Black chalk, with stumping, and traces of red chalk, heightened with traces of white chalk, over stylus incising, on cream laid paper
Inscribed verso, l.c., in pen and brown ink: Pontormo; u.l. on former mount, in graphite: circa 1670 / not Carracci; u.c. on former mount, in graphite: Carracci; l.c. on former mount, in graphite: Agos. Carracci
274 x 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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