Skip to Main Content
Reader Mode

Copy-and-paste citation text:

Peter Humfrey, “Titian/Doge Andrea Gritti/c. 1546/1550,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/46144 (accessed November 02, 2024).

Export as PDF


Export from an object page includes entry, notes, images, and all menu items except overview and related contents.
Export from an artist page includes image if available, biography, notes, and bibliography.
Note: Exhibition history, provenance, and bibliography are subject to change as new information becomes available.

PDF  
Version Link
Mar 21, 2019 Version

You may download complete editions of this catalog from the catalog’s home page.

Overview

This painting is regarded as one of the finest of all Titian’s portraits. Doge Andrea Gritti’s ferocious expression and imposing figure convey an awe-inspiring authority. Titian’s handling of paint is boldly sketchy and energetic throughout. The architecture of Gritti’s face is emphasized with rich impasto (thick buildup of paint), and the extravagance of his robes is communicated through sheen and highlights.

Andrea Gritti (1455–1538) first came to public attention among Venetians in 1502, when following several years of residence in Constantinople, where he had been active both as a grain merchant and as a spy, he was instrumental in negotiating a peace treaty with the Turks. He was appointed commissioner of the Venetian army and eventually elected doge in 1523. Gritti had a highly ambitious, even autocratic personality. Despite his impatience with the complexities of the Venetian constitution, he nevertheless succeeded in becoming one of the most effective and influential of all post-medieval doges and played a major role as a patron of art and architecture.

The forceful hand gesture in Gritti’s portrait may be a quotation of Michelangelo’s famous sculpture of Moses (c. 1513–1515), perhaps implying a comparison between Gritti and Pope Julius II, for whose tomb the Moses was made. Both rulers were renowned for their terribilità, or their domineering personalities as leaders in war and politics. Julius also provided a striking precedent for Gritti in his vigorous promotion of art and culture as an expression of political renewal.

The composition and character of the portrait suggest that it was conceived not as an official image for a public building, but rather as a private commission, and subsequently remained in the possession of the Gritti family. The work gives powerful expression both to the majesty of the office of doge and to the physical and intellectual vitality of Gritti the man.

Entry

Since its cleaning soon after its arrival in America in 1954, the picture has been universally regarded as one of the finest of all Titian’s portraits. Previously, the authenticity of the signature was occasionally contested, as by Joseph Archer Crowe and Giovanni Battista Cavalcaselle, who reattributed the picture to Pordenone; by Henry Thode, who attributed it to Tintoretto; and by August L. Mayer, who found the “Falstaffian” bulk alien to Titian, and who suggested Palma Giovane as the author.[1] Mayer also implicitly questioned the reliability of the inscription identifying the sitter as Doge Gritti, a doubt at one time shared by Rodolfo Pallucchini.[2] In part, this doubt was the consequence of the observation by both these authors that for stylistic reasons the picture appears to date from after circa 1545, whereas Gritti had died in 1538. But comparison with the various other known likenesses of Gritti, in both painting and sculpture, provides ample confirmation that he is indeed the doge portrayed here; and the outstanding matter of debate, therefore, is whether Titian painted the portrait during Gritti’s reign as doge (1523–1538) or to commemorate him some time after his death.

Andrea Gritti (1455–1538) was a prominent figure in Venetian public life long before his election as doge in 1523.[3] He first came to public attention in 1502, when following several years of residence in Constantinople, where he had been active both as a grain merchant and as a spy, he was instrumental in negotiating a peace treaty with the Turks. Appointed commissioner of the Venetian army in 1509, he took an important early initiative in reversing the setbacks of the initial stages of the War of the League of Cambrai, in particular by reconquering the city of Padua. Captured by the French at Brescia in 1512 and taken to France, he used the opportunity to establish good personal relations with King Francis I and, as earlier with the Turks, to negotiate a favorable peace treaty. In 1517 he led the triumphal reentry of the Venetians into Verona, the last major terraferma city to be regained. Of a highly ambitious, even autocratic personality, Gritti was mistrusted by his fellow patricians and was passed over for the dogeship in 1521. Finally elected in 1523, his impatience with the complexities of the Venetian constitution led to constant frustrations of his wider political ambitions. He nevertheless succeeded in becoming one of the most effective and influential of all post-medieval doges, and during his relatively long reign he skillfully preserved the republic from the disastrous warfare that afflicted much of the rest of Italy during these years.

