Italian, spanish,french paintings by ACC Art Books

contents

Library of Congress Cataloging-in-Publication Data Names: John and Mable Ringling Museum of Art, author. | Brilliant, Virginia, author. Title: Italian, Spanish, and French paintings in the Ringling Museum of Art / by Virginia Brilliant. Description: Sarasota, Florida : The John and Mable Ringling Museum of Art ; New York : In association with Scala Arts Publishers, Inc., 2017. | Includes bibliographical references and index. Identifiers: LCCN 2017025159 | ISBN 9781785510816 (hardback) Subjects: LCSH: Painting, Italian--Catalogs. | Painting, Spanish--Catalogs. | Painting, French--Catalogs. | Painting--Florida--Sarasota--Catalogs. | John and Mable Ringling Museum of Art--catalogs. Classification: LCC ND615 .J585 2017 | DDC 759.5--dc23 LC record available at https://lccn.loc.gov/2017025159

Director’s Foreword

viii

Acknowledgments

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All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without the written permission of The John and Mable Ringling Museum of Art and Scala Arts Publishers, Inc.

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Every effort has been made to acknowledge correct

Text copyright © 2017 The John and Mable Ringling Museum of Art All photos copyright © 2017 The John and Mable Ringling Museum of Art Book copyright © 2017 The John and Mable Ringling Museum of Art and Scala Arts Publishers, Inc. First published in 2017 by Scala Arts Publishers, Inc. c/o CohnReznick LLP 10th floor, 1301 Avenue of the Americas New York, NY 10019, USA www.scalapublishers.com In association with The John and Mable Ringling Museum of Art 5401 Bay Shore Road Sarasota, FL 34243 ISBN 978-1-78551-081-6

copyright of images where applicable. Any errors or omissions are unintentional and should be notified to the Publisher, who will arrange for corrections to appear in any reprints.

xi Introduction xxi Note to the Reader Catalogue 1

Italian Paintings

353

Spanish Paintings

407 French Paintings Bibliography

507 Indexes

contents

Director’s Foreword

viii

Acknowledgments

475

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Every effort has been made to acknowledge correct

copyright of images where applicable. Any errors or omissions are unintentional and should be notified to the Publisher, who will arrange for corrections to appear in any reprints.

xi Introduction xxi Note to the Reader Catalogue 1

Italian Paintings

353

Spanish Paintings

407 French Paintings Bibliography

507 Indexes

Introduction virginia brilliant

This catalogue includes all of the Italian, Spanish, and French paintings executed before 1800 in the collection of The John and Mable Ringling Museum of Art in Sarasota, Florida. The Italian paintings, which number more than 270 works, cover a broad chronological range and include altarpieces, devotional works, portraits, and allegorical scenes with examples from all major schools (Florentine, Venetian, Roman, Neapolitan, Genoese, Bolognese, and so on), with particularly strong holdings of High Renaissance and Baroque paintings. The Ringling’s collection of Italian paintings features significant works by masters such as Piero di Cosimo, Bernardino Luini, Giovanni Battista Moroni, Paolo Veronese, Pietro da Cortona, Bernardo Strozzi, Guercino, Salvator Rosa, and Giovanni Battista Tiepolo as well as beautiful examples of lesser-known artists like Domenico Puligo, Gaudenzio Ferrari, Francesco Cairo, and Giovanni Michele Graneri, to name a few. The collection is without a doubt the largest and most significant of its kind in the Southeast, but it has not been published in its entirety since the 1976 Catalogue of Italian Paintings by Peter Tomory. Meanwhile, the museum’s smaller but no less interesting groups of Spanish and French paintings (which include works by Alonso Cano, Jusepe de Ribera, Bartolomé Esteban Murillo, and Velázquez, and Noël-Nicolas Coypel, Jean-Marc Nattier, Jean Raoux, and Jean-Baptiste Greuze) have never been the subject of a comprehensive scholarly catalogue. Further to this goal of comprehensiveness, the catalogue includes works by non-native Italians, Spaniards, and Frenchmen that were executed when these artists were working in Italy, Spain, and France (for example, an Anton Raphael Mengs painted in Italy); works by Italian, Spanish, x

introduction

and French artists working abroad (such as Benedetto Gennari’s altarpiece for the Whitehall Chapel in London, or Antoine Pesne’s and Pierre Goudreaux’s paintings made in the employ of German courts); and in a few isolated instances, works that might pass the 1800 cut-off date by a few years (the painting by a Follower of Goya). Paintings created within the Spanish Empire are here considered Spanish. The collection does not reflect the full range of painting types and regional styles that flourished throughout Italy, France, and Spain in the early modern period, but rather mainly presents the legacy, tastes, and decisions of a single donor, the circus impresario and financier John Ringling (1866–1936), whose gift to the museum was supplemented by later gifts and purchases (fig. 1).1 The story of the Ringling collection begins in 1925, when, despite never before acquiring fine art of any significance, John Ringling decided to build an art museum in Sarasota. Reported to be one of the thirteen richest men in America, Ringling had almost single-handedly transformed his adopted home on Florida’s west coast into a populous and prestigious resort town. By founding a museum on the property adjacent to Ca’ d’Zan, his Venetian-style mansion overlooking Sarasota Bay, Ringling aimed to make Sarasota the cultural capital of the Southeast.2 The museum was also a memorial to himself and his wife, Mable, a legacy meant to outlast his business interests, assert his status as a gentleman despite humble beginnings, and broaden his influence in American culture beyond the circus. During the fall of that year, Ringling and the German art dealer Julius Böhler (1883–1966) traveled to Italy to buy decorative xi

Introduction virginia brilliant

introduction

I.3

italian paintings

The painting can be ascribed to Mariotto Albertinelli, who was born in Florence in 1474 and was, along with the young Fra Bartolomeo, apprenticed to Cosimo Rosselli. After leaving Rosselli’s workshop, Albertinelli and Fra Bartolomeo worked in partnership throughout the 1490s and again in 1509–13. The inscription on the painting, ORA PRO PICTORE (“intercede for the painter,” if the painter himself is imagined addressing the Holy Family, or “pray for the painter,” if viewers of the painting are the ones addressed), is found throughout works made in the artists’ workshop between 1509 and 1513. The combination of the ring with a single cross is, however, unusual— the established workshop mark is an elongated red cross that passes through two interlocking golden rings. The unusual mark on the Ringling painting may in some way relate to the disbandment of the workshop. The painting was attributed in the nineteenth and twentieth centuries to Fra Bartolomeo,3 and then later seen to be a collaborative work, possibly with Fra Bartolomeo painting the left side and Albertinelli the right.4 A mix of elements found in works ascribed more securely to both artists can be found in the Ringling tondo. For example, the poses of the Virgin and the Child repeat those in Albertinelli’s tondo of around 1490 in the Palazzo Pitti, Florence, while Saint Joseph’s face and pose are taken from Fra Bartolomeo’s Adoration of the Child, of which there is a version dated just before 1511 in the National Gallery, London. The setting, meanwhile, with the view through the open or missing door to the background landscape, is likely drawn from Fra Bartolomeo’s altarpiece in the cathedral in Besançon. Yet the work’s style places it more firmly with Albertinelli—the darker atmosphere is more typical of this artist, as is the attention to detail in the foreground foliage and background landscape, relating to his long-standing interest in Netherlandish painting. That the figure of Saint Joseph resembles Fra Bartolomeo’s works could simply be the result of the partnership

between the two artists, with Albertinelli perhaps even working from one of Fra Bartolomeo’s designs.5 Given that the painting includes motifs drawn from the Besançon altarpiece completed in 1512, it seems reasonable to date it to around 1512–13.6 The painting can be linked to a “tondo d’una Natività di braccia dua,” mentioned in a document of 5 January 1513 that divided the property belonging to Albertinelli and Fra Bartolomeo when they dissolved their partnership.7 The work seems to have been kept by Fra Bartolomeo, though not for long, as a document of 1516 notes that the painting was sold to one Giovanni Bernardini of Lucca for twenty golden ducats: “Item un Tondo di dua br. Nel quale era una Natività, venduto a Giovanni Bernardini lucchese, duc. XX d’oro in oro lar. al detto lib.”8 The painting remained in the Bernardini family through the nineteenth and early twentieth centuries and was sold to John Ringling by a dealer in Genoa in the fall of 1926.9

