- Show all works
- Agostino Barbarigo
- Alessandro Alberti with a Page
- Allegory of Love
- Andrea de' Franceschi
- Andrea Renier and His Son Daniele
- The Annunciation
- Cardinal Pietro Bembo
- Christ at the Sea of Galilee
- The Conversion of Saint Paul
- Cupid with the Wheel of Time
- Doge Alvise Mocenigo and Family before the Madonna and Child
- Doge Andrea Gritti
- Emilia di Spilimbergo
- The Finding of Moses
- Girolamo and Cardinal Marco Corner Investing Marco, Abbot of Carrara, with His Benefice
- Irene di Spilimbergo
- The Madonna of the Stars
- The Martyrdom and Last Communion of Saint Lucy
- Portrait of a Man as Saint George
- Portrait of a Man with a Landscape View
- A Procurator of Saint Mark's
- Ranuccio Farnese
- Rebecca at the Well
- Saint Jerome in the Wilderness
- Saint John the Evangelist on Patmos
- Saint Lucy and a Donor
- Venus and Adonis
- Venus Blindfolding Cupid
- Venus with a Mirror
- Vincenzo Cappello
- Woman Holding an Apple
- The Worship of the Golden Calf
Notes to the Reader
This catalog encompasses paintings by Italian artists who worked primarily in the 16th century. The first online release (March 2019) is devoted to paintings by Jacopo Tintoretto, Titian, Veronese, and artists associated with them.
Each painting’s page includes an image and heading information that consists of the attribution and links to associated artist constituent pages, the title of the work, execution date, medium, dimensions, credit line, and a unique accession number. A menu lists the components of each painting’s catalog entry: overview, scholarly entry with notes, provenance, exhibition history, technical summary, and bibliography. If present, a menu item for inscription will be listed. A short biography and selected bibliography is provided for major artists on their linked pages.
The following attribution terms are used to indicate the nature of the relationship to a named artist:
Attributed to: Indicates that a degree of uncertainty surrounds the attribution of the painting to the named artist. The basis for the uncertainty may be stylistic or iconographic, but it may also be as a result of the physical condition of the work.
Workshop: Indicates that the painting was produced in the named artist’s workshop or studio, by students or assistants, possibly with some participation by the named artist. It is important that the creative concept is by the named artist and that the work was meant to leave the studio as the named artist’s work.
Follower of: Indicates that the work was created by an unidentified artist working specifically in the style of the named artist, who may or may not have been trained by the named artist. Some chronological continuity or association or a time limit of about a generation after the named artist’s death is implied.
Circle of: Indicates an unidentified contemporary of the named artist, working in a similar style, who could be either a follower or an independent master who had contact with the named artist.
After: A copy or partial copy of any date.
The following conventions are used for dates:
|1550||Executed in 1550|
|c. 1550||Executed sometime around 1550|
|1550–1565||Begun in 1550, finished in 1565|
|1550/1565||Executed sometime between 1550 and 1565|
|c. 1550/1565||Executed sometime around the period 1550–1565|
Dimensions are given in centimeters, height preceding width preceding, for certain dimensions, depth, followed by dimensions in inches within parentheses.
Accession numbers are noted after the credit line. This is a unique number assigned to every object in the National Gallery of Art collection. It is composed of (first) the four-digit year in which the object officially entered the Gallery’s collection, (second) a number that represents the donation or purchase “lot” within the year of acquisition, and (third) a number recording the object within the lot. If necessary, these three parts are followed by a fourth letter or number, as, for instance, by “.a” for an obverse and “.b” for a painted reverse.
If present, signatures and/or inscriptions on the paintings are recorded as accurately as possible. In these transcriptions, a slash with a space on either side indicates a new line; a slash without these spaces indicates that the slash is included in the original text. All directional references to signatures and inscriptions are given from the viewer’s perspective.