Despite the constraints of his office, and through the force of his personality, Doge Gritti played a major role as a patron of art and architecture, which he saw as a powerful weapon of political ideology.[4] In particular, he was concerned for the public buildings in the city’s political, religious, and commercial centers to lend expression to the revival of Venice after the disaster of the War of Cambrai and to the city’s claims to constitute a New Rome; in keeping with this aim, he successfully persuaded the sculptor-architect Jacopo Sansovino, a refugee from the Sack of Rome, to settle in Venice in 1527. From the beginning of his reign, Gritti also identified Titian as the painter best qualified to implement his cultural policy. In 1523 Titian painted large-scale figures of the Four Evangelists in fresco (lost) to flank a votive marble relief above the altar of the chapel of San Niccolò in the Doge’s Palace. Probably in the same year he painted the Saint Christopher fresco in the ducal apartments nearby. And in 1531 Titian completed the Votive Picture of Doge Andrea Gritti for the Sala del Collegio in the palace. Before the doge’s death in 1538, Titian seems also at least to have begun the succession portrait of Gritti for the Sala del Maggior Consiglio, even though he did not receive his final payment for the work until 1540.[5]

Gritti’s features are reliably recorded in a number of contemporary portraits, apart from these last two by Titian: in the votive relief of 1523 by an anonymous sculptor from the chapel of San Niccolò (now chapel of San Clemente, church of San Marco); on the medal by Andrea Spinelli, struck to commemorate the rebuilding by Sansovino of the church of San Francesco della Vigna;[6] and in Fiumicelli’s altarpiece of 1536 in the church of the Eremitani in Padua. Titian’s succession portrait of circa 1537–1540 for the Sala del Maggior Consiglio was destroyed by fire in 1577, but its composition is recorded in the substitute painted by Domenico Tintoretto, as well as in a number of studio versions by Titian’s workshop, the best of which is probably the one now in a private collection [fig. 1].[7] This lost succession portrait, which constituted the chief official likeness of Gritti, showed him in waist-length and three-quarter view, with his body and face both turning toward the (viewer’s) left. The votive picture for the Sala del Collegio was likewise destroyed by fire, three years earlier, in 1574. The composition, recorded in a woodcut attributed to Nicolò Boldrini, shows the figure of Gritti replaced by that of Doge Francesco Donà; but since the figure was obviously shown kneeling in profile, there are good grounds for supposing that both Catena’s portrait of Gritti in the National Gallery, London, and that in Tintoretto’s Votive Picture of Doge Gritti, painted for the Collegio as a substitute after the fire, are both closely based on Titian’s lost original.[8]

In composition and character, the Washington portrait is unique of its type and differs greatly from these other two well-diffused images by Titian. This suggests that it was not conceived as an official image for a public building, but was commissioned privately, and subsequently remained in the possession of the Gritti family. The question of whether it was the doge himself or a member of his family who commissioned the portrait clearly depends on the much-debated question of its date. Oskar Fischel dated it to the beginning of Gritti’s reign, circa 1523, contemporary with the Saint Christopher fresco.[9] Wilhelm Suida later advanced this date to circa 1533, the year in which Titian was knighted, since his signature is suffixed with the letter E (Eques).[10] Georg Gronau, followed by Hans Tietze, dated the picture to circa 1540, implying some connection with the documented portrait for the Sala del Maggior Consiglio of that year, and also implying that it was painted (or at least completed) after the doge’s death.[11] Fern Rusk Shapley accepted that the portrait was painted in the phase proposed by these writers, circa 1533–1540.[12]