I.4a, b

Notes

1. The classic study is Friedmann 1946. 2. See Olson 2000, pp. 90–93. 3. Suida 1949 maintained the early attribution to Fra Bartolomeo. 4. Borgo 1976. 5. A drawing by Fra Bartolomeo (Musée du Louvre, Paris) may be the origin of the composition, although in this sheet the focus is more directly upon the figures, with Saint Joseph prominent to the left and with the Baptist embracing the Christ child. 6. The composition was a popular one: there is a rectangular variant in a Swiss collection, a workshop copy that was destroyed in the Dutch Embassy in Berlin in 1945, and another workshop copy, reversed, in a German private collection. See Tomory 1976; Borgo 1976. 7. Ridolfi 1878, p. 96, first linked the painting to the document, Biblioteca Medicea Laurenziana, Florence, San Marco 920, Miscellanea No. 2, insert 8. Borgo 1976, document 24, provides a transcription. 8. Biblioteca Medicea Laurenziana, Florence, San Marco 920, Ricordanze B, 127–9. Borgo 1976, document 27, provides a transcription, as does Marchese 1945. 9. Notes by Böhler, museum’s archives.

Follower of GIUSEPPE ARCIMBOLDO (Milan 1526–1593 Milan)

Copies after Arcimboldo’s Summer and Autumn, late sixteenth or seventeenth century Oil on canvas Each 74.6 × 96.5 cm Museum purchase, 1954, SN 673, SN 672

Literature Geiger 1954, p. 146; Fredericksen and Zeri 1972, p. 636; Tomory 1976, p. 168. Provenance ( Julius Weitzner, New York); purchased by the John and Mable Ringling Museum of Art, Sarasota, Florida, 1954.1 Inscriptions On the collar of Summer: MORALES Technical Notes The paintings are executed on canvas, possibly linen. The oil paint was applied in thin, fine layers. There is minor darkened inpainting throughout Autumn, while in Summer, there is a significant amount of darkened inpainting running in a vertical line to the left of the figure’s head, as well as in the figure’s right shoulder and arm.

From his own time as court painter in Vienna and Prague, the late Renaissance master Giuseppe Arcimboldo has been noted for his bizarre composite heads. Painted singly or in series, the heads combine plants, animals, and other objects appropriate to the themes Arcimboldo treated, such as the Four Seasons and the Four Elements. Upon his arrival at the Habsburg court of the Emperor Maximilian II in Vienna in the early 1560s, Arcimboldo produced his first set of the Four Seasons, dated 1563. Maximilian was delighted with the series, and commissioned copies to be sent to his relatives and regents in the Habsburg courts in Saxony, Bavaria, and Madrid. The two paintings at the Ringling are probably copies by a Spanish artist of the set sent to Spain in 1572, for woven into the wheat-sheaf collar of Summer, where Arcimboldo signed the set that went to Spain, is the Spanish name MORALES.2 The paintings in the Spanish royal collections are recorded in inventories of the late sixteenth century, and were also described by visitors to the Alcázar in Madrid.3 Recently, both Karl Rudolf (1995) and

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italian paintings

I.4a, b

Notes

Follower of GIUSEPPE ARCIMBOLDO (Milan 1526–1593 Milan)

Copies after Arcimboldo’s Summer and Autumn, late sixteenth or seventeenth century Oil on canvas Each 74.6 × 96.5 cm Museum purchase, 1954, SN 673, SN 672

I.142a, b

ALVARO PIREZ (Évora, Portugal active 1411–1434 Italy)

Angel of the Annunciation and Virgin of the Annunciation, early 1420s Tempera and gold on wood 148.6 × 51.5 cm, 147.5 × 51.8 cm Bequest of John Ringling, 1936, SN 10, SN 11

Literature Suida 1949, pp. 10–11; Steinweg 1957, pp. 39–45; Fredericksen and Zeri 1972, p. 5; Fremantle 1975, p. 438; Frinta 1976, pp. 33–47; Tomory 1976, p. 35; Lisbon 1994, p. 101; Frinta 1998, pp. 402, 417; Lucca 1998, p. 282; Athens 2002, pp. 122–25; Roberts and Ladis 2009, pp. 736–37; Sarasota 2009, pp. 180–81. Provenance Émile Gavet (1829–1904), Paris; sold in or after 1889 and before 1895 to William K. Vanderbilt (1849–1920) and Alva Erskine Smith Vanderbilt (1853–1933, from 1896, Mrs. Oliver Belmont)1 and installed in the Gothic Room of Marble House, Newport, Rhode Island; sold in 1927 by Mrs. Belmont through Duveen Brothers, New York, to John Ringling (1866–1936), Sarasota, Florida; bequest in 1936 to the John and Mable Ringling Museum of Art, Sarasota, Florida. Inscriptions On the scroll held by the angel in SN 10: AVE GR Technical Notes Both paintings are on panel and neither is cradled. The panels were prepared with white gesso ground layers. Incisions in the gesso outline the compositional elements, and there is also brown underdrawing, which the painted image follows closely. A red bole layer was applied underneath the water gilding, and punchwork was used to create decorative elements in the gilded areas. Oil gilding was used to add decorations on top of painted elements. There are many areas of inpainting, but the retouching is not significantly discolored. Both paintings have what appear to be engaged frames but are probably later additions.

v The Annunciation—when the Archangel Gabriel announced to the Virgin that she would be visited by the Holy Spirit and bear the son of God—is described in Luke 1:26–38 and in the Apocryphal Gospel of James 10–11, the Gospel of Pseudo-Matthew 9, and the Gospel of the Nativity of Mary 9.2 In one of the Ringling panels, the Archangel Gabriel kneels, pointing with one hand to heaven. In the other hand, he holds a scroll inscribed AVE GR, an abbreviation

