Rinaldo and the Magus of Ascalon

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Giovanni Battista Tiepolo
Italian, 1696–1770

Rinaldo and the Magus of Ascalon, 1742/45

Oil on canvas
182.9 x 188 cm (72 x 74 in.)
Bequest of James Deering, 1925.702

The fourth and final large narrative canvas from Giovanni Battista Tiepolo’s decorative suite takes place as Rinaldo rejoins the crusader army. As a consequence, it stresses the moral element of the story of Rinaldo and Armida. The boat bringing the knight from Armida’s island seems to have just deposited him and his companions, Carlo and Ubaldo, on the coast of Palestine. Here the magician of Ascalon uses Rinaldo’s shield to conjure up the heroic deeds of his ancestors, urging him to live up to their examples. Rinaldo appears more confident and mature than he does in the earlier canvases in the sequence, perhaps to serve as an example to the young member of the Cornaro family for whom the salon was splendidly redecorated.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Art Institute of Chicago, Century of Progress, 1933, no. 159, 1934, no. 337

Art Institute of Chicago, Loan Exhibition of Paintings, Drawings, and Prints by the two Tiepolos. 1938, no. 9

Udine, Museo Civico, Biennale d’Arte Antica, 1971, no. 61

New York, Metropolitan Museum of Art, Giambattista Tiepolo, 1997, no. 17d, pp. 112-114, 134-147.

Publication History

Francesco Malaguzzi Valeri, “Quattro nuovi dipinti di Tiepolo”, Rassegna d’Arte 8 (October 1908), pp. 178-79 (ill.).

Eduard Sack, Giambattista und Domenico Tiepolo, ihr Leben und ihre Werke, ein Beitrag zur Kunstgeschichte des 18. Jahrhunderts, Hamburg, 1910, p. 236.

Pompeo Molmenti, Tiepolo, La vie et l’oeuvre du peintre, Paris, 1911, pp. 188-89, 308, nos. 186-89, pls. 186-88.

Ugo Ojetti, “Le quattro tele del Tiepolo trafugate”, Emporium 36 (July 1912), pp. 64-69, ill. pp. 64-65, ill. pp. 64-68.

Sedelmeyer Gallery, Illustrated Catalogue of the Twelfth Series of 100 Paintings by Old Masters of the Dutch, Flemish, Italian, French and English Schools, Paris, 1913, nos. 57-60 (ill.).

The Art Institute of Chicago, The Art Institute of Chicago Forty-Seventh Annual Report for the Year 1925, Chicago, 1925, p. 13.

R[ose] M[ary] F[ishkin], “The James Deering Bequest,” Bulletin of The Art Institute of Chicago 20 (1926), pp. 5-8 (ill.).

Royal Cortissoz, “The Field of Art”, Scribner’s Magazine 79 (1926), p. 439, ill. pp. 442-43.

Pompeo Molmenti, Tiepolo: La Villa Valmarana, Venice, 1928, pp. XXIV-XXVI, ill. pp. XXIV-XXVI.

Royal Cortissoz, The Painter’s Craft, New York and London, 1930, pp. 68-69 (ill.).

Daniel Catton Rich, “Chicago Given Worcester Art,” The Art News, 28 (March 1, 1930), p. 9.

Lionello Venturi, Pitture italiane in America, Milan, 1931, n.p., pls. CCCXXII-CCCXXV (Eng. ed., 1933, III, pls. 589-92).

The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, Chicago, 1932, pp. 8-9 (ill.), 173.

Daniel Catton Rich, “Die Ausstellung ‘Fünf Jahrhunderte der Frühmalerei’ in Chicago,” Pantheon 12 (1933), pp. 93, 381, ill.

Alfred Frankfurter, “Art in the Century of Progress,” The Fine Arts 20 (June 1933), p. 60, ill. p. 15.

The Art Institute of Chicago, A Brief Illustrated Guide to the Collections, Chicago, 1935, p. 21.

Hans Tietze, Meisterwerke europäischer Malerei in Amerika, Vienna, 1935, p. 332, no. 115 (ill.).

Wolfgang Stechow, “The Two Tiepolos,” Art in America and Elsewhere, 26 (April 1938), p. 84.