The Provenance section gives the names of all known owners. A semicolon between two names indicates a direct transfer of ownership of the painting, whereas a period indicates uncertainty about the chain of ownership and the whereabouts of the object between two documented owners. The names of dealers, agents, and auction house sales are given in parentheses. Notes provide sources, details of research, and discussion of outstanding questions. The majority of the paintings cataloged here, over half of them, were acquired by the Samuel H. Kress Foundation in New York, which has kindly provided copies of its acquisition records to the Gallery. These records are held in Gallery Archives, with copies of relevant material in NGA curatorial files.
Exhibition histories record the presence of the paintings in special exhibitions at both the National Gallery of Art and other institutions worldwide, or as individual loans prior to acquisition by the Gallery from an owner to another institution. They are as complete as possible and include exhibition catalog numbers, unless it is indicated that there was no catalog or the catalog was unnumbered, and a note if the painting was reproduced. We continue to update this information as our objects are included in new exhibitions.
The Bibliography for each entry lists only those texts that specifically discuss the National Gallery of Art painting in question; they are given with full citations and in chronological order.
Technical Summaries and Instrumental Methods
Each entry includes a Technical Summary, which discusses the materials and techniques used by the artists in the creation of the paintings, as well as any changes and documented treatments. They are based on the contents of the examination reports prepared by members of the National Gallery of Art department of painting conservation.
Each painting was examined unframed, in visible light, front and back. The paintings were examined with a stereomicroscope with magnifying power up to 100× and under ultraviolet light. X-radiographs were taken to answer questions regarding the paintings’ construction and condition. Infrared photography and/or infrared reflectography was used for each painting to reveal underdrawing, compositional changes, and condition. The results of these examinations are discussed only when they yield information considered essential to interpretation of the painting.
The medium of the paint has not been analyzed unless stated in the Technical Summary. The medium is estimated or known to be oil paint for all paintings in this catalog. Any scientific analysis that was used to help understand the paintings is cited. The procedures and equipment used for this analysis are described below.
Treatments performed by Gallery conservation staff after acquisition are described briefly in the Technical Summaries. Occasionally, records of earlier treatments are included in the Technical Summaries. Damages such as paint losses should be assumed to have been repaired and inpainted. Significant areas of inpainting are discussed in the Technical Summaries. The varnishes are all later replacements and impart no information about the artist’s choice of finish.
A variety of techniques and instruments were used to examine and analyze the paintings in this catalog. The equipment is described below:
Energy dispersive spectrometry (EDS): Small samples were examined with energy dispersive spectrometry using an Oxford Inca 300 spectrometer with a Super ATW Si(Li) detector on a JEOL 6300 SEM.
Fourier-transform infrared (micro)spectroscopy (FTIR): A Thermo Nicolet Nexus 670 instrument was used, fitted with a Continuum microscope. Spectra were collected in transmission mode at 4 cm-1 resolution. The samples were compressed between two windows of a Diamond Cell (Spectratech).
Gas chromatography/mass spectrometry (GC/MS): The samples were methylated with TMTFTH (TCI America, 0.5M in MeOH) or hydrolyzed using 6N HCl for 24 hours under vacuum. After removal of the HCl, the amino acids were silylated with MTBSTFA / TBDMCS. Samples were examined by gas chromatography/mass spectrometry on a 30 meter DB-5 column, a Varian Saturn CP3900 gas chromatograph, and a Saturn 2100T ion trap mass spectrometer.
