Admission is always free Directions

Open today: 10:00 to 5:00

Inscription

center left at top of bas relief: .TINELLI.

Provenance

Lodovico Widmann [1611-1674], Venice. Private collection, probably in Germany (as by Murillo); discovered 1922 by (August Mayer, Munich) and sold the same year to Samuel L. Fuller [d. 1963], New York (as by Tinelli);[1] gift 1946 to NGA.

Exhibition History
1984
Baroque Portraiture in Italy: Works from North American Collections, The John and Mable Ringling Museum of Art, Sarasota; Wadsworth Atheneum, Hartford, 1984-1985, no. 73, 188, repro. (cat. by John Spike).
Bibliography
1924
Mayer, August. "Un ritratto sconosciuto di Tiberio Tinelli." Bollettino d'Arte 17 (1924): 470.
1929
Fiocco, Giuseppe. Venetian Painting of the Seicento and Settecento. Florence and Paris, 1929: 29.
1938
Moschetti, Andrea. "Three Portraits by Tiberio Tinelli." The Burlington Magazine 72 (1938): 69, fig. c.
1962
Pallucchini, Rodolfo. "Contributi alla pittura veneziana del settecento." Arte Veneta 16 (1962): 127-128, fig. 141.
1964
Ridolfi, Carlo. Le meraviglie dell'arte. Venice, 1656. Edited by Detlev von Hadeln. Rome, 1964: 2:280.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 127, as Count Lodovico Vidmano.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 114, repro., as Count Lodovico Vidmano.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 198.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 340, repro., as Count Lodovico Vidmano.
1979
Fletcher, Jennifer. "Marco Boschini and Paolo del Sera: Collectors and Connoisseurs of Venice." Apollo 110 (1979): 424, fig. 7.
1979
Potterton, Homan. Venetian Seventeenth-Century Painting. Exh. cat. National Gallery, London, 1979: 26, fig. 14.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: I:458-460, II:pl. 328.
1980
Rösch-Widmann, Eva. I Widmann: le vicende di una famiglia veneziana dal cinquecento all' ottocento. Venice, 1980: 10, 25.
1981
Pallucchini, Rodolfo. La pittura veneziana del seicento. 2 vols. Milan, 1981: 1:107-108, 2:fig. 286-287.
1983
Levey, Santina. Lace. A History. London, 1983: 24, fig. 138.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 391, repro., as Count Lodovico Vidmano.
1989
Magani, Fabrizio. Il collezionismo e la commitenza artistica della famiglia Widmann, patrizi veneziani, dal Seicento all'Ottocento. Memorie dell’Istituto Veneto di Scienze, Lettere ed Arti, vol. 41. Venice, 1989: 23-24.
1989
Safarik, Eduard, and Gabriello Milantoni. "La pittura del seicento a Venezia." In La Pittura in Italia: Il Seicento. Milan, 1989: 163, fig. 211.
1996
De Grazia, Diane, and Eric Garberson, with Edgar Peters Bowron, Peter M. Lukehart, and Mitchell Merling. Italian Paintings of the Seventeenth and Eighteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 318-321, color repro. 319.
Technical Summary

The support consists of three lengths of fabric, all of the same coarse twill-weave, sewn together with a horizontal seam 55 cm from the bottom of the painting and a vertical seam 23 cm from the left edge. The thin ground layer is red, which was allowed to remain visible throughout, especially at the bottom. The sky was painted over an off-white underlayer. The paint was applied in layers with strong evidence of brushwork and is generally thin, especially in the sky where it has the appearance of a wash. Impasto is evident only in the whites.

Losses and abrasion are scattered throughout, especially in the dark areas at the bottom. The signature, applied over already abraded paint, is not original. The varnish is moderately discolored. The painting was relined, discolored varnish was removed, and the painting was restored in 1946-1947, probably by Francis Sullivan or Stephen Pichetto.