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of his greeting to Mary, “Ave, gratia plena” (Hail [Mary], full of grace), as per Luke 1:28. In the other panel, the Virgin is seated on a marble bench draped with red and gold brocaded cloth holding a book. In his Meditationes Vitae Christi, the Pseudo-Bonaventure suggested that the Virgin may have been reading Isaiah’s prophesy of this event—“Ecce Virgo concipiet…” (“Look, the young woman is with child, [and about to give birth to a son],” from Isaiah 7:14)—at the moment the angel came to her. Viewers would have understood the writing on the Virgin’s book as this prophesy, even though it is illegible. Mary raises her right hand, withdrawing demurely from the angel. The fourteenth-century theologian Nicholas of Lyra explained that the Virgin, an exemplar of humility, was taken aback by the archangel’s lavish praises. Above the archangel is the hand of God, sending forth the dove representing the Holy Spirit that descends toward the Virgin. The boldly patterned lightgreen-on-dark-green brocade on which the figures are situated may be an allusion to the hortus conclusus, the closed garden representing chastity, which often appears in depictions of the Annunciation.3 Like many fourteenth- and fifteenth-century pairs of panels depicting the Annunciation, these two paintings were once likely to have been pinnacles on a now-dispersed altarpiece, and the dramatic downward tilt of the ground beneath the figures supports the idea that the paintings were meant to be viewed from below. Given their large size, this altarpiece must have been substantial. Just as points of comparison, the Annunciation pinnacle panel (Metropolitan Museum of Art, New York) for Sassetta’s Borgo San Sepolcro altarpiece of around 1435, which has been slightly cut down, measures 73 × 41 centimeters, while the Virgin Annunciate for Matteo di Giovanni’s Asciano Altarpiece of 1474 (Rhode Island School of Design Museum, Providence), also somewhat cut down, measures 73.3 × 42.7 centimeters. As noted above, both paintings have what appear to be engaged frames but are probably later additions. The shape of the panels is highly unusual for altarpiece fragments, suggesting that the bottom finials (both of the frame and the tapering parts of the panels) may

be later, probably nineteenth-century additions. If the Ringling panels are envisaged without their lower additions, they would likely have been about the size of the Metropolitan and Rhode Island panels, both of which came from immense altarpiece complexes. In 1949, William Suida attributed these paintings to the Florentine painter Paolo Schiavo, but in 1957 Klara Steinweg convincingly reattributed them to Alvaro Pirez; this attribution has not been questioned since. Alvaro Pirez was born in Portugal but is first documented in 1411 in Prato, where along with the Florentine painters Niccolò di Pietro Gerini, Ambrogio di Baldese, and Lippo di Andrea he worked on the frescoes on the façade of the Palazzo Datini (also called the Palazzo del Ceppo), now surviving only in fragments. Only two of Alvaro’s paintings are signed and dated: a Virgin and Child of 1424 for the oratory of the Compagnia del Crocifisso a Pieve San Paolo in Lucca and a portable triptych of 1434 now in the Herzog Anton Ulrich Museum in Braunschweig. He signed panels of the Virgin and Child with Angels in Santa Croce a Fossabanda in Pisa and in the Franciscan church in Nicosia (now Museo di San Matteo, Pisa) and is believed to have been in Pisa between his work in Prato and 1423, when he is documented in Volterra, though he may well have worked in other places during that period. Because he was in Lucca by 1424, it is generally accepted that he painted a now lost altarpiece for the church of Sant’Agostino during the year 1423, and another altarpiece for the church of San Lorenzo a Strada (now Pinacoteca, Volterra) is thought to date from the same year. Owing to the paucity of secure dates for Alvaro, it is difficult to establish a firm chronology for his works and thus a date for the Ringling Annunciation. The Ringling paintings have in general been placed between the Fossabanda and Nicosia paintings of the mid-1410s and the Volterra altarpiece of 1423. When Steinweg first attributed the paintings to Alvaro in 1957, she proposed a date beyond the end of that spectrum, ca. 1425, and more recently, Andrea De Marchi has offered stylistic arguments to place the paintings in the first years of the 1420s. From the outset of his documented career, Alvaro seems to have been

i.142a

i.142b

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I.142a, b

ALVARO PIREZ (Évora, Portugal active 1411–1434 Italy)

Angel of the Annunciation and Virgin of the Annunciation, early 1420s Tempera and gold on wood 148.6 × 51.5 cm, 147.5 × 51.8 cm Bequest of John Ringling, 1936, SN 10, SN 11

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i.142a

i.142b

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I.165

FRANCESCO SALVIATI (Francesco de’ Rossi) (Florence 1510–1563 Rome)

Gian Battista Salviati, ca. 1543–44

Oil on wood 69.7 × 48.3 cm Gift of Mr. and Mrs. E. Milo Greene, 1961, SN 733 Literature Berenson 1900, p. 137; Berenson 1909b, p. 210; Schulze 1911, no. 29; Clapp 1916, p. 233; McComb 1928, p. 123; Baltimore 1961, no. 46; Fredericksen and Zeri 1972, pp. 181, 515, 637; Tomory 1976, pp. 39–41; Langedijk 1981–87, vol. 2, p. 907; Sarasota and Hartford 1984–85, p. 58; Costamagna 1991b, p. 32; Cecchi 1994, p. 19; Costamagna 1994, pp. 323–24; Giovannoni 1994, p. 129; Rome 1998, p. 234.

Fig. I.165.1. Francesco Salviati, Study for a Helmet, ca. 1540, pen and ink on paper, Musée du Louvre, Paris.

Provenance By the end of the sixteenth century, Salviati collection, Rome;1 by 1662 and in 1698, in the Salviati collection in Florence;2 by 1704, in the Palazzo Salviati alla Lungara in Rome;3 by 1732, Caterina Zefferina Salviati Colonna (1702–1756), Rome;4 by inheritance in the Colonna family to Margherita Colonna (1786–1864, who was from 1803 Principessa Rospigliosi, wife of Prince Giulio Cesare Rospigliosi); by inheritance in the Rospigliosi family, Rome;5 from around 1900, private collection, Paris; (in the late 1950s or early 1960s, Giancarlo Baroni, Paris);6 (Schaeffer Gallery, New York); E. Milo Green, New York; gift in 1961 to the John and Mable Ringling Museum of Art, Sarasota, Florida. Technical Notes The painting is on a panel made of a single plank of wood that has been thinned to less than 1 cm thick and marouflaged to an oak core, to which a cradle has been attached. The ground is a thin white layer. There is an incised contour for the dragon at the top of the helmet. There appears to be a reddish-brown underlayer in the background. The brushwork is fine and precise, creating a very smooth surface. The sitter’s head may have been painted before the background, as the green brushstrokes seem to follow the outline of the head. Parts of the fingertips were painted over parts of the gray metal portions of the helmet. This gives the thinly painted fingertips a slightly gray pallor that is unlike the rest of the flesh tones. Retouching is slightly discolored and mostly confined to the background.

i.165

The attribution of this portrait was for decades contested. Bernard Berenson assigned it to Pontormo in 1900, but then recanted in 1909, calling it the work of Bronzino. Frederick Mortimer Clapp (1916) and Arthur McComb (1928) questioned its quality, and assigned it to a

member of Bronzino’s workshop, but aside from mentioning Alessandro Allori, would not commit to an attribution to a specific artistic personality. Nonetheless, when the painting was lent to the 1961 exhibition in Baltimore, Bacchiacca and His

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Friends, the attribution to Bronzino was maintained. Michael Hirst, in undated correspondence with the museum, and Karla Langedijk (1981–87) both gave the work to Michele di Ridolfo. The painting was finally correctly assigned to