“Tiepolo, Last Spark of Venetian Splendor,” The Art Digest 12 (February 15, 1938), ill. p. 8.

Daniel Catton Rich, “The Genius of Both Tiepolos: Giambattista and Domenico Exhibited at Chicago,” Art News 36 (February 12, 1938), p. 11.

Ulrich Middeldorf, review of Loan Exhibition of Paintings, Drawings and Prints by the Two Tiepolos: Giambattista and Giandomenico in Pantheon 21 (May 1938), pp. 18, 146.

Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, Leipzig, 1939, XXXIII, pp. 148, 153.

Rensselaer W. Lee, “Ut Pictura Poesis: The Humanistic Theory of Painting,” Art Bulletin 22 (1940), p. 248, fig. 24.

Art Institute of Chicago, A Brief Illustrated Guide to the Collections, Chicago, 1941, p. 27.

Giorgio Vigni, Disegni del Tiepolo, Venice, 1942, pp. 58, under no. 158, 76, under no. 254.

Antonio Morassi, Tiepolo, Bergamo, Milan, Rome, 1943, p. 34, pl. 103.

Rodolfo Pallucchini, Gli affreschi di Giambattista e Giandomenico Tiepolo alla Villa Valmarana di Vicenza, Bergamo, 1945. P. 34, under nos. 1, 2, 4.

Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, Chicago, 1945, p. 29.

Fiske Kimball and Lionello Venturi, Great Paintings in America: One Hundred and One Masterpieces in Color Selected and Interpreted…, New York, 1948, p. 130, no. 58 (ill.).

Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, Chicago, 1948, p. 27.

Antonio Morassi, Tiepolo, Bergamo, 2d ed., 1950, pp. 35, 50, pl. 103.

Giorgio Vigni, Tiepolo, Milan and Florence, 1951, n.p., figs. 72-75.

G[iuseppe] Mazzario and T[erisio] Pignatti, Itinerario tiepolesco, Venice, 1951, p. 68, fig. 32.

Art Institute of Chicago, Masterpieces in The Art Institute of Chicago, Chicago, 1952, n.p., ill.

Galerie Cailleux, Paris, Tiepolo et Guardi, 1952, exh. cat., p. 37.

Alfredo Petrucci, Maestri incisori, Novara, 1953, p. 77.

Antonio Morassi, G.B. Tiepolo, His Life and Work, London, 1955, pp. 21, 148, pls. 69, 72.

Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, Chicago, [1956], p. 26.

A[ndor] Pigler, Barockthemen: Eine Auswahl von Verzeichnissen zur Ikonographie des 17. Und 18. Jahrhunderts, Budapest, 1956, p. 455.

Art Institute of Chicago, Paintings in The Art Institute of Chicago, Chicago, 1961, pp. 448-49, ill. pp. 44-45.

Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” Römische Forschungen der Bibliotheca Hertziana 16 (1961), p. 518, fig. 382.

Rensselaer Wright Lee, “Giambattista Tiepolo’s Drawing of Rinaldo and Armida,” Smith College Museum of Art Bulletin, no. 41 (1961), p. 21.

Antonio Morassi, A Complete Catalogue of the Paintings of G.B. Tiepolo, including Pictures by His Pupils and Followers Wrongly Attributed to Him,
London, 1962, pp. 8, 14, 17, 37, figs. 273-75.

Guido Piovene and Anna Pallucchini, L’opera completa di Giambattista Tiepolo, Milan, 1968, pp. 7, 120-21, no. 221 (ill.).

Hylton A. Thomas, “Tasso and Tiepolo in Chicago,” Museum Studies, The Art Institute of Chicago, 4 (1969), pp. 27-48, ill. p. 26, figs. 1, 3-9, 11, 16.

Danilo Bogoni, “Una memoria del Tiepolo dalle Poste di San Marino,” Filatelia (August 10, 1970), p. 3.

John Maxon, The Art Institute of Chicago, London, 1970, pp. 13, 56 (ill.), 287
(1977, pp. 56 (ill.), 287).

