Virgin and Child with the Young Saint John the Baptist

1527/30

Agnolo Bronzino (Italian, 1503–1572)
Workshop of Agnolo Bronzino (Italian, 1503–1572)

This painting provides a revealing glimpse into the workshop practice of Agnolo Bronzino. Three examples of the composition are known; an original version and two copies, including this one. All are unfinished. This version and the other copy follow a cartoon, or pattern drawing, based on the original work, and may be from a later date. It is unclear why these replicas were begun and then abandoned.

Status: On View, Gallery 205
Department: Painting and Sculpture of Europe

Artist: Agnolo Bronzino
Title: Virgin and Child with the Young Saint John the Baptist
Place: Florence (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.: 1527–1530
Medium: Oil on panel
Dimensions: 81.6 × 57.4 cm (32 1/8 × 22 5/8 in.); Framed: 102.6 × 78.8 × 7.7 cm (40 3/8 × 31 × 3 in.)
Credit Line: Charles H. and Mary F. S. Worcester Collection
Reference Number: 1963.206
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/16958/manifest.json

Art Institute of Chicago Annual Report, 1962–63 (1963): 15
John Maxon, The Art Institute of Chicago (London, 1970), 254 (ill.).
Kurt W. Forster, “A Madonna by Maso da San Friano,” Art Institute of Chicago Museum Studies 7 (1972): 34–51, figs. 1, 4, 6, 13.
Burton Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian paintings in American Public Collections (Cambridge, Mass., 1972), 168, 336, 571.
Cecil Gould, National Gallery Catalogues: The Sixteenth-Century Italian Schools (London, 1975), 87.
Valentino Pace, “Maso da San Friano,” Bollettino d’Arte 61 (1976), 91.
Anna Matteloi, “Una S. Famiglia di Maso da San Friano,” Mitteilungen des Kunsthistorischen Institutes in Florenz 29 (1985), 394.
Christopher Lloyd, Italian Paintings Before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), 202–5, ill.
Phillippe Costamagna, Pontormo (Milan: Electa, 1994), 11, 301, no. A66.1.
Frank Zuccari, “Conservations of Italian Paintings in Chicago” in Early Italian Paintings: Approaches to Conservation. Proceedings of a Symposium at the Yale University Art Gallery, April 2002, ed. by Patricia Sherwin Garland (New Haven and London, 2003), 254–5, figs. 18.4 and 5.
Janet Cox-Rearick, “A Bronzino Discovery,” Apollo (April 2004): 13 fig. 3

The Art Institute of Chicago, The Art of the Edge: European Frames, 1300–1900, Oct. 17–Dec. 14, 1986, cat. 6.
The Art Institute of Chicago, Bill Viola: A 25-Year Survey, October 16, 1999 – January 9, 2000, included in the gallery that held Viola’s The Greeting for the Chicago venue.

Sestieri, Rome; sold to Colnaghi, London, 1962 [according to letter of January 29, 1991 from Jeremy Howard of Colnaghi in curatorial file]; purchased from Colnaghi by the Art Institute through the Charles H. and Mary F. S. Worcester Endowment, 1963.

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On View

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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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Virgin and Child with the Young Saint John the Baptist

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Place

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.

Medium

Dimensions

Credit Line

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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.

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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.