Mayer, however, had already argued that the figure was too colossal, and the technique too broad, for Titian’s style of the 1530s; and Pallucchini agreed that the closest point of stylistic comparison was Titian’s portrait of Pietro Aretino (Pitti, Florence), painted shortly before the painter’s journey to Rome in 1545.[13] While not absolutely excluding this late date, with its implication of a posthumous commission, Harold Wethey upheld the traditional dating to the later 1530s, arguing that the way in which the figure fills the picture field is comparable to that in Titian’s portraits of the Eleven Caesars of 1536–1540 for the duke of Mantua (lost, but recorded in drawings by Ippolito Andreasi and engravings by Aegedius Sadeler).[14] Hans Ost agreed, adding that the quality of finish in Titian’s pictures is an unreliable guide to their dating, since it could vary according to the relative formality of the commission and according to its destined placing.[15] But David Alan Brown, followed by Filippo Pedrocco, was certainly correct to agree with Pallucchini’s later dating to the mid-1540s and to compare the portrait with other works by Titian of the mid-1540s, such as the Pope Paul III with His Grandsons (Capodimonte, Naples) of 1545–1546, and the Vendramin Family (National Gallery, London) of circa 1547.[16] As far as it is possible to judge from the Andreasi drawings and Sadeler engravings, the Eleven Caesars resembled Titian’s other portraits of the later 1530s, such as the Bella of 1538 (Pitti, Florence) and, especially, the Francesco Maria della Rovere of 1536–1538 (Uffizi, Florence), in the relative crispness of the modeling, in the selective attention to detail, and in the brilliant evocation of specific surface textures. Similar characteristics are still evident in the Cardinal Pietro Bembo of 1539/1540 and the Ranuccio Farnese of 1541–1542 in the Gallery. In the Doge Andrea Gritti and the Pietro Aretino, by contrast, the handling is boldly sketchy throughout, and the figures more completely dominate their fields. Indeed, the freedom of the brushwork and the richness of the well-preserved impasto suggest that the Gritti may even be slightly later than the Aretino, perhaps in the immediate aftermath of the trip to Rome, when the painter could have experienced for the first time the direct impact of Michelangelo’s Moses.[17] In any case, despite the recent attempt by Michael Overdick to return to a dating to circa 1538, within the sitter’s lifetime, the arguments in favor of a somewhat later date remain compelling.[18]

A contemporary parallel instance of the posthumous commission of the portrait of a doge by his family is provided by an entry in the account book of Lorenzo Lotto, which records that in 1542 the nobleman Giovanni Marcello commissioned a portrait of his ancestor Doge Niccolò Marcello (reigned 1473–1474).[19] Yet Titian’s portrait has nothing of the lifelessness usually associated with posthumous portraits. On the contrary, by contrast with the tame and placid official portrait of Gritti (fig. 1), the present work gives powerful expression both to the majesty of the office of doge and to the physical and intellectual vitality of Gritti the man. As in the official portrait, the figure is shown in waist-length and the head in three-quarter view; but the torso now turns energetically in a contrasting direction, the huge right hand clutches the drapery of the cloak, and the face conveys the awe-inspiring authority of an angry Jove.

