. 136.
Dühlberg, Angelica. Privatporträts. Geschichte und Ikonologie einer Gattung im 15. und 16. Jahrhundert. Berlin, 1990: 162.
1991
Acidini, Cristina. “Gli artisti di Lorenzo di Medici.” In Franco Borsi, ed. “Per Bellezza, per studio, per piacere.” Lorenzo il Magnifico e gli spazi dell’arte. Florence, 1991: 168.
Vertova, Luisa. “Botticelli tra falsificazione e reinvenzioni.” Antichità Viva 30, no. 6 (1991): 24, 29 n. 2.
1992
Stapleford, Richard. The Age of Lorenzo de' Medici: Patronage and the Arts in Renaissance Florence. A Walking Tour of Italian Painting and Sculpture in the National Gallery of Art. Washington, 1992: no. 6, repro.
Reiss, Sheryl E. “Cardinal Giulio de’ Medici as a Patron of Art, 1513-1523.” 2 vols. Ph.D. diss., Princeton University, 1992: 1:106.
1993
Deimling, Barbara. Sandro Botticelli, 1444/5-1510. Cologne, 1993: 24.
Gagliardi, Jacques. La conquête de la peinture: L’Europe des ateliers du XIIIe au XVe siècle. Paris, 1993: 616, fig. 776.
Grimm, Claus. “Die Frage nach der Eigenhändigkeit und die Praxis der Zuschreibung.” In Thomas W. Gaehtgens, ed. Künstlerischer Austausch = Artistic Exchange. Akten des XXVIII. Internationalen Kongresses für Kunstgeschichte, Berlin, 15.-20. Juli 1992. Berlin, 1993: 2:631, 647.
1994
Costamagna, Philippe. Pontormo. Milan, 1994: 87, 224.
1996
Ciardi Dupré Dal Poggetto, Maria Grazia. “I dipinti di Palazzo Medici nell’inventario di Simone di Stagio delle Pozzo: Problemi di committenza e di arredo.” In Toscana al tempo di Lorenzo il Magnifico: Politica, economia, cultura, arte. Convegno di studi promosso dalle Università di Firenze, Pisa e Siena, 5-8 novembre 1992. 3 vols. Pisa, 1996: 160-161.
1997
Goldfarb, Hilliard T. “Sandro Botticelli as Artist and Witness: An Overview.” In Laurence Kanter, Hilliard T. Goldfarb, and James Hankins. Botticelli’s Witness: Changing Style in a Changing Florence. Exh. cat. Isabella Stewart Gardner Museum, Boston, 1997: 9.
Kathke, Petra. Porträt und Accessoire: Eine Bildnisforme im 16. Jahrhundert. Berlin, 1997: 140, 227, fig. 96.
1998
Capretti, Elena. Botticelli. Florence, 1998: 14-15, repro.
1999
Dempsey, Charles. "Portraits and Masks in the Art of Lorenzo de' Medici, Botticelli, and Politian's Stanze per la Giostra." Renaissance Quarterly 52:1 (Spring 1999): 24-25, fig. 15.
Dempsey, Charles. The Portrayal of Love: Botticelli’s Primavera and Humanist Culture at the Time of Lorenzo the Magnificent. Princeton, 1999: 24, fig. 15.
2000
Bredekamp, Horst. “Die Medici, Sixtus IV und Savonarola: Botticelli’s Konflikte.” In Horst Bredekamp, ed. Sandro Botticelli: Der Bilderzyklus zu Dantes Göttlicher Komödie. Exh. cat. Austellungshallen am KulturForum, Berlin, 2000: 293-294, 377 n. 12.
Sandro Botticelli: pittore della Divina Commedia_. 2 vols. Exh. cat. Scuderie papali al Quirinale, Rome, 2000: 1:108-109.
2001
Blumenthal, Arthur, ed. Cosimo Rosselli: Painter of the Sistine Chapel. Exh. cat. Cornell Fine Arts Museum, Winter Park, FL, 2001: 150-151, fig. 68.
2003
Boskovits, Miklós, and David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, D.C., 2003: 170-175, color repro.
2004
Nuttall, Paula. From Flanders to Florence: The Impact of Netherlandish Painting, 1400-1500. New Haven and London, 2004: 217-218, fig. 236.
Hiller von Gaertringen, Rudolf. Italienische Gemälde im Städel 1300-1550: Toskana und Umbrien. Kataloge der Gemälde im Städelschen Kunstinstitut Frankfurt am Main. Mainz, 2004: 337 n. 72, 338.
2005
Cecchi, Alessandro. Botticelli. Milan, 2005: 164, repro.
Zöllner, Frank. Botticelli. Munich, London, and New York, 2005: 200-201, cat. 26.