Rodolfo Pallucchini, “La pittura veneta del settecento alla mostra itinerante di Chicago-Minneapolis-Toledo,” Arte veneta 24 (1970), p. 289, fig.420.

Aldo Rizzi, The Etchings of the Tiepolos: Complete Edition, London, 1971, p. 318, under no. 146.

Jean Cailleux, “Tiepolo et Boucher (1696-1770),” Celebrazioni tiepolesche. Atti del Congresso internazionale di studi sul Tiepolo, con un’appendice sulla Mostra, [Milan, 1972], p. 97.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Mass., 1972, pp. 196, 487, 570.

Giorgio Vigni, Disegni del Tiepolo, 2d ed., rev., Trieste, 1972, p. 87, under no. 170.

John David Farmer, “A New Painting by François Boucher,” Bulletin of The Art Institute of Chicago, 68 (March-April 1974), p. 18, ill. p. 19.

Ingrid Seidenfalden, “Würzburg, Bayerische Staatsgemäldesammlungen Neueröffnung: Die venezianische Barockgalerie der Würzburger Residenz,” Pantheon 33 (April/May 1975),

George Knox, “The Tasso Cycles of Giambattista Tiepolo and Gianantonio Guardi,” The Art Institute of Chicago Museum Studies 9 (1978), pp. 49ff, figs. 8-11.

The Art Institute of Chicago, 100 Masterpieces Chicago, 1978, pl. 32.

Patricia Erens, Masterpieces, Famous Chicagoans and their Paintings, Chicago, 1979, p. 69.

George Knox, Giambattista and Domenico Tieplo: A Study and Catalogue Raisonné of Chalk Drawings, Oxford, 1980, I, p. 329, x. 15-x.17.

Henning Bock, “Neuerwerbungen der Gemäldegalerie: Giovanni Battista Tiepolo (1696-1770), Rinaldos Abschied von Armida, um 1755/60,” Jahrbuch Preussischer Kulturbesitz, Berlin, 1980, pp. 193-94.

Masterworks of the Gemaldegalerie, Berlin, with a History of the Collection,
New York, 1986, p. 384.

James Byam Shaw and George Knox, The Robert Lehman Collection, VI, Italian Eighteenth-Century Drawings, New York and Princeton, 1987, p. 158-59, under no. 130.

Master Paintings in The Art Institute of Chicago, ed. James N. Wood and Katharine Lee, Chicago, 1988, p. 40 (ill.).

William L. Barcham, Giambattista Tiepolo, New York, 1992, pp. 33-34, 82-83.

Massimo Gemin and Filippo Pedrocco, Giambattista Tiepolo, Venice, 1993, pp. 104, 186-191.

Svetlana Alpers and Michael Baxandall, Tiepolo and the Pictorial Intelligence, New Haven and London, 1994, pp. 151.

Rodolfo Palluchini, La Pittura nel Veneto; Il Settecento., vol. 1, Milan, 1995. pp. 443, 446-447, 455-456.

Filippo Pedrocco, Tiepolo, Florence, 1996, pp. 38, 41.

Stefano Zuffi, Tiepolo, Milan, 1996.

Chantal Eschenfelder, Giovanni Battista Tiepolo, Cologne, 1998, pp. 57-58

Giandomenico Romanelli, “Giambattista Tiepolo e i Cornaro di San Polo” in Giambattista Tiepolo nel terzo centenario della nascita. Atti del Convegno Internazionale di Studi (Venezia - Vicenza - Udine - Parigi, 29 ottobre - 4 novembre 1996) (Quaderni di Venezia Arti, 4), Venice, 1998, pp. 222-3, fig. 4.

Ownership History

One of four scenes from Tasso made for the 'gabinetto degli specchi' of the Palazzo Corner a San Polo, Venice [according to inventories and other documents discussed by Romanelli 1998]. Count Giovanni Serbelloni, Venice in 1838, by descent, until possibly 1886 [Molmenti 1911 and Knox 1978]. Giulio Cartier, Genoa by 1908 [Malaquzzi Valeri 1908]; Sedelmeyer Gallery, Paris, in 1912 [Ojetti 1912]; James Deering (died 1925), Vizcaya, from 1913 [information sheet in curatorial file]; bequeathed,1925.