Sinan the Jew and Haireddin Barbarossa

CC0 Public Domain Designation

Painting and Sculpture of Europe

c. 1535

Northern Italian

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Imitator of Gentile Bellini
Title: Sinan the Jew and Haireddin Barbarossa
Place: Northern Italy (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1525–1545
Medium: Tempera on canvas
Dimensions: 66.5 × 63.7 cm (26 3/16 × 25 1/16 in.)
Credit Line: Charles H. and Mary F. S. Worcester Collection
Reference Number: 1947.53
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/90060/manifest.json

C. J. Bulliet, “Masterpieces in Official Fine Arts Show,” Chicago Daily News (October 28, 1933), p. 10, ill.
Alfred M. Frankfurter, “Art in the Century of Progress,” Fine Arts 20 (June 1933), p. 14, ill.
Raimond van Marle, The Development of the Italian Schools of Painting, vol. 17 (The Hague, 1935), pp. 154–55, ill.
Frank Jewett Mather, Jr., Venetian Painters (New York, 1936), p. 47, ill.
Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture, and Drawings (Chicago, 1938), pp. 7–8, no. 4, pl. III.
“Chicago Gets Handsome Gift,” Pictures on Exhibit 9, 7 (April 1947), p. 14.
Katharine Kuh, “The Worcester Gift,” Bulletin of The Art Institute of Chicago 41 (1947), pp. 59, 61, cover ill.
“To Dedicate Art at New Building: Old Master Collection Honors Art Patrons,” Lawrentian (May 26, 1950), p. 4.
Frederick A. Sweet, “La pittura italiana all’Art Institute di Chicago,” Le vie del mondo: Rivista mensile del Touring Club Italiano 15 (1953), pp. 696–98, ill.
Bernard Berenson, Italian Pictures of the Renaissance: Venetian School, vol. 1 (London, 1957), p. 29.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 21.
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 517.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 22, 522, 571.
Y. Miller, “Medal by L. Neufahrer with a Portrait of Hayr-ed-din Barbarossa,” Bulletin of The Hermitage Museum, Leningrad 38 (1974), pp. 63–64; English summary pp. 76–77.
Jürg Meyer zur Capellen, Gentile Bellini (Stuttgart, 1985), pp. 151–52, no. C6, fig. 96.
Linda Klinger and Julian Raby, “Barbarossa and Sinan: A Portrait of Two Ottoman Corsairs from the Collection of Paolo Giovio,” in Arte veneziana e arte islamica: Atti del primo simposio internazionale sull’arte veneziana e l’arte islamica, ed. Ernst J. Grube (Venice, 1989), pp. 47–60, fig. 1.
J. M. Rogers, review of Arte veneziana e arte islamica: Atti del primo simposio internazionale sull’arte veneziana e l’arte islamica, in Burlington Magazine 132 (1990), p. 576.
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 174–78, ill.
Rosamund E. Mack, Bazaar to Piazza: Islamic Trade and Italian Art, 1300–1600 (Berkeley and London, 2002), pp. 166, fig. 174.
Bronwen Wilson, “Turchi allo specchio: Ritratti dei Turchi nei libri veneziani alla fine del cinquecento,” in Mediterranoesis: Voci dal medioevo e rinascimento mediterraneo, ed. Roberta Morosini and Cristina Perissinotto (Rome, 2007), p. 111, fig. 6.

Art Institute of Chicago, A Century of Progress, June–November 1, 1933, no. 103.
Art Institute of Chicago, A Century of Progress, June–November 1, 1934, no. 43.
The Toledo Museum of Art, Four Centuries of Venetian Painting, March 1940, no. 5.
Appleton, Wisconsin, The Worcester Fine Arts Center, Lawrence College, Exhibition, 1950, no cat.
San Francisco, The California Palace of the Legion of Honor and The M. H. de Young Memorial Museum, Man–Glory, Jest, and Riddle: A Survey of the Human Form through the Ages, November 10, 1964–January 3, 1965, no. 95.

Possibly Paolo Giovio (died 1552), Como [on the basis of a letter from Giovio to Rodolfo Pio dated August 20, 1535 that states, “…e io vi mandarò il bravo ritratto di Barbarossa, il quale ho qui…”, see Klinger and Raby 1989, p. 48]. Private collection, Treviso [according to registrar’s records]. Carlo Foresti, Milan, by 1930 [according to an undated document in curatorial files]; sold by Foresti to Charles H. Worcester, Chicago, 1930 [according to document cited above]; given to the Art Institute, 1947.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.