Salviati in Burton Fredericksen and Federico Zeri’s 1972 Census, presumably following a note in the museum’s files in which Mina Gregori proposed that attribution.7 Along with Bronzino and Giorgio Vasari, Salviati was a leading painter of the High Mannerist style in Florence.8 His works include paintings of mythological and religious subjects and portraiture as well as designs for tapestries and metalwork, but above all he is known as a creator of large-scale decorative schemes. Trained in Florence, by 1531 Salviati (then still known as Francesco de’ Rossi) had gained a sufficiently promising reputation to be invited to Rome to continue his studies at the expense of Cardinal Giovanni Salviati, of a noble Florentine family, who paid him a stipend and lodged him in Palazzo Salviati, and by whose name he was thereafter known. Salviati was in Florence in 1543/44–48, and it seems to have been around this time that he painted the present portrait, in which he jettisoned the porcelain hardness of Bronzino’s portrait style for a more sensitive, if more awkward, realism, expressed in the boy’s timid gaze, soft features, and almost crossed eyes. The present painting has traditionally been identified as a portrait of Francesco de’ Medici, born in 1541, as the figure of Capricorn at the top of the helmet he holds was the zodiac sign of Francesco’s father, Cosimo. Even though children in Renaissance portraits are often

shown as older than their actual ages, the sitter here would seem to be especially mature given that Francesco was only three or four when the portrait was painted; moreover, the Capricorn figure need not necessarily be understood as a heraldic device, for it was often used merely as a decorative element. In fact, mention of the painting in a late-sixteenth-century inventory of the Salviati collection, discovered by Philippe Costamagna, suggests another, more convincing, identity for the sitter, Gian Battista Salviati.9 Gian Battista was the firstborn son of Lorenzo Salviati, the younger brother of Cardinal Giovanni Salviati. He was born in Rome in 1535, which would have made him around ten when this portrait was painted, probably in Florence, or perhaps just before the artist made his trip to Florence in 1543/44, as Gian Battista lived chiefly in Rome. Contemporary accounts describe Gian Battista as a “dissolute and worldly person,” who was brought back to morality through the efforts of his devout wife, Portia Massimo—a Roman noblewoman of an ancient family—and Filippo Neri, founder of the Oratorian order, who was at the time undertaking a major campaign to reform the behavior and customs of the Roman aristocracy.10 In 1562, Salviati died at the age of twenty-seven. The helmet is of a purely decorative type for which the Milanese atelier of Filippo and Francesco Negroli was renowned, and which the Florentine elite commissioned in some quantity. Fancifully embellished Negroli helmets appear throughout Florentine art in this period, for example, in Vasari and Salviati’s frescoes in the Sala dell’Udienza in the Palazzo Vecchio. The armor in the present portrait resembles, though does not reproduce exactly, a drawing of one such helmet by Salviati now in the Musée du Louvre, Paris (fig. I.165.1).11 It was not uncommon for men in civilian attire to be shown in portraits with helmets. Examples can be found in Rosso Fiorentino’s Portrait of a Man of about 1520 in the Walker Art Gallery in Liverpool, and in Parmigianino’s 1524 Portrait of Galeazzo Sanvitale in the Museo Nazionale di Capodimonte in Naples. The earliest example of such a portrait seems to be Giorgione’s Francesco Maria della Rovere of 1502 in the Kunsthistorisches Museum, Vienna, where the sitter, as in Salviati’s portrait,

though not Rosso’s or Parmigianino’s, is a young boy. By showing an adolescent with a helmet like the one here, the portrait expressed his aristocratic family’s wealth and taste—the helmet being a luxury item of great beauty and cost, as well as a symbol of power and command— in the hope that the young heir would grow into a man of strength and substance, even if this is somewhat at odds with the apprehensive countenance of the sitter here and with what we now know of his future life. Notes

1. Inventory of the Salviati collection in Rome, Biblioteca Apostolica Vaticana, Fondo Salviati, filza 30, s. c., numerazione moderna c. 85. 2. Inventories of the Salviati collection in Florence, Biblioteca Apostolica Vaticana, Fondo Salviati, filza 58 fasc. s. n., s. c. 3. Inventory of the Salviati collection in Rome, Biblioteca Apostolica Vaticana, Fondo Salviati, filza 26, c. 15v. 4. Inventory in 1732 of the Salviati collection on the death of Antonio Maria Salviati in Rome, Biblioteca Apostolica Vaticana, Fondo Salviati, filza 377, c. 7. Caterina Zefferina Salviati was the daughter of Antonio Maria Salviati, the last male member of the Roman branch of the Salviati family. In 1718, she married Fabrizio Colonna, Prince of Paliano, and on her father’s death inherited the family art collection, which then passed to her children and was thus subsumed into the Colonna family’s collection. For the Salviati family in Rome in this period, see Hurtubise 2009, especially p. 231, for Caterina. 5. The painting was not among the works included in the sale of the Rospigliosi collection at the Palazzo Corrodi in 28 April–5 May 1931. 6. Federico Zeri, in a letter to the museum dated 14 February 1977, notes that the painting was in the Rospigliosi collection until “70 years ago” and then in the Parisian private collection, from which it was sold in the late 1950s or early 1960s, and then owned by Giancarlo Baroni in Paris. Zeri saw it at this point. 7. Portraiture is one of the most contentious and problematic genres within Salviati’s oeuvre, and there remain many open questions, particularly as to why he adopted different types and modes at different times. See Marciari 2005, p. 382. 8. A useful discussion of Salviati’s career, works, and style is the chapter on the artist in Franklin 2001, pp. 213–37. 9. Costamagna in Rome 1998, p. 234. 10. Hurtubise 1985, pp. 255, 321–22, 325, 327– 29. 11. See Rome 1998, pp. 268–68, for the drawing.

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I.165

FRANCESCO SALVIATI (Francesco de’ Rossi) (Florence 1510–1563 Rome)

Gian Battista Salviati, ca. 1543–44

Fig. I.165.1. Francesco Salviati, Study for a Helmet, ca. 1540, pen and ink on paper, Musée du Louvre, Paris.

i.165

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I.206

I.207

follower of PAOLO VERONESE (Paolo Caliari)

or Giovan Francesco de Rosa (PACECCO DE ROSA)

Man in Armor with a Page, mid-1500s

italian paintings

Oil on canvas 100.3 × 74.9 cm Bequest of John Ringling, 1936, SN 177

Oil on canvas 178.4 × 126.4 cm Bequest of John Ringling, 1936, SN 148

Literature Suida 1949, p. 151; Fredericksen and Zeri 1972, pp. 190, 637.

Literature Suida 1949, p. 13; Fredericksen and Zeri 1972, pp. 207, 636; Tomory 1976, p. 166; Greenville 2001, no. 58; Della Ragione 2014, no. 79.

Provenance Gustav Robert Paalen (1873–1942), Vienna; ( Julius Böhler, Munich); John Ringling (1866–1936), Sarasota, Florida; bequest in 1936 to the John and Mable Ringling Museum of Art, Sarasota, Florida.

344

Copy of Volterrano’s Saint Michael, after 1654

John the Baptist, ca. 1640s

Literature Suida 1949, p. 61; Wethey 1971, p. 177; Fredericksen and Zeri 1972, p. 636; Tomory 1976, p. 182.