Erica Tietze-Conrat plausibly suggested that Gritti is meant to be shown walking, or rather striding, in procession; according to Carlo Ridolfi, Titian portrayed two other doges in this way.[20] Although Wethey rejected this suggestion,[21] in keeping with it is the gesture of the right hand, as if holding up the cloak, as well as the vigorous contrapposto pose. Peter Meller commented on the leonine aspect of the figure, with his ferocious expression, pawlike hand and tawny robe, and on the appropriateness of suggesting an analogy between the doge of Venice and the Lion of Saint Mark.[22] Suida saw the right hand as a quotation of that of Michelangelo’s Moses, which according to the writer he would have known from a cast brought from Rome to Venice by Jacopo Sansovino;[23] but if, as seems likely, the portrait dates from immediately after the Roman journey of 1545–1546, Titian could also have known the original statue. In either case, the quotation would represent another aspect of the painter’s lifelong sense of rivalry with Michelangelo, and of the relative merits of the different artistic traditions of central Italy and Venice. As pointed out by Brown, followed by Annette Weber, the quotation may also be interpreted as an implied comparison between the personalities of Doge Gritti and of Pope Julius II, for whose tomb the Moses was made.[24] Thus, both rulers were renowned for their terribilità,[25] for their domineering personalities as leaders in war and politics; Julius also provided a striking precedent for Gritti in his energetic and ambitious promotion of art and culture as an expression of political renewal.

Finally, the recent revelation that the picture was originally framed as an oval (see Technical Summary, and implied by the infrared reflectogram [fig. 2]) may provide further confirmation both that the portrait was painted well after Gritti’s death and that it was painted for an unofficial, domestic setting. Oval and circular formats were to remain rare in Venetian portraiture of the 16th century, but a closely contemporary example would have been Titian’s circular Self-Portrait, painted in 1550 and later recorded in the collection of Gabriele Vendramin (died 1552), who happened to be Gritti’s nephew by marriage.[26]

Peter Humfrey

March 21, 2019

Inscription

upper left, in black paint: ANDREAS GRITI DOGE / DI VENETIA; center right, in gold leaf: TITIANVS E. F. (Titian, Knight, made it); reverse, on paper: Bought for His Majesty in Italy, 1626.[1]

Inscription Notes

[1] The reference is to Charles I of England; as argued by Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century, London, 1968: 179-180 (and Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols., Washington, 1979: 1:488-490). The paper is written in a hand that is apparently of the 17th century, but not that of the cataloger of the royal collection, Abraham van der Doort. Formerly, as reported by Karl Wilczek, Katalog der Graf Czernin'schen Gemäldegalerie in Wien, Vienna, 1936: 88-89, the royal stamp of a CR surmounted by a crown was also visible on the back of the canvas; but after the transfer of the canvas to a new strether in 1955, the stamp has been concealed.

Provenance

Purchased 1626 in Italy for Charles I, King of England [1600-1649], Whitehall Palace, London;[1] (Charles I [Commonwealth] sale, Somerset House, London, 23 October 1651); purchased by the Syndicate of the Twelfth Dividend, organized by John Jackson, lawyer.[2] Wenzel Anton, Prince von Kaunitz-Rietburg [d. 1794]; by inheritance to Wenzel Alois, Prinz Kaunitz; (Kaunitz sale, Vienna, 13 March 1820, no. 178);[3] purchased by Johann Rudolf, Count Czernin von Chudenitz [1757-1845], Vienna;[4] by inheritance through the Czernin von Chudenitz family, Vienna, to Count Eugen Czernin von Chudenitz [1892-1955], Vienna, as of 1933, until at least 1948; on commission January 1954 from Willy Haene, lawyer for Czernin, with (M. Knoedler & Co., New York); sold 1954 to the Samuel H. Kress Foundation, New York;[5] gift 1961 to NGA.

Exhibition History

1935
Mostra di Tiziano, Ca' Pesaro, Venice, 1935, no. 31.
1947
Europäische Barockmalerei aus Wiener Privatgalerien, Kunstmuseum, Bern, 1937-1948, no. 47.
1990
Tiziano [NGA title: Titian: Prince of Painters], Palazzo Ducale, Venice; National Gallery of Art, Washington, 1990-1991, no. 37, repro.

