Italian Collection

Parmigianino's oil painting of The Virgin and Child, which counterposes the serenely pensive Virgin with her active Son, who tugs at his mother’s veil.
The Madonna and Child
The Madonna and Child
Parmigianino's oil painting of The Virgin and Child, which counterposes the serenely pensive Virgin with her active Son, who tugs at his mother’s veil.

The Madonna and Child

Parmigianino (Girolamo Francesco Maria Mazzola)
Italian (1503–1540)
16th century
c. 1527–30
Oil on panel
17 5/8 x 13 3/8 in. (44.8 x 34 cm) Framed: 24 1/16 x 20 x 2 1/2 in. (61.1 x 50.8 x 6.4 cm)
AP 1995.09
Hailed as the new Raphael, Parmigianino was one of the most influential artists of the sixteenth century, cultivating a mannered gracefulness of pose and physiognomy, combined with new and dramatic coloristic effects, that transformed the classicism of his Renaissance predecessors.
Head of a Woman is a majestic head of an ideal beauty. He has emulated the smooth and abstracted facial structure found in classical sculpture
Head of a Woman
Head of a Woman
Head of a Woman is a majestic head of an ideal beauty. He has emulated the smooth and abstracted facial structure found in classical sculpture

Head of a Woman

Sebastiano del Piombo (Sebastiano Luciani)
Italian (c. 1485–1547)
16th century
early 1530s
Oil on panel
10 in. diameter (25.4 cm diameter) Framed: 17 x 2 in. (43.2 x 5.1 cm)
AP 1985.08
Notable for the monumental grandeur of his religious paintings and portraits, Sebastiano del Piombo became the preeminent painter in Rome following Raphael’s death in 1520.
The Madonna and Child with a Female Saint and the Infant Saint John the Baptist is Titian's oil painting in which Mary cradles the Christ Child, who is embraced by a kneeling female saint.
The Madonna and Child with a Female Saint and the Infant Saint John the Baptist
The Madonna and Child with a Female Saint and the Infant Saint John the Baptist
The Madonna and Child with a Female Saint and the Infant Saint John the Baptist is Titian's oil painting in which Mary cradles the Christ Child, who is embraced by a kneeling female saint.

The Madonna and Child with a Female Saint and the Infant Saint John the Baptist

Titian (Tiziano Vecellio)
Italian (c. 1488–1576)
16th century
1530s
Oil on panel
41 1/2 x 58 3/8 in. (105.4 x 148.3 cm) Framed: 54 1/2 x 71 1/8 x 3 3/4 in. (138.4 x 180.7 x 9.5 cm)
AP 1986.07
More than any other Renaissance master, Titian was acclaimed—in his own lifetime and for centuries thereafter—for his expressive handling of paint and rich use of color. Like his teachers Giovanni Bellini and Giorgione, Titian set many of his religious subjects in a pastoral landscape.
The Supper at Emmaus is Bassano's oil painting depicting Christ’s miraculous appearance after the Resurrection. In the act of blessing and breaking bread at the inn, Christ, who is seated beneath a velvet green canopy, reveals himself to two of his disciples
The Supper at Emmaus
The Supper at Emmaus
The Supper at Emmaus is Bassano's oil painting depicting Christ’s miraculous appearance after the Resurrection. In the act of blessing and breaking bread at the inn, Christ, who is seated beneath a velvet green canopy, reveals himself to two of his disciples

The Supper at Emmaus

Jacopo Bassano (Jacopo dal Ponte)
Italian (c. 1510–1592)
16th century
c. 1538
Oil on canvas
39 5/8 x 50 5/8 in. (100.6 x 128.6 cm) Framed: 47 x 59 1/4 x 3 1/2 in. (119.4 x 150.5 x 8.9 cm)
APx 1989.03
Jacopo Bassano was one of the most famous and influential masters of the late Renaissance in Italy, admired for his luminous color and sensitively observed incidents from everyday life.
Portrait of a Franciscan Friar is Bassano's oil portrait of a Franciscan Friar.  The skull at the bottom right of the composition is a reminder of the vanity of earthly life, supports the contemplative aspect of the friar’s piety. A pen holder hangs from the rope at his waist, while his left hand is held up in a gesture of benediction.
Portrait of a Franciscan Friar
Portrait of a Franciscan Friar
Portrait of a Franciscan Friar is Bassano's oil portrait of a Franciscan Friar.  The skull at the bottom right of the composition is a reminder of the vanity of earthly life, supports the contemplative aspect of the friar’s piety. A pen holder hangs from the rope at his waist, while his left hand is held up in a gesture of benediction.