In the early part of the twentieth century, the present painting was attributed to Titian by Willem von Bode (1916) and Georg Gronau (1917). William Suida (1949) gave it to Titian working together with another hand, Burton Fredericksen and Feredico Zeri (1972) to Titian, and Harold Wethey (1971) to a follower of Titian. Peter Tomory (1976) believed it to be a copy of a lost original by Titian. The sitter has traditionally been identified as Guidobaldo II della Rovere (1514–1574), Duke of Urbino, whom Titian painted a number of times. This identification, however, seems to be based rather flimsily on the fact that the sitter is wearing armor and has a black beard, as is the case in Titian’s portraits of Guidobaldo, for this is where the similarities end. The painting in fact appears to be much closer to Paolo Veronese, specifically with the portraits he painted of the noblemen of the Venetian terraferma before his move to Venice in 1553. The

(Volterra 1611–1690 Florence)

(Naples 1607–1656 Naples)

Oil on canvas 191.1 × 125.5 cm Bequest of John Ringling, 1936, SN 60

Workshop of Baldassarre Franceschini (IL VOLTERRANO)

(Naples 1585 or 1589–1650 Naples)

(Verona 1528–1588 Venice)

Technical Notes The primary support is a medium-weight twill canvas. There is a vertical seam running approximately 5 cm from the left edge. There is a white ground and a reddish-brown underlayer. The paint was moderately thinly applied with areas of impasto. It appears the sitter’s face was painted first, followed by the armor and then the background. Finally, the hands were applied over the completed breastplate and helmet. There are a number of pentimenti: the right leg was originally further left and both arms were slightly higher. Much of the paint suffers from significant abrasion. Discolored retouching is present throughout. The varnish has yellowed.

I.208

Attributed to FILIPPO VITALE

Provenance Before 1929, Metropolitan Museum of Art, New York; (sold Metropolitan Museum of Art sale, American Art Association, New York, 7 February 1929, lot 90, for $450); John Ringling (1866–1936), Sarasota, Florida; bequest in 1936 to the John and Mable Ringling Museum of Art, Sarasota, Florida.

Provenance John Ringling (1866–1936), Sarasota, Florida; bequest in 1936 to the John and Mable Ringling Museum of Art, Sarasota, Florida.

i.206

main figure, especially his stance, stocky physique, hands, and his situation within the picture plane so that he might best be viewed di sotto in sù, compare very well with the Ringling’s own Francesco Franceschini (cat. I.204), while the position of the page and his interaction with the main figure are reminiscent of Veronese’s portrait of Giuseppe da Porto with his son (ca. 1551, Galleria degli Uffizi, Florence). The unusual classicizing sculptural ensemble at right with a large seated figure atop a grand urn, and a trampled enemy at his feet, seems to reflect the humanist taste in Verona and its environs for antique sculpture. Such ensembles also make appearances in Veronese’s portraiture, for example in Veronese’s Portrait of a Man in Black (ca. 1576–78, J. Paul Getty Museum, Los Angeles). It is possible that this painting might have come from Veronese’s own workshop; alternatively it could have been created by one of his followers after the master left for Venice in 1553, leaving a lacuna in the market for these kinds of portraits. The anatomical awkwardness of the main figure, and consequently that of the armor, seems to point to a follower.

Technical Notes This painting was executed on a heavy-weight, plain-weave canvas. There is a light-colored ground and a dark underlayer below the figure and drapery. The oil paint layers are moderately thin and there is low-relief impasto in the lamb. The landscape appears to have been applied prior to the figure and drapery. There is significant abrasion and discolored retouching throughout.

v The present painting has always been given in the literature to Andrea Vaccaro, an attribution made verbally by Hermann Voss and then published by William Suida in 1949. Scholars who visited the museum, however, rejected the attribution to Vaccaro, and Nicola Spinosa during a 1987 visit to the museum suggested that the painting might be by Filippo Vitale or his stepson Pacecco de Rosa, an entirely plausible hypothesis. The Caravaggesque painter Filippo Vitale was Pacecco’s first teacher, and the two worked together until Vitale’s death in 1650. As early as the 1630s Pacecco’s style was eclectic, drawing upon the many artistic currents then available to a young artist working in Naples, and upon Filippo’s death his stepson went to work with Massimo Stanzione, whose brilliant colors and classicism became hallmarks of Pacecco’s later art. Yet, during the 1630s and 1640s, Pacecco seems to have been painting at least intermittently in the Caravaggesque mode favored by Filippo, and both artists, perhaps in some cases in collaboration,

i.207

produced a number of works in that style.1 John the Baptist is very similar to the works associated with the two artists in this period in terms of the musculature of the figure, the style and color of the drapery, and the dramatic chiaroscuro of white skin against a muddy brown background. The Baptist’s sweet face and cool, pale skin are perhaps closer to Pacecco, for Filippo it seems favored more naturalistic, ruddy facial types drawn from life.2 It might be noted that while the sheep is of course an emblem of Christ, the lamb of God, in this painting, the Baptist is rather unusually feeding the sheep. This detail might allude to the Baptist’s future mission, namely to preach Christ’s message and to remind the flock that the Messiah will return, that Christ will be reunited with his faithful.3 Notes

1. The recent monograph on the artist, Pacelli 2008, discusses the difficulties of assigning certain Caravaggesque paintings to one hand or the other, and offers a number of useful comparative examples; also useful in this regard is Milan 2008. 2. For examples and comparisons, see Milan 2008 and Pacelli 2008. 3. Greenville 2001.

Technical Notes This work is on a plain, medium-weight canvas, which was prepared with a white ground. The artist worked from dark to light, and used a combination of wet on dry and wet on wet in the application of the paint; he also used multiple layers of glazes in the skin tones, and some details were articulated with impasto. The paint layers are tenting and flaking, and there are small, scattered areas of discolored retouching throughout, most notably in the figure’s face. A discolored varnish and heavy layer of grime further obscure the image.

v When this painting was deaccessioned by the Metropolitan Museum of Art in a sale at the American Art Association in New York in 1929, it was catalogued as being a work after Paris Bordone, depicting a young Count Sforza. William Suida (1949) deemed the work to be Venetian and painted in the eighteenth century, while Charles Sterling, in correspondence with the museum in 1961, attributed it to the seventeenthcentury French painter François Perrier. In 1976, Pierre Rosenberg, in correspondence with the museum, suggested that the work was an eighteenth-century copy after Baldassarre Franceschini, while Miles Chappell, in letters exchanged with the museum in 1988, argued that the painting was not a later copy after Franceschini, but rather an autograph work, or a workshop copy after the painting in the Musée des Beaux-Arts, Nancy. The Ringling work has not been included in any of the modern scholarship

i.208

on the artist, which culminated in a catalogue raisonné in 2013, nor in any of the literature on the Nancy painting.1 In fact, the Nancy painting was only given to Franceschini in the 1980s, by Mina Gregori and Giuseppe Cantelli in correspondence with the French museum, and this attribution was first published as recently as 1993, in an article by Marta Privitera.2 Baldassarre Franceschini, nicknamed “Il Volterrano” after his native town of Volterra, was a prolific painter active chiefly in Florence during the seventeenth century. The son of a sculptor, Franceschini first studied with Cosimo Daddi in Volterra before moving to Florence in 1628 and joining the workshop of Matteo Rosselli. Franceschini’s first major commission came from Don Lorenzo de’ Medici, who asked the artist to paint the fresco decorations in the courtyard of Villa La Petraia with scenes illustrating the history of the Medici family. The project took Franceschini twelve years to complete, but it secured his reputation as the city’s leading fresco painter, and over the course of his career, he painted frescoes, altarpieces, and easel pictures for churches and palaces in Florence, Volterra, and Rome.