Technical Summary

The painting was executed on a highly textured herringbone canvas, and since all the tacking margins are intact, the painted surface corresponds to its original dimensions.[1] Two old fold lines, one just above the hat and one between the lines of signature, indicate that at two points in its history the painting was reduced in size and later expanded back to the original dimensions. The thinly applied gesso ground has aged from an original white to light brown. The canvas has remained unlined, and the painter’s underdrawing for the figure, executed with the brush with dilute black paint as a simple contour, is clearly visible on the reverse. Infrared reflectography at 1.5 to 1.8 microns [fig. 1][2] and x-radiographs reveal further elements of underdrawing and some pentimenti, the most significant of which was a change from an original look of the eyes directly outward to the present glance to the sitter’s right. The painted surface, which survives in excellent condition, with passages of exceptionally well preserved impasto, was applied rapidly and confidently in alternating thick and thin layers. The x-radiographs have revealed further adjustments to the figure’s contours introduced at the painting stage, notably along the right side of the cap, along the proper right shoulder, and around the hand. Both the infrared reflectogram and the x-radiographs imply, as might already have been discerned with the naked eye, that the portrait was originally framed as an oval.[3] The rounded top is particularly obvious in the upper spandrels, where the framing would have covered the more thinly painted areas with the present inscription at the upper left; unlike the gilded signature at center right, this is certainly a later addition. The fact, however, that there is no difference between the pigments in the spandrels and those in the central oval indicates that any change of format must have been undertaken by the painter himself.[4] In 1955 Mario Modestini replaced the stretcher, cleaned, and inpainted the painting.

Peter Humfrey and Joanna Dunn based on the examination reports by Michael Swicklik, Elizabeth Walmsley, and Kay Silberfeld

