Black chalk, with stumping, and traces of red chalk, heightened with traces of white chalk, over stylus incising, on cream laid paper
Inscribed verso, lower center, in pen and brown ink: "Pontormo"; upper left on former mount, in graphite: "circa 1670 / not Carracci"; upper center on former mount, in graphite: "Carracci"; lower center on former mount, in graphite: "Agos. Carracci"
274 × 283 mm
Restricted gift of Anne Searle (Meers) Bent, The Regenstein Foundation, and Dr. William D. Shorey
Extended information about this artwork
Laura M. Giles, “Christ before Pilate: A Major Composition Study by Pontormo,” The Art Institute of Chicago Museum Studies 17:1 (1991), pp. 34-35.
Harriet K. Stratis, “The Technical Aspects of Pontormo’s Christ before Pilate,” The Art Institute of Chicago Museum Studies 17:1 (1991), pp. 46, and 49-50 (ill.).
Philippe Costamagna, Pontormo: Catalogue Raisonné de l’Oeuvre Peint (Paris, 1994), pp. 11, 54, 60-61, and 175-76, fig. 45.
Alessandro Conti, Pontormo (Milan, 1995), pp. 33-34, and 78, pl. 33, as Closing the Gates of the Temple of Janus.
Suzanne Folds McCullagh and Laura M. Giles, Italian Drawings before 1600 in The Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1997), pp. 197-98, no. 255 (ill.).
“Maineri to Miró: The Regenstein Collection Since 1975,” The Art Institute of Chicago Museum Studies 26:1 (2000), pp. 16-17, no. 2 (ill.).
Suzanne Folds McCullagh, “‘A Lasting Monument’: The Regenstein Collection at The Art Institute of Chicago,” The Art Institute of Chicago Museum Studies 26, 1 (2000), p. 12.
The Art Institute of Chicago, “Recent Acquisitions: Old Master Drawings of the 15th-18th Centuries,” 1989-1990.
New York, The Frick Collection, “From Pontormo to Seurat: Drawings Recently Acquired by The Art Institute of Chicago,” April 23-July 7, 1991, n.p., cat. 3; traveled to The Art Institute of Chicago, September 10, 1991-January 5, 1992.
The Art Institute of Chicago, “Drawings Rediscovered: Italian Drawings before 1600 in The Art Institute of Chicago,” April 10-July 22, 1997.
Ottawa, The National Gallery of Canada, “Leonardo, Michelangelo and the Renaissance in Florence,” May 27-September 5, 2005.
The Art Institute of Chicago, “Capturing the Sublime: Italian Drawings of the Renaissance and Baroque”, March 26-July 8, 2012, pl 11, pp. 42-43, cat. by Suzanne Folds McCullagh, et. al.
Private collection, England [McCullagh and Giles 1997]. British Rail Pension Fund; sold by Lexbourne Ltd., London, to the Art Institute of Chicago, 1989.
McCullagh & Giles 255
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