345

I.206

I.207

follower of PAOLO VERONESE (Paolo Caliari)

or Giovan Francesco de Rosa (PACECCO DE ROSA)

Man in Armor with a Page, mid-1500s

italian paintings

Oil on canvas 100.3 × 74.9 cm Bequest of John Ringling, 1936, SN 177

Oil on canvas 178.4 × 126.4 cm Bequest of John Ringling, 1936, SN 148

Literature Suida 1949, p. 151; Fredericksen and Zeri 1972, pp. 190, 637.

Literature Suida 1949, p. 13; Fredericksen and Zeri 1972, pp. 207, 636; Tomory 1976, p. 166; Greenville 2001, no. 58; Della Ragione 2014, no. 79.

344

Copy of Volterrano’s Saint Michael, after 1654

John the Baptist, ca. 1640s

Literature Suida 1949, p. 61; Wethey 1971, p. 177; Fredericksen and Zeri 1972, p. 636; Tomory 1976, p. 182.

(Volterra 1611–1690 Florence)

(Naples 1607–1656 Naples)

Oil on canvas 191.1 × 125.5 cm Bequest of John Ringling, 1936, SN 60

Workshop of Baldassarre Franceschini (IL VOLTERRANO)

(Naples 1585 or 1589–1650 Naples)

(Verona 1528–1588 Venice)

I.208

Attributed to FILIPPO VITALE

Provenance John Ringling (1866–1936), Sarasota, Florida; bequest in 1936 to the John and Mable Ringling Museum of Art, Sarasota, Florida.

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i.207

i.208

345

II.26

Manner of FRANCISCO DE ZURBARÁN (Fuente de Cantos 1598–1664 Madrid)

Copy after Zurbarán’s Vision of Saint Francis of Assisi, mid-1700s Oil on canvas 180 × 110 cm Bequest of John Ringling, 1936, SN 341 Literature Suida 1949, p. 281. Provenance John Ringling (1866–1936), Sarasota, Florida;1 bequest in 1936 to the John and Mable Ringling Museum of Art, Sarasota, Florida. Technical Notes The original linen canvas seems to have been cropped on all four sides. The canvas is heavily darkened and discolored, and the weave texture has a flattened appearance consistent with the previous use of a heat and pressure technique for lining. Two ground layers are present. One is more recent and is just below the current image, covering the underlying paint layers of an earlier painted image (see discussion below). The other ground layer was applied to the original canvas under the first image’s paint layers. There is loss and lifting associated with both ground layers and painting campaigns. Numerous paint and ground losses are scattered overall, and can be associated with areas of cracking, cupping, and lifting of both the visible painting and the one beneath it, and some of these losses can be related to heat damage. The blanched areas around the saint’s head seem to be the result of the underlying white ground being visible through a network of fine cracks in the uppermost paint layers. The surface of the visible work is also very abraded from overcleaning. The thick, dark, discolored varnish is moreover visually disruptive to the image.

 During a forty-day fast in the wilderness, Francis of Assisi had a vision in which he received the wounds of the crucified Christ, who here appeared to him held aloft by a seraph. This painting is a copy after a known painting of this subject by Francisco de Zurbarán, executed around 1655 and now in a private collection (fig. II.26.1).2 As noted above (see Technical Notes), the painting was probably cut down, eliminating the vision of the seraph hovering in the sky, and also Francis’s sleeping companion at bottom left. The authorship and date of this copy are complicated by the fact that beneath the image of Francis is another painting, which is visible

404

spanish paintings

only in X-radiograph and infrared images. This “first” painting depicts an archangel and was clearly executed by a Spanish colonial painter (fig. II.26.2). During the last years of the seventeenth century and first years of the eighteenth, many paintings or series of paintings depicting military archangels were produced by artists throughout Peru and Bolivia (fig. II.26.3). These angels derive from the biblical tradition that tells of angels who refused to worship Christ when they learned that he was to be incarnated as a human being. Thus God ordered their expulsion from Heaven. Under the command of Archangel Michael, angels loyal to God undertook the expulsion of the seditious angels, and it is the loyalists that such pictures represent. These Andean angels are dressed in clothing that corresponds to the costumes of seventeenth-century Spanish and Flemish militiamen. They are typically equipped with harquebuses (matchlock guns), spears, or swords, and are shown full-length and winged in poses corresponding to military exercises of the period, like those depicted in Jacob de Gheyn’s The Exercise of Arms, which was published in 1607 and translated into various languages. Their “uniforms” moreover included elaborate, wide feathered hats, ample slashed balloon sleeves, gold embroidered dresses, intricate lace details and cuffs, fancy bowed shoes, and iridescent ribbons, at once closely related to real Spanish and Flemish military uniforms as well as incorporating indigenous styles, materials, and flourishes. In the second decade of the 1700s, these fanciful garments were abandoned both in real life and in painting in favor of simpler, tighter-fitting blue garments inspired by French military uniforms. Some scholars have suggested that the presence of the many paintings of military archangels throughout the cities, towns, and villages of South America alludes to the bodyguards of the Spanish Viceroys, and thus to Spain’s control over its empire. But it is equally possible that they represent an attempt on the part of the church in the New World to replace the indigenous cult of the stars with that of the angels, drawing on an interpretation of the apocryphal Book of Enoch, which asserts that angels control the course of the stars and other

Fig. II.26.1. Francisco de Zurbarán, Vision of Saint Francis of Assisi, 1655, oil on canvas, private collection.

Fig. II.26.2. X-radiograph of cat. II.26.

Fig. II.26.3. Bolivian, Asiel Timor Dei, before 1728, oil on canvas, Museo Nacional de Arte, La Paz, Bolivia.

considered a reasonable course of action. Thus it is most likely that the Saint Francis after Zurbarán was executed in South America, as an expedient reuse of a canvas at the service of modernizing a no longer desirable Cuzco school work. Some European artists did travel to and work in South America, and such an artist might have painted the copy of the Zurbarán Saint Francis. On the other hand, the ability of indigenous South American artists to emulate the styles both of the Spanish artists working alongside them in the Americas, and of the many paintings by artists like Zurbarán that were being

sent in droves to the Americas, should not be underestimated. There is only one known version of this specific Zurbarán Saint Francis, and it was made in and has remained in Spain, but it is not impossible to imagine that a copy of it made its way to South America, where it was in turn copied by a Spanish artist or by an indigenous artist trained to mimic Spanish styles. It is also reasonable to hypothesize that the canvas was overpainted sometime in the mid-eighteenth century, given that by that time, archangel images were becoming less fashionable in the Americas.

notes

ii.26

celestial phenomena.3 It should be noted that the extensive use of brocateado (gold leaf appliqués used to make a textile resembling brocade) visible in the X-radiograph and infrared images is generally associated with the painters of the Cuzco school in Peru, which is where the archangel was most likely painted, and probably also where it was painted over. Although South American works were sometimes brought back to Spain by Spaniards who had made their fortunes in the Americas but later returned to Europe, and some of these paintings can still be found today in rural Spanish churches, instances of these works being painted over in Spanish styles in Spain are virtually unknown. On the other hand, the reuse of canvases was not at all uncommon in viceregal Peru. Materials could be scarce or expensive, and once a work had lost its devotional relevance or was deemed aesthetically old-fashioned, wholesale repainting seems to have been

1. It is not clear how, when, or where Ringling acquired the painting. It has been suggested that the painting might have been purchased at the Edgar Mills sale, Samuel Marx, New York, 11 November 1930, at which Ringling bought a number of paintings. However, lot 188, which is sometimes associated with the painting, is called “Spanish School, 17th Century” and the dimensions (68.5 × 43.5 inches) are close to those of the present painting, but the subject is identified as Saint Michael. Even though the painting has been cut down to eliminate the seraph of Francis’s vision, and his Franciscan companion, I cannot see how this figure, with its skull and book, could have been mistaken for Saint Michael. 2. Delenda 2009, vol. 1, pp. 661–62. 3. For discussion of Spanish Colonial militant archangel paintings, see Philadelphia 2006–7, p. 422.