March 21, 2019

Bibliography

1829
Hume, Abraham. Notices of the Life and Works of Titian. London, 1829: 81.
1866
Waagen, Gustav Friedrich. Die vornehmsten Kunstdenkmäler in Wien. 2 vols. Vienna, 1866: 1:303.
1871
Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. A History of Painting in North Italy. 2 vols. London, 1871: 2:289-290.
1877
Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. Titian, His Life and Times. 2 vols. London, 1877: 1:301.
1878
Vasari, Giorgio. Le vite dei più eccellenti pittori, scultori ed architettori. Edited by Gaetano Milanesi. 9 vols. Florence, 1878-1885: 7(1881):438 n.
1894
Berenson, Bernard. The Venetian Painters of the Renaissance. New York and London, 1894: 145.
1897
Knackfuss, Hermann. Tizian. Bielefeld and Leipzig, 1897: 41, 59.
1900
Gronau, Georg. Tizian. Berlin, 1900: 76.
1901
Thode, Henry. Tintoretto. Bielefeld, 1901: 118.
1904
Fischel, Oskar. Tizian: Des Meisters Gemälde. Stuttgart [u.a.], 1904: xviii, 42.
1904
Gronau, Georg. Titian. London, 1904: 73-74, 278.
1905
Miles, Henry. The Later Work of Titian. London, 1905: xvii.
1905
Reinach, Salomon. Répertoire de peintures du moyen âge et de la Renaissance (1280-1580). 6 vols. Paris, 1905-1923: 5(1922):451.
1906
The Masterpieces of Titian. London, 1906: 13, 68.
1908
Katalog der Graf Czernin'schen Gemälde-Galerie in Wien. Vienna, 1908: 6 no. 38.
1910
Ricketts, Charles. Titian. London, 1910: 176.
1911
Preyer, David. The Art of the Vienna Galleries. Boston, 1911: 267.
1912
Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. A History of Painting in North Italy. Edited by Tancred Borenius. 3 vols. London, 1912: 3:180-181.
1918
Basch, Victor. Titien. Paris, 1918: 162.
1921
Knackfuss, Hermann. Tizian. 8th ed. Bielefeld and Leipzig, 1921: 41, 61.
1922
Waldmann, Emil. Tizian. Berlin, 1922: 103-105.
1923
Faure, Élie. Renaissance Art. New York, 1923: 198.
1925
Lorenzetti, Giulio. “Un nuovo dipinto di Jacopo Tintoretto: il ritratto del Doge Pietro Loredan.” Dedalo 6 (1925): 316.
1930
Hadeln, Detlev von. “Dogenbildnisse von Tizian.” Pantheon 6 (1930): 490, 494.
1932
Berenson, Bernard. Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places. Oxford, 1932: 576.
1933
Suida, Wilhelm. Tizian. Zürich and Leipzig, 1933: 81, 157.
1935
Dussler, Luitpold. “Tizian-Ausstellung in Venedig.” Zeitschrift für Kunstgeschichte 4 (1935): 239.
1935
Mostra di Tiziano. Exh. cat. Palazzo Pesaro Papafava, Venice, 1935: 81.
1935
Norris, Christopher. “Titian: Notes on the Venice Exhibition.” The Burlington Magazine for Connoisseurs 67 (August 1935): 127-128.
1936
Berenson, Bernard. Pitture italiane del rinascimento: catalogo dei principali artisti e delle loro opere con un indice dei luoghi. Translated by Emilio Cecchi. Milan, 1936: 496.
1936
Tietze, Hans. Tizian: Leben und Werk. 2 vols. Vienna, 1936: 1:133, 167-8, 303, 315.
1936
Wilczek, Karl. Katalog der Graf Czernin'schen Gemäldegalerie in Wien. Vienna, 1936: 88-89.
1937
Mayer, August L. “A propos d’un nouveau livre sur le Titien.” Gazette des Beaux-Arts 18 (December 1937): 308.
1937
Tietze, Hans. Titian: Paintings and Drawings. Vienna, 1937: 347.
1939
Da Mosto, Andrea. I Dogi di Venezia. Venice, 1939: 302.
1941
Stepanow, Giovanni. Tizian. Leipzig, 1941: xviii, xlvi.
1946
Riggs, Arthur Stanley. Titian the Magnificent and the Venice of His Day. New York, 1946: 160, 209.
1946
Tietze-Conrat, Erica. “Titian’s Workshop in His Late Years.” The Art Bulletin 28 (1946): 81 n. 44.
1947
Europäische Barockmalerei aus Wiener Privatgalerien. Exh. cat. Kunstmuseum, Bern, 1947: 14 no. 47.
1950
Tietze, Hans. Titian. The Paintings and Drawings. London, 1950: 399.
1953
Pallucchini, Rodolfo. Tiziano. Lezioni di storia dell’arte. 2 vols. Bologna, 1953-1954: 1:165, 203-205.
1955
Dell’Acqua, Gian Alberto. Tiziano. Milan, 1955: 120.
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: 178-181, no. 71, repro.
1956
Walker, John. "The Nation's Newest Old Masters." The National Geographic Magazine 110, no. 5 (November 1956): 622, 624, color repro. 639.
