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Jacopo Robusti, Il Tintoretto (Venice 1519-1594)
Portrait of a boy, bust-length, in a black doublet with a white collar
oil on canvas
22½ x 19 in. (57.2 x 50.7 cm.)
Portrait of a boy, bust-length, in a black doublet with a white collar
oil on canvas
22½ x 19 in. (57.2 x 50.7 cm.)
Jacopo Robusti, Il Tintoretto (Venice 1519-1594)
Portrait of a boy, bust-length, in a black doublet with a white collar
oil on canvas
22½ x 19 in. (57.2 x 50.7 cm.)
Portrait of a boy, bust-length, in a black doublet with a white collar
oil on canvas
22½ x 19 in. (57.2 x 50.7 cm.)
Baron Thiem, San Remo.
with Paul Cassirer, Berlin.
with Knoedler, New York, 1929.
with Robert Frank Ltd., New York, 1937.
with Knoedler, New York, 1941.
Frances and John L. Loeb, New York.
with Paul Cassirer, Berlin.
with Knoedler, New York, 1929.
with Robert Frank Ltd., New York, 1937.
with Knoedler, New York, 1941.
Frances and John L. Loeb, New York.
R. Pallucchini, 'Un capolavoro del Tintoretto: la Madonna del Doge Alvise Mocenigo', Arte Veneta, VIII, 1954, p. 235, fig. 250.
P. Rossi, 'Osservazioni sui ritratti di Jacopo Tintoretto e una recente pubblicazione sul Tintoretto ed il problema della sua ritrattistica', Arte Veneta, XXIII, 1969, p. 269.
P. De Vecchi, L'Opera completa del Tintoretto, 1970, p. 138, no. F77, illustrated.
P. Rossi, Jacopo Tintoretto, 1975, p. 118, fig. 175.
The Frances and John Loeb Collection, 1982, no. 3.
P. Rossi, Tintoretto, i Ritratti, 1990, pp. 97, no. 102, and 208, fig. 175.
P. Rossi, 'Osservazioni sui ritratti di Jacopo Tintoretto e una recente pubblicazione sul Tintoretto ed il problema della sua ritrattistica', Arte Veneta, XXIII, 1969, p. 269.
P. De Vecchi, L'Opera completa del Tintoretto, 1970, p. 138, no. F77, illustrated.
P. Rossi, Jacopo Tintoretto, 1975, p. 118, fig. 175.
The Frances and John Loeb Collection, 1982, no. 3.
P. Rossi, Tintoretto, i Ritratti, 1990, pp. 97, no. 102, and 208, fig. 175.
Rochester, Memorial Art Gallery, The Art of the Italian Renaissance, January 1931, no. 13.
Hartford, Wadsworth Atheneum, Forty-three Portraits, 26 January-10 February 1937, no. 13.
New York, Knoedler, Italian Renaissance Portraits, 18 March-6 April 1940.
Columbus, Gallery of Fine Arts, Tenth Anniversary Exhibition, 14 January-18 February 1941, no. 2.
Milwaukee, Art Institute, Six Centuries of Portrait Masterpieces, 2 October-15 November 1942, no. 49.
Richmond, Virginia Museum of Fine Arts, Portraits, Panorama, 10 September-12 October 1947, no. 5.
San Antonio, Witte Memorial Museum, Loan Exhibition of Paintings of XVI to XIX Centuries from M. Knoedler and Co., October-November 1949, no. 1.
Baltimore, Museum of Art, Behold the Child, Baltimore, November-December 1950.
Paris, Musée des Arts Décoratifs, Chefs-d'Oeuvre de la Curiosité du Monde, 10 June-30 September 1954, no. 49, pl. 5.
Hartford, Wadsworth Atheneum, Forty-three Portraits, 26 January-10 February 1937, no. 13.
New York, Knoedler, Italian Renaissance Portraits, 18 March-6 April 1940.
Columbus, Gallery of Fine Arts, Tenth Anniversary Exhibition, 14 January-18 February 1941, no. 2.
Milwaukee, Art Institute, Six Centuries of Portrait Masterpieces, 2 October-15 November 1942, no. 49.
Richmond, Virginia Museum of Fine Arts, Portraits, Panorama, 10 September-12 October 1947, no. 5.
San Antonio, Witte Memorial Museum, Loan Exhibition of Paintings of XVI to XIX Centuries from M. Knoedler and Co., October-November 1949, no. 1.
Baltimore, Museum of Art, Behold the Child, Baltimore, November-December 1950.
Paris, Musée des Arts Décoratifs, Chefs-d'Oeuvre de la Curiosité du Monde, 10 June-30 September 1954, no. 49, pl. 5.
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專家說明
The sitter appears in the guise of an angel in Doge Mocenigo and Family before the Madonna and Child (Washington, The National Gallery of Art). Pallucchini (op. cit.) suggests that he is Giovanni Mocenigo's grandson and thus the Doge's great-nephew.