Infrared examination: When infrared examination is designated as Vidicon, a Vidicon camera system was used, which included a Hamamatsu c / 1000-03 Vidicon camera fitted with an N2606-10 or N214 lead sulphide tube and a Kodak Wratten 87A filter. When infrared examination is designated by microns, one of four cameras was used: a Kodak 310-21X PtSi camera configured to 1.5–2.0 microns, a Mitsubishi M600 PtSi camera configured to 1.2–2.5 microns, an Indigo/FLIR Alpha Visible-InGaAs camera, and a Santa Barbara Focalplane SBF187 InSb camera. The latter two cameras were configured with various band filters between 1.1 and 2.5 microns. For the Kodak and Mitsubishi cameras, the images were captured using a ScionPCI framegrabber card in a Macintosh computer with Scanalytic’s IP-Lab software. For the Indigo/FLIR camera, the images were captured onto a Dell computer with an IMAQ capture board housed in a Magma external PCI box, and IRVista software. For the Santa Barbara Focalplane camera, the images were captured using a Windows Empower tower computer and WinIR software. Nikon 55 mm macro, 50 mm macro, and 35 mm lenses were used with the various cameras, as were Astronomy J, H, and K filters. The infrared reflectograms were automatically mosaicked and registered to a reference color image using a novel registration algorithm developed by George Washington University and the National Gallery of Art. For more information see Damon M. Conover, John K. Delaney, and Murray H. Loew, “Automatic Registration and Mosaicking of Conservation Images,” in Optics for Arts, Architecture, and Archaeology, vol. 4, ed. Luca Pezzati and Piotr Targowski, Proceedings of SPIE, vol. 8790 (Bellingham, WA, 2013), https://doi.org/10.1117/12.2021318.
Optical microscopy of cross sections: Small paint samples (c. 0.25 mm2) were removed using a scalpel and were mounted in polyester-type resin blocks. The samples were cut at right angles to the layer structure and polished using silicon carbide papers and examined using a Leica DRMX microscope.
Polarized light microscopy (PLM): Transmitted polarized light microscopy of dispersed samples was conducted using Leitz Orthoplan and Leica DMRX microscopes. Particle identification was accomplished by comparing characteristic features—including particle size, color, refractive index and relief, birefringence, extinction characteristics, pleochroism, and anomalous polarization colors of the unknown—to those of reference materials in the Forbes Pigment Collection and other reference collections.
Scanning electron microscopy (SEM): Small samples were prepared for optical microscopy and examined with a JEOL 6300 scanning electron microscope at magnifications 100×–10,000×. A Tetra backscatter electron detector was used to obtain BSE images.
X-radiography: X-radiography was carried out with equipment consisting of a Eureka Emerald 125 MT tube, a Continental 0-110 kV control panel, and a Duocon M collimator or a Comet Technologies XRP-75MXR-75HP tube. The image was captured on Kodak X-OMAT film or digitally using a Carestream Industrex Blue Digital Imaging Plate 5537. The scanned x-ray radiograph films or digital x-radiograph captures were automatically mosaicked and registered to a reference color image using a novel registration algorithm developed by George Washington University and the National Gallery of Art. For more information see Damon M. Conover, John K. Delaney, and Murray H. Loew, “Automatic Registration and Mosaicking of Conservation Images,” in Optics for Arts, Architecture, and Archaeology, vol. 4, ed. Luca Pezzati and Piotr Targowski, Proceedings of SPIE, vol. 8790 (Bellingham, WA, 2013), https://doi.org/10.1117/12.2021318.
X-ray diffraction (XRD): The Philips x-ray generator XRG 3100 was used with a tube with a copper anode and nickel filter. The paint sample was mounted on a glass fiber in a Gandolfi camera. Data were collected on film, and line spacings and intensities were estimated using a calibrated rule.
X-ray fluorescence spectrometry (XRF): This is a noninvasive analytical technique, which was carried out using one of two systems. The first system used a secondary emission Kevex 0750A spectrophotometer equipped with a rhodium tube with either a barium chloride secondary target or a molybdenum secondary target using a variety of excitation conditions and a silicon lithium Si(Li) detector with a resolution of approximately 155eV @Mn Kα. For this system the range of Rh tube excitation was 40kV–60kV and 0.4mA–2mA. The second system used a Bruker ArtTAX Pro μXRF spectrometer, which uses primary excitation and is equipped with a helium (He) flush, a rhodium (Rh) x-ray tube, and a capillary optic lens with an analysis area of approximately 75μm. In this system the x-ray tube voltage was 50kV, the current was 200μA, and the accumulation time was 200 seconds.