Virgin and Child with the Young Saint John the Baptist
Date:
c. 1530
Artist:
Circle of Agnolo Bronzino (Italian, 1503–1572)
About this artwork
Three examples of this 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, but it was fairly common for Florentine workshops to repeat popular compositions. The paintings’ authorship is much debated, due to the close artistic relationships between Agnolo Bronzino and his Florentine associates like Jacopo Pontormo, whose work can also be seen in this gallery.
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.
IIIF Manifest
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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.
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.
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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