Pietà

CC0 Public Domain Designation

Painting and Sculpture of Europe

1475/1500

After Cosimo Tura (Italian, c. 1430–1495)

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

Artist: After Cosimo Tura
Title: Pietà
Place: 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.: 1470–1480
Medium: Tempera on panel
Dimensions: 71.7 × 55.2 cm (28 1/4 × 21 3/4 in.); Framed: 90.9 × 79.4 × 7.7 cm (35 3/4 × 31 1/4 × 3 in.)
Credit Line: Mr. and Mrs. Martin A. Ryerson Collection
Reference Number: 1933.1037
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/16250/manifest.json

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 161, no. 2085.
[R. M. Fischkin], “A Pietà by Marco Zoppo,” Bulletin of The Art Institute of Chicago 20 (1926), pp. 55–56, ill.
Rose Mary Fischkin, “Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago,’ (unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago), pp. 46–47.
Daniel Catton Rich, “A Crucifixion by Carlo Crivelli,” Bulletin of The Art Institute of Chicago 23 (1929), p. 147, ill.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 183, no. 2585.23.
William R. Valentiner, “Paintings in the Collection of Martin A. Ryerson,” (unpub. MS [1932], Archives, The Art Institute of Chicago), no page.
Exposition de l’art italien de Cimabue à Tiepolo, exh. cat. (Petit Palais, Paris, 1935), under no. 468.
Raimond van Marle, “Two Ferrarese Wood-Carvings of the XVth Century,” Apollo 21 (1935), p. 12, fig. IX.
Eberhard Ruhmer, Tura: Paintings and Drawings (London, 1958), pp. 48, 58 n. 95, 175–76, under nos. 47–48, pl. VIII.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 487–88.
Art Institute of Chicago, Grands Musées 2 (Paris, 1968), pp. 24, 67, fig. 3.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), 205, 296, 571.
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 255–57, ill.
Monica Molteni, Cosmè Tura (Milan, 1999), p. 98.
Matthias Weniger, in Linie, Licht und Schatten: Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, exh. cat. (Kupferstichkabinett, Staatliche Museen zu Berlin, 1999), p. 22, under no. 5.
Joseph Manca, Cosmè Tura: The Life and Art of a Painter in Estense Ferrara (Oxford, 2000), pp. 159–60 under no. 39, fig. 97.
Stephen J. Campbell, Cosmè Tura: Painting and Design in Renaissance Florence, exh. cat. (Isabella Stewart Garner Museum, Boston, 2002), p. 204, under no. 5.
Marcello Toffanello, in Cosmè Tura e Francesco del Cossa: L’arte a Ferrara nell’età di Borso d’Este, exh. cat. (Palazzo dei Diamanti, Ferrara, 2007), p. 300 under no. 59.

Art Institute of Chicago, A Century of Progress, June 1–November 1, 1933, no. 101.
Art Institute of Chicago, A Century of Progress, June 1–November 1, 1934, no. 40.

Paul Delaroff (died 1913), St. Petersburg, to 1913 [see a red wax seal on the back of the panel that reads “Collection Paul Delaroff/1914]; his estate sale, Galerie Georges Petit, Paris, April 23–24, 1914, no. 233, as Cosimo Tura. Kleinberger, New York, by 1923; sold to Martin A. Ryerson (died 1932), Chicago, 1923 [see invoice from Kleinberger to Ryerson dated June 22, 1923, Archives, Art Institute]; on loan to the Art Institute from 1923; bequeathed to the Art Institute, 1933.

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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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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.

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