Portrait of a Franciscan Friar

Jacopo Bassano (Jacopo dal Ponte)
Italian (c. 1510–1592)
16th century
c. 1540–42
Oil on canvas
31 11/16 x 27 3/16 in. (80.5 x 69 cm) Framed: 48 3/4 x 44 3/4 x 3 5/8 in. (123.8 x 113.7 x 9.2 cm)
AP 1997.02
In this imposing portrait, Jacopo Bassano applies a vigorous and sharply focused naturalism to portray the distinctive features as well as the spiritual temperament and preoccupations of an unidentified Franciscan friar.
Saint John the Baptist is a statuette of the saint in which the left hand comes to the figure’s chest rather than being raised.
Saint John the Baptist
Saint John the Baptist
Saint John the Baptist is a statuette of the saint in which the left hand comes to the figure’s chest rather than being raised.

Saint John the Baptist

Italian (Florentine)
16th century
16th century
c. 1590
Gilt bronze
22 5/8 in. (57.5 cm)
AP 1999.01
Saint John the Baptist is the patron saint of Florence. This statuette may have adorned a baptismal font in one of the churches of that city. In style, it recalls the works of the fifteenth-century sculptor Michelozzo di Bartolomeo.
The Adoration of the Magi
The Adoration of the Magi

The Adoration of the Magi

Jacopo Bassano (Jacopo dal Ponte)
Italian (c. 1510–1592)
16th century
after 1555
Oil on jasper
7 1/4 x 5 1/2 in. (18.4 x 14 cm) Framed: 12 3/4 x 11 x 1 5/8 in. (32.4 x 27.9 x 4.1 cm)
AG 1990.01
The subject of the Adoration of the Magi, along with the Adoration of the Shepherds, occupies pride of place in Jacopo Bassano’s repertory.
Portrait of Doge Pietro Loredan
Portrait of Doge Pietro Loredan

Portrait of Doge Pietro Loredan

Tintoretto (Jacopo Robusti)
Italian (1518–1594)
16th century
1567–70
Oil on canvas
49 5/8 x 41 15/16 in. (126 x 106.6 cm) Framed: 57 1/2 x 48 3/4 x 4 1/2 in. (146.1 x 123.8 x 11.4 cm)
AP 1986.08
A prolific master of religious and historical works, as well as portraits, Tintoretto developed a rapid, often impetuous manner of painting that was both expressive and expedient.
The Butcher's Shop is Caracci's forthright portrayal of the tradesmen, with their sober, ceremonious demeanor and clean white aprons.
The Butcher's Shop
The Butcher's Shop
The Butcher's Shop is Caracci's forthright portrayal of the tradesmen, with their sober, ceremonious demeanor and clean white aprons.

The Butcher's Shop

Annibale Carracci
Italian (1560–1609)
16th century
early 1580s
Oil on canvas
23 1/2 x 27 15/16 in. (59.7 x 71 cm) Framed: 30 1/4 x 34 7/8 x 2 3/8 in. (76.8 x 88.6 x 6 cm)
AP 1980.08
Around the time that he painted The Butcher’s Shop, in about 1582, Annibale Carracci joined his older cousin Ludovico and his brother Agostino to found the Carracci Academy in Bologna.
In The Cardsharps, the players are engaged in a game of primero, a forerunner of poker. Engrossed in his cards at left is the dupe, unaware that the older cardsharp signals his accomplice with a raised, gloved hand (the fingertips exposed, better to feel marked cards). At right, the young cheat looks expectantly toward the boy and reaches behind his back to pull a hidden card from his breeches.
The Cardsharps
The Cardsharps
In The Cardsharps, the players are engaged in a game of primero, a forerunner of poker. Engrossed in his cards at left is the dupe, unaware that the older cardsharp signals his accomplice with a raised, gloved hand (the fingertips exposed, better to feel marked cards). At right, the young cheat looks expectantly toward the boy and reaches behind his back to pull a hidden card from his breeches.

The Cardsharps

Caravaggio (Michelangelo Merisi)
Italian (1571–1610)
16th century
c. 1595
Oil on canvas
37 1/16 x 51 9/16 in. (94.2 x 130.9 cm)
AP 1987.06
Caravaggio was one of the pivotal figures in the history of Western art. In his short lifetime, he created a theatrical style that was as shocking to some as it was new, inspiring others to probe their subject matter for the drama of psychological relationships.
Abraham Leading Isaac to Sacrifice is an oil painting on copper which depicts Abraham leading his beloved son Isaac to be sacrificed at God’s command in a naturalistic landscape.
Abraham Leading Isaac to Sacrifice
Abraham Leading Isaac to Sacrifice
Abraham Leading Isaac to Sacrifice is an oil painting on copper which depicts Abraham leading his beloved son Isaac to be sacrificed at God’s command in a naturalistic landscape.

Abraham Leading Isaac to Sacrifice

Domenichino (Domenico Zampieri)
Italian (1581–1641)
17th century
1602
Oil on copper
12 13/16 x 17 7/16 in. (32.5 x 44.3 cm) Framed: 19 3/4 x 24 1/2 x 2 3/4 in. (50.2 x 62.2 x 7 cm)
AP 1982.03
Domenichino, who is renowned for his large-scale frescoes, history paintings, and altarpieces, became Italy’s leading classical painter in the first half of the seventeenth century.
Christ and the Woman of Samaria depicts an episode from the Gospel of John in which Jesus at Jacob's well asks a Samarian for water. Guercino's lifelike figures are intensified by a rich palette, emotional composition,  and strong effect of light.
Christ and the Woman of Samaria
Christ and the Woman of Samaria
Christ and the Woman of Samaria depicts an episode from the Gospel of John in which Jesus at Jacob's well asks a Samarian for water. Guercino's lifelike figures are intensified by a rich palette, emotional composition,  and strong effect of light.