1957
Berenson, Bernard. Italian Pictures of the Renaissance. Venetian School. 2 vols. London, 1957: 1:189.
1957
Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 73.
1959
Morassi, Antonio. “Titian.” In Encyclopedia of World Art. 17+ vols. London, 1959+: 14(1967): col. 143.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 192, 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): 26.
1960
Valcanover, Francesco. Tutta la pittura di Tiziano. 2 vols. Milan, 1960: 1:72.
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: 120-121, repro. pl. 114, 116.
1962
Cairns, Huntington, and John Walker, eds. Treasures from the National Gallery of Art. New York, 1962: 34, color repro.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 146, repro.
1964
Morassi, Antonio. Titian. Greenwich, CT, 1964: 39.
1965
Nuttall, W. L. F. “King Charles I’s Pictures and the Commonwealth Sale.” Apollo 82, no. 44 (1965): 308.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 130.
1966
Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:174, color repro.
1968
Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 49, 51, color repro.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 116, repro.
1968
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century. London, 1968: 179-180, fig. 424-425.
1969
Pallucchini, Rodolfo. Tiziano. 2 vols. Florence, 1969: 1:103-104.
1969
Valcanover, Francesco. L’opera completa di Tiziano. Milan, 1969: 112.
1969
Wethey, Harold. The Paintings of Titian. 3 vols. London, 1969-1975: 2(1971):23-24, 108-109; 3(1975): 160, 248.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 203, 514, 647.
1973
Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 89.
1973
Lane, Frederic. Venice: A Maritime Republic. Baltimore, 1973: 207-208.
1973
Zeri, Federico, and Elizabeth Gardner. Italian Paitnings. A Catalogue of the Metropolitan Museum of Art: Venetian School. New York, 1973: 76-77.
1974
Rossi, Paola. Jacopo Tintoretto: I ritratti. Venice, 1974: 48.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 346, repro.
1976
Gallego, Julian. “El retrato en Tiziano.” Goya 135 (1976): 170-171.
1977
Chastel, André. “Titien.” In Tiziano nel Quarto Centenario della sua Morte, 1576-1976. Venice, 1977: 21.
1977
Muraro, Michelangelo. “Tiziano pittore ufficiale della Serenissima.” In Tiziano nel quarto centenario della sua morte, 1576-1976. Venice, 1977: 98.
1977
Pallucchini, Rodolfo. Profilo di Tiziano. Florence, 1977: 39.
1977
Perocco, Guido. “Tiziano e alcuni committenti a Venezia.” In Tiziano nel quarto centenario della sua morte, 1576-1976. Venice, 1977: 70-71.
1977
Perocco, Guido. “Tiziano e il mondo politico e sociale di Venezia.” In Tiziano Vecellio. Convegno indetto nel IV centenario dell’artista (1976). Rome, 1977: 51-52.
1978
Finlay, Robert. “Politics and the Family in Renaissance Venice: the Election of Doge Andrea Gritti.” Studi Veneziani N.S. 2 (1978): 106.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:488-490; 2:pl. 346, 346A,B.
1979
Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 39, pl. 23.
1980
Fasolo, Ugo. Titian. Florence, 1980: 41-42.
1980
Gilbert, Creighton. “Some Findings on Early Works of Titian.” The Art Bulletin 62 (1980): 75.
1980
Meller, Peter. “Il lessico ritrattistico di Tiziano.” In Tiziano e Venezia: Convegno internazionale di studi (1976). Vicenza, 1980: 328-329.
1981
Hale, J. R. “Andrea Gritti.” In A Concise Encyclopaedia of the Italian Renaissance. Edited by J. R. Hale. New York, 1981: 164.
1982
Alsop, Joseph. The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever These Have Appeared. Bollingen series 35, no. 27. New York, 1982: 460-461.
1983
Shearman, John. The Early Italian Pictures in the Collection of Her Majesty the Queen. Cambridge, 1983: 263.
1984
Puppi, Lionello. “Iconografia di Andrea Gritti.” In “Renovatio Urbis”: Venezia nell’età di Andrea Gritti, 1523-1538. Edited by Manfredo Tafuri. Rome, 1984: 218-220.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 204, no. 246, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 398, repro.