405

II.26

Manner of FRANCISCO DE ZURBARÁN (Fuente de Cantos 1598–1664 Madrid)

404

spanish paintings

Fig. II.26.1. Francisco de Zurbarán, Vision of Saint Francis of Assisi, 1655, oil on canvas, private collection.

Fig. II.26.2. X-radiograph of cat. II.26.

Fig. II.26.3. Bolivian, Asiel Timor Dei, before 1728, oil on canvas, Museo Nacional de Arte, La Paz, Bolivia.

notes

ii.26

405

Fig. III.15.3. Jean-Baptiste Greuze, Aegina Visited by Jupiter, ca. 1767–69, oil on canvas, Metropolitan Museum of Art, New York.

Fig. III.15.4. Jean- Baptiste Greuze, Study of a Nude Girl, ca. 1770, red chalk and charcoal, Rhode Island School of Design Museum, Providence.

It should be noted that women interacting with birds was an iconographic theme that preoccupied Greuze throughout his career. Many of his paintings depict beautiful prepubescent girls lovingly involved with their winged companions. For Greuze, the dove symbolized a lover, as he wrote to his patron Prince Yusupov on 20 April 1790 regarding one such painting: “The dove which she presses against her heart so lovingly with her two hands is nothing but the image of her lover concealed beneath this emblem; her soul is moved with a sentiment so sweet and so pure that the most delicate woman could look at it with satisfaction, without being offended.”7 Greuze more commonly showed girls clutching doves as symbols of their yearning for their lovers; girls crying over dead birds that may indicate their loss of a lover or their own virtue;

or doves billing (pecking at each other with their beaks as part of the mating process) as a symbol of courtship and harmonious desire or love. It is interesting that in the Ringling painting he chose instead to show cantankerous birds virtually ignoring one another. The young woman does not cleave longingly to her birds as agents of her absent lover, but rather, Greuze gave form not simply to her woeful yearning, but also to the general unhappiness and oftentimes irritable depression of lovers torn asunder. Indeed, her expression is consonant with this idea—she is neither in the throes of passionate desire nor weeping with overacted despair, but is instead meditative, and above all melancholic. A study for the figure in red chalk and charcoal survives in the collections of the Rhode Island School of Design Museum (fig. III.15.4). The figure, it might be noted, is nude, underscoring the eroticism of the conceit, as well as the way Greuze’s works—even ones like this, which hover somewhere between history painting and his emotional têtes de jeunes filles—rendered the virginal voluptuousness of young women’s bodies. Notes

1. Baron Lionel Nathan de Rothschild is listed as the owner when the work was displayed at the British Institution in 1862. Records of Ringling’s purchases preserved in the Duveen Archives note that the painting appeared in this exhibition. Martin 1908 notes the previous Baume-Pluvinel provenance and sale price, but not the date of sale. 2. Records of Ringling’s purchases preserved in the Duveen Archives note that the painting was from the collection of Leopold de Rothschild. 3. See the main text for a discussion of Duveen’s idea that the painting was intended to be an oval, or framed as an oval. 4. Thompson 1990 is a useful review. One book-length study that situates Greuze’s paintings within their social and cultural contexts is Barker 2005. 5. Duveen Brothers records, 1876–1981 (bulk 1909–1964), Series II. Correspondence and papers, Series II.A. Files regarding works of art: Greuze, Girl with Doves, Leopold Rothschild Collection, ca. 1925–34. 6. I have, however, been unable to find a copy of the photograph mentioned here in the Duveen records. 7. Quoted in Réau 1920, p. 285.

III.16a, b

CHARLES FRANÇOIS LACROIX (Marseille ca. 1700–1782 Berlin)

Two Port Scenes, 1750s or 1760s Oil on canvas 32.4 × 45.4 cm, 32.4 × 47.3 cm Gift of William A. Warrener, 1965, SN 791, SN 792 Provenance William A. Warrener, Port Richey, Florida; gift to the John and Mable Ringling Museum of Art, Sarasota, Florida, 1965. Technical Notes Both paintings were executed on medium-weight, plain-weave canvases. The ground is white, the oil paint layers are moderately thin, and there is fine, visible brushwork. Impasto is seen in the clouds. Retouching is minor and found mainly in the skies.

french paintings

Fig. III.17.1. Claude Mellan, Saint Bruno, ca. 1638, engraving, Metropolitan Museum of Art, New York.

v Charles François Lacroix, often called Lacroix de Marseille in reference to his birthplace, was a prolific painter of land- and seascapes, both real and imaginary. Though his works were quite popular in their own day with both Italian and French collectors, very little is known about the painter’s life. It has been assumed that he was a pupil of Claude-Joseph Vernet, and indeed, when the Ringling acquired this pair of paintings they were loosely attributed to Vernet or one of his followers, and were only recognized as the work of Lacroix by Rachel Kaminsky in 1998.1 Though Lacroix’s images of waterfalls, storms, shipwrecks, and volcanic eruptions foreshadow Romanticism in their depictions of the ineffable forces of nature, by contrast, these two tranquil coastal scenes capture a timeless Mediterranean world of fishermen and other peasants, large ships with elaborate riggings, and the towers and walls facing onto the water of a fortified port town. The buildings seem to be loosely based on Fort Saint-Jean in Marseille, which the artist used with varying degrees of artistic license in compositions throughout the 1750s and 1760s. Although placid coastal scenes were often paired with images of shipwrecks, in the case of the pendants here the contrast is between the morning light in one picture and that of the setting sun in the other. Notes

1. See Mitchell Merling’s notes on Rachel Kaminsky’s visit to the Ringling in 1998 in the museum’s files.

434

iii.16a

iii.17

iii.16b

III.17

Literature Young 1821, p. 21; Hazlitt 1843, p. 121; Waagen 1854, p. 170; Graves 1913–15, vol. 3, p. 1187; Posse 1925, p. 66; New York 1946, p. 60; Suida 1949, p. 302; Schleier 1978, pp. 512.

Robert Grosvenor (1767–1845), 1st Marquess of Westminster, Eaton Hall, Cheshire, and Grosvenor House, London; Richard Grosvenor (1795–1869), 2nd Marquess of Westminster, Grosvenor House, London; Hugh Lupus Grosvenor (1825–1899), 1st Duke of Westminster, Grosvenor House, London; Hugh Richard Arthur Grosvenor (1879–1953), 2nd Duke of Westminster, Grosvenor House, London; (sold Westminster sale, Christie’s, London, 4 July 1924, lot 43); (Arthur U. Newton, New York); sold in 1928 to John Ringling (1866–1936), Sarasota, Florida; bequest in 1936 to the John and Mable Ringling Museum of Art, Sarasota, Florida.