Christ and the Woman of Samaria

Guercino (Giovanni Francesco Barbieri)
Italian (1591–1666)
17th century
c. 1619-20
Oil on canvas
38 1/4 x 49 1/8 in. (97.2 x 124.8 cm) Framed: 52 3/16 x 62 5/8 in. (132.5 x 159 cm)
AP 2010.01
Guercino was one of the foremost painters of the seventeenth century.
The Madonna and Child with Saint Martina is a devotional painting in which the martyr gazes fervently at the Christ Child while holding the forked iron hook with which she was tortured, and accepting the palm of martyrdom.
The Madonna and Child with Saint Martina
The Madonna and Child with Saint Martina
The Madonna and Child with Saint Martina is a devotional painting in which the martyr gazes fervently at the Christ Child while holding the forked iron hook with which she was tortured, and accepting the palm of martyrdom.

The Madonna and Child with Saint Martina

Pietro da Cortona
Italian (1596–1669)
17th century
c. 1645
Oil on canvas
27 9/16 x 22 13/16 in. (70 x 58 cm) Framed: 39 x 35 1/2 x 3 1/4 in. (99.1 x 90.1 x 8.3 cm)
AP 1984.07
In this devotional painting, Saint Martina, a third-century martyr who was put to death for refusing to worship idols, gazes fervently at the Christ Child while holding the forked iron hook with which she was tortured, and accepting the palm of martyrdom.
Mucius Scaevola Confronting King Porsenna depicts Gaius, who defiantly turns his head and dagger toward Porsenna, warning him that he is one of many youths sworn to assassinate him. Demonstrating his resolve, Gaius unflinchingly holds his hand in the hot embers.
Mucius Scaevola Confronting King Porsenna
Mucius Scaevola Confronting King Porsenna
Mucius Scaevola Confronting King Porsenna depicts Gaius, who defiantly turns his head and dagger toward Porsenna, warning him that he is one of many youths sworn to assassinate him. Demonstrating his resolve, Gaius unflinchingly holds his hand in the hot embers.

Mucius Scaevola Confronting King Porsenna

Bernardo Cavallino
Italian (1616–c. 1656)
17th century
c. 1650
Oil on copper
24 1/8 x 35 1/8 in. (61.2 x 89.2 cm) Framed: 36 3/4 x 46 7/8 x 2 1/2 in. (93.4 x 119.1 x 6.4 cm)
AP 1981.02
One of the leading painters of Baroque Naples, Bernardo Cavallino was influenced by masters as diverse as Caravaggio and Rubens. He developed a distinctive manner marked by the dramatic play of light and action.
Modello for the Fountain of the Moor is a dramatic terracotta sculpture of a twisting triton (a minor sea-deity of Greek mythology) grappling with a fish atop a gigantic shell
Modello for the Fountain of the Moor
Modello for the Fountain of the Moor
Modello for the Fountain of the Moor is a dramatic terracotta sculpture of a twisting triton (a minor sea-deity of Greek mythology) grappling with a fish atop a gigantic shell

Modello for the Fountain of the Moor

Gian Lorenzo Bernini
Italian (1598–1680)
17th century
1653
Terracotta
31 11/16 in. (80.5 cm)
AP 2003.01
Bernini made this dramatic image of a triton (a minor sea-deity of Greek mythology) grappling with a fish atop a gigantic shell as a presentation model for Pope Innocent X Pamphili, who in 1651 commissioned the artist to design a new centerpiece for the fountain at the south end of the Piazza Navona
In Pythagoras Emerging from the Underworld, Rosa depicts the ancient story of Pythagoras who convinced his followers that he descended to Hades and seen the tortured souls of poets tormented for betraying the secrets of the gods
Pythagoras Emerging from the Underworld
Pythagoras Emerging from the Underworld
In Pythagoras Emerging from the Underworld, Rosa depicts the ancient story of Pythagoras who convinced his followers that he descended to Hades and seen the tortured souls of poets tormented for betraying the secrets of the gods

Pythagoras Emerging from the Underworld

Salvator Rosa
Italian (1615–1673)
17th century
1662
Oil on canvas
51 5/8 x 74 7/16 in. (131.2 x 189 cm) Framed: 65 x 88 x 4 in. (165.1 x 223.5 x 10.2 cm)
AP 1970.22
Born and educated in Naples, Rosa lived for more than eight years in Florence before settling in Rome in 1649. He was impressed by both the naturalism of Ribera and the classicism of Poussin, but, being extremely independent of spirit and confident of his own genius, he allied himself with no one.

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