1987
Puppi, Lionello. “La consegna dell’anello al Doge. Anatomia di un dipinto.” In Paris Bordon e il suo tempo: Atti del convegno internazionale di studi (1985). Treviso, 1987: 102-103.
1989
Haskell, Francis. “Charles I’s Collection of Pictures.” In The Late King’s Goods. Collections, Possessions and Patronage of Charles I in the Light of the Commonwealth Sale Inventories. Edited by Arthur MacGregor. London and Oxford, 1989: 204.
1990
Titian, Prince of Painters. Exh. cat. Palazzo Ducale, Venice; National Gallery of Art, Washington. Venice, 1990: 252-254.
1992
Ost, Hans. Tizian-Studien. Cologne, 1992: 88-96.
1993
Echols, Robert. "Titian's Venetian Soffitti: Sources and Transformations." Studies in the History of Art 45 (1993):20.
1993
Weber, Annette. Venezianische Dogenporträts des 16. Jahrhunderts. Sigmaringen, 1993: 62-67.
1996
Howard, Deborah. “Andrea Gritti.” In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: 13:678.
1997
Puppi, Lionello. “Dal mito allo stato. Nota sull’illustrazione pittorica di una tarda integrazione dell’agiografia marciana.” In Venezia da Stato a Mito. Exh. cat. Fondazione Giorgio Cini. Venice, 1997: 68.
1998
Kaminsky, Marion. Titian. Cologne, 1998: 90.
1998
Martin, Thomas. Alessandro Vittoria and the Portrait Bust in Renaissance Venice. Oxford, 1998: 79.
1999
Burke, Peter. “Il ritratto veneziano del Cinquecento.” In Pittura nel Veneto. Il Cinquecento. Edited by Mauro Lucco. 3 vols. Milan, 1996-1999: 3(1999):1103.
1999
Cole, Bruce. Titian and Venetian Painting, 1450-1590. Boulder, 1999: 133-136.
1999
Valcanover, Francesco. Tiziano: I suoi pennelli sempre partorirono espressioni di vita. Florence, 1999: 43, 267.
2000
Finlay, Robert. “Fabius Maximus in Venice: Doge Andrea Gritti, the War of Cambrai, and the Rise of Habsburg Hegemony, 1509-1530.” Renaissance Quarterly 53 (2000): 988.
2000
Kirsh, Andrea, and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. Materials and Meaning in the Fine Arts 1. New Haven, 2000: 121-122, 262, fig. 112, color fig. 113.
2001
Pedrocco, Filippo. Titian: The Complete Paintings. New York, 2001: 50, 189.
2004
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 104-105, no. 79, color repro.
2004
Humfrey, Peter, et al. The Age of Titian: Venetian Renaissance Art from Scottish Collections. Edited by Aidan Weston-Lewis. Exh. cat. Royal Scottish Academy, Edinburgh, 2004: 128-129.
2007
Ferino-Pagden, Sylvia, ed. Der späte Tizian und die Sinnlichkeit der Malerei. Exh. cat. Kunsthistorisches Museum, Vienna; Gallerie dell'Accademia, Venice. Vienna, 2007: no. I.7, 179-183, 471-473, repro. (not in the exhibition).
2007
Ferino-Pagden, Sylvia. Late Titian and the Sensuality of Painting. Exh. cat. Kunsthistorisches Museum, Vienna; Gallerie dell'Accademia, Venice. Vienna, 2007: no. 1.4, 155-159, repro. (not in exhibition).
2007
Humfrey, Peter. Titian: The Complete Paintings. Ghent and New York, 2007: 210.
2008
Penny, Nicholas. National Gallery Catalogues: The Sixteenth Century Italian Paintings, Vol. 2: Venice 1540-1600. London, 2008: 211.
2010
Cranston, Jodi. The Muddied Mirror: Materiality and Figuration in Titian’s Later Paintings. University Park, PA, 2010: 93-95.
2010
Overdick, Michael. Tizian: Die späten Porträts 1545-1568. Düsseldorf, 2010: 5-10, 59-61.
2011
Biferali, Frabrizio. Tiziano: Il genio e il potere. Rome, 2011: 86-87.
2012
Gentili, Augusto. Tiziano. Milan, 2012: 311, 313.
2013
Dunkerton, Jill, Jennifer Fletcher, and Paul Joannides. “A Portrait of Girolamo Fracastoro by Titian in the National Gallery.” The Burlington Magazine 155 (2013): 15 n. 74.
2013
Nichols, Tom. Titian and the End of the Venetian Renaissance. London, 2013: 112-115.
2018
Krischel, Roland, ed. Tintoret: naissance d'un génie. Exh. cat. Musée du Luxembourg, Paris; Wallraf-Richartz-Museum, Cologne. Paris, 2018: 26 fig. 3 (not in exhibition).

Related Content

  • Sort by:
  • Results layout:
Show  results per page
The image compare list is empty.