Buonocore, Vincenzo M. Il marchese Alfonso Tacoli-Canacci: “onesto gentiluomo smaniante per la Pittura”. Reggio Emilia, 2005: 104, 218, fig. 80.
2006
Körner, Hans. Botticelli. Cologne, 2006: 91-93, fig. 94.
Fahy, Everett. "Early Italian paintings in Washington and Philadelphia." The Burlington Magazine 148, no. 1241 (August 2006): 540.
2008
Simons, Patricia. “Disegno and desire in Pontormo’s Alessandro de’ Medici.” Renaissance Studies 22, no. 3 (2008): 658.
2009
Acidini, Cristina, William Dello Russo, and Federico Poletti. Botticelli nel suo tempo. Milan, 2009: 20-21, 96-98, 277, repro.
2010
Di Lorenzo, Andrea, ed. Botticelli nelle collezioni lombarde. Exh. cat. Museo Poldi Pezzoli, Milan, 2010: 54, 56-57, repro.
Dumbrowski, Damian. Die religiösen Gemälde Sandro Botticellis: Malerei als pia philosophia. Berlin and Munich, 2010: 124 n. 251.
2011
Rubin, Patricia. "Understanding Renaissance Portraits." In Keith Christiansen and Stefan Weppelmann, eds. The Renaissance Portrait from Donatello to Bellini Keith Christiansen and Stefan Weppelmann. Exh. cat. Metropolitan Museum of Art, New York; Bode Museum, Berlin 2011: 10.
Johnson, Ken. “Getting Personal.” New York Times 161, no. 55,628 (December 23, 2011): C30, repro.
2012
Luchs, Alison. "Verrocchio and the Bust of Albiera degli Albizzi: Portraits, Poetry and Commemoration." Artibus et historiae 33, no. 66 (2012): 84, 95 n. 40, repro.
2014
Chiodo, Sonia, and Serena Padovani, eds. The Alana Collection, Newark, Delaware, USA. Vol. III: Italian Paintings from the 14th to 16th Century. Florence, 2014: 13.
2015
Rodeschini, Maria Cristina. “I Botticelli dell’Accademia Carrara di Bergamo: i risultati dei recenti restauri e nuovi esiti di studio.” In Gert Jan van der Sman and Irene Mariani, eds. Sandro Botticelli (1445-1510): Artist and Entrepreneur in Renaissance Florence. Florence, 2015: 64
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. 340, 341 fig. 22, 342.
Bacchi, Andrea, and Andrea De Marchi. “Vittorio Cini collezionista di pittura antica. Una splendida avventura, dal Castello di Monselico alla dimora veneziana, da Nino Barbantini a Federico Zeri.” In Andrea Bacchi and Andrea De Marchi, eds. La Galleria di Palazzo Cini. Dipinti, sculture, oggetti d'arte. Venice, 2016: 389, fig. 2.
2018
Valagussa, Giovanni, ed. Accademia Carrara, Bergamo. Dipinti italiani del Trecento e del Quattrocento: Catalogo completo. Milan, 2018: 69-70, 72, fig. 1.
2019
Walmsley, Elizabeth, Alexander J. Noelle, with Babette Hartwieg. "The Portraits of Giuliano de' Medici by Sandro Botticelli." Facture: conservation, science, art history 4 (2019): 2-33, 3 unnumbered fig. (detail), figs. 1, 12, 13, details: fig. 6a, 7, 8a, 9, 11, 14.
Zambrano, Patrizia. "Sandro Botticelli and the birth of modern portraiture." In Ana Debenedetti and Caroline Elam, eds. Botticelli Past and Present. London, 2019: 21, 26-28, fig. 1.13.
Strehlke, Carl Brandon. Botticelli Portrait Painter. Marullo Adventurer Poet. London, 2019: 23, fig. 12.
2021
Debenedetti, Ana and Pierre Curie, eds. Botticelli, artiste & designer. Exh. cat. Musée Jacquemart-André, Paris, 2021: 18, 133, 134, fig. 41.
Debenedetti, Ana. Botticelli: Artist and Designer. London, 2021: 136-137, fig. 56.
2022
Acidini, Cristina. Botticelli. Pisa, 2022: 83-87, repro.
Strehlke, Carl Brandon. “Botticelli’s Faces.” In Cecilia Frosinini and Rachel McGarry, eds. Botticelli and Renaissance Florence: Masterworks from the Uffizi. Exh. cat. Minneapolis Institute of Arts, 2022: 59, fig. 37.
2023
Frosinini, Cecilia. “The Under-Line: Revealing Drawing and Modeling Beneath Botticelli’s Paintings.” In Furio Rinaldi, ed. Botticelli Drawings. Exh. cat. Legion of Honor, Fine Arts Museum of San Francisco, 2023: 53-54, fig. 7a.
Wikidata ID
Q3399442