Provenance Frederick Ponsonby (1758–1844), 3rd Earl of Bessborough, Bessborough House, Surrey;1 (sold Bessborough sale, 7 February 1801, lot 82, for £56–14s); Richard Grosvenor (1731–1802), 1st Earl Grosvenor, Eaton Hall, Cheshire;

Technical Notes The support is a coarsely woven, open, plain-weave canvas. The ground is a white layer, and there is some black underdrawing in a dry medium, which the painted image closely follows. There appears to be a tannish-brown imprimatura layer

Circle of CLAUDE MELLAN (Abbeville 1598–1688 Paris)

Copy after Mellan’s Saint Bruno, after 1638 Oil on canvas 185.5 × 127.5 cm Bequest of John Ringling, 1936, SN 365

applied overall and a reddish-brown imprimatura layer underneath the hands. The paint was thinly applied. There are pentimenti in the hands. There are losses of paint and ground throughout, as well as discolored retouching.

v This painting was traditionally attributed to Andrea Sacchi, and was sold to John Ringling in 1928 with that attribution. In fact, the work is a copy (probably contemporary) after an engraving executed around 1638 by Claude Mellan (fig. III.17.1); the engraving, which may itself be after a painting now in a private collection, is dedicated to Cardinal Alphonse-Louis de Richelieu, the elder brother of the more powerful and

435

Fig. III.15.3. Jean-Baptiste Greuze, Aegina Visited by Jupiter, ca. 1767–69, oil on canvas, Metropolitan Museum of Art, New York.

Fig. III.15.4. Jean- Baptiste Greuze, Study of a Nude Girl, ca. 1770, red chalk and charcoal, Rhode Island School of Design Museum, Providence.

III.16a, b

CHARLES FRANÇOIS LACROIX (Marseille ca. 1700–1782 Berlin)

french paintings

Fig. III.17.1. Claude Mellan, Saint Bruno, ca. 1638, engraving, Metropolitan Museum of Art, New York.

1. See Mitchell Merling’s notes on Rachel Kaminsky’s visit to the Ringling in 1998 in the museum’s files.

434

iii.16a

iii.17

iii.16b

III.17

Literature Young 1821, p. 21; Hazlitt 1843, p. 121; Waagen 1854, p. 170; Graves 1913–15, vol. 3, p. 1187; Posse 1925, p. 66; New York 1946, p. 60; Suida 1949, p. 302; Schleier 1978, pp. 512.

Circle of CLAUDE MELLAN (Abbeville 1598–1688 Paris)

Copy after Mellan’s Saint Bruno, after 1638 Oil on canvas 185.5 × 127.5 cm Bequest of John Ringling, 1936, SN 365

435

Vastano, Agnese 258

Virgin and Child with Saints Sebastian and Roch

Watteau, Jean-Antoine 430, 453

Zanoni, Giacomo 145

vedute paintings 47–48, 136, 180, 233

Virgin Annunciate (Matteo di Giovanni) 240

Wescher, Paul 178, 180

Zenale, Bernardo 73

Vendôme, Philippe de 453

Virgin with the Dragonfly (Dürer) 160

Vecellio, Cesare 163–64

Velázquez, Diego 357, 361, 374, 383–84 Venetian school 165, 205, 212, 350 Veneziano, Francesco 335 Veneziano, Paolo 335, 337 Venier family 339

Venturi, Adolfo 205, 223, 339

Venus Ordering Arms from Vulcan for Aeneas (Restout) 409

Vermeer, Johannes 327

Vernet, Claude-Joseph 434, 445, 466 Veronese, Paolo Esther 218

family 44, 45

and Fasolo 72 followers 197

influence 309, 329, 453 paintings xii, 19, 454

portraits 162, 324, 344

Verrio, Antonio 100

Verrocchio, Andrea del 30, 110, 289 Vertue, George 234

View of the Ringling Museum (Phillips) xiii Vignali, Jacopo 69, 206

Villalpando, Cristóbal de 370

Villiers, George William Frederick, 4th Earl of Clarendon 400

Vincenzo, Giovanni 307 Virgil 56, 60, 408, 423

Virgin and Child (Perugino) 177

Virgin and Child with Saints and Ferry

(Luini) xii

Virgin of the Rosary (Van Dyck) 210

Virginia Street Catholic Chapel, London 264 Virtues 334, 439

Vitale, Vittorio 8

Vittoria, Alessandro 339 Vitzthum, Walter 60

Vivarini, Alvise 181, 205–6, 334 Vivarini, Bartolomeo 228 Voet, Alexander 450, 451

Voet, Jacob Ferdinand 415

Volpaia, Benvenuto della 297 Volpe, Carlo 301

Von Aachen, Hans 191

Voragine, Jacobus de 94 Vorsterman, Lucas 384 Vos, Maerten de 37

Voss, Hermann 282, 344, 455 Vouet, Simon

attributions 106, 455

Wethey, Harold 321, 323, 344, 367, 392 Whitehall Palace, London 100 Willette, Thomas 207

William III, King of England 31

Willys Madonna (Giovanni Bellini) 182 Wilson, Richard 273

Wilson, William 458

Wimborne collection 268 Winkelmann, Johann 189

Worsley collection 141, 388

Wren, Sir Christopher 98, 100 Wright, Christopher 451

Wright, D. R. Edward 216

Young, Eric 66

Young Woman with a Mirror (Titian) 225 Yusupov, Prince Nikolai 434

Vulcan, god of fire 17

Zaganelli, Francesco 170, 171

382

Waterhouse, Ellis 117, 281

War of Castro 281

Census 277

Florentine painters 30, 126, 238 Genoese painters 306

and Giuliano di Simone 129

Italian painters 45, 205, 287, 463 Neapolitan painters 147

Sienese painters 249, 301

Venetian painters 26, 292, 330, 331, 344 Veronese painters 208

Zugni-Tauro, Anna Paola 68

Worsley, Sir Richard 57

and Vignon 468

Waagen, Gustav Friedrich 141, 274, 278, 378,

Bolognese painters 35, 52, 97

Worley, Vincent 264

Works of Mercy 412

Yarborough collection xvi, 141, 388

Vsevoložskaja, Svetlana 472

Zeri, Federico

Zoppo, Marco 292

and Vanni 327, 329 Vredeman de Vries, Hans 233, 438

Zelotti, Giovanni Battista 72

Wittkower, Rudolf 173

(Titian) 385

indexes

Westphal, Dorothee 243, 245

and Sarto 281

Wallace, Richard 270

520

Westminster, Duke of xviii

and Saint Francis 247

Carondelet (Bartolomeo) 132

Virgin and Child with Saints Dorothy and George

Weeks, Francis H. 381

Zaganelli, Bernardino 170, 171, 347 Zama, Raffaella 170 Zamboni, Silla 183

Zampetti, Pietro 159

Zanchi, Antonio 195

Zanni (commedia dell’arte) 78, 426, 427

Zuccaro, Federico 84, 286, 361 Zugno, Francesco 310

Zurbáran, Francisco de 359, 374, 384, 399, 400