Kitchen Still Life

CC0 Public Domain Designation

Painting and Sculpture of Europe

c. 1640

Attributed to Paolo Antonio Barbieri (Italian, 1603–1649)

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

Artist: Paolo Antonio Barbieri
Title: Kitchen Still Life
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.: 1635–1645
Medium: Oil on canvas
Dimensions: 66.3 × 79.2 cm (26 1/8 × 31 3/16 in.)
Credit Line: A. A. Munger Collection
Reference Number: 1934.389
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/19333/manifest.json

“Report for the Year Nineteen Hundred Thirty-Four,” Bulletin of The Art Institute of Chicago 29 (1935), pt. 3, pp. 33-34, ill. p. 22.
[Francisco J.] S[ánchez] C[antón], “Dos Bodegones españoles,” Archivo español de arte 15 (1942), p. 232, ill. opp. p. 231.
Francisco J. Sánchez-Cantón, La Sensibilidad de Zurbarán (Granada, 1944), pp. 13-14, ill.
Helmut P. G. Seckel, “Francisco de Zurbaran as a Painter of Still Life,” Gazette des Beaux-Arts 30 (1946), p. 290.
Helmut P. G. Seckel, “Francisco de Zurbaran as a Painter of Still Life: Appendix,” Gazette des Beaux Arts 31 (1947), p. 62, no. xi.
Katherine Kuh, Art Has Many Faces: The Nature of Art Presented Visually (New York, 1951), pp. 32-33, pl. 52.
Charles Fabens Kelly, “Chicago: Record Years,” Art News 51 (June-August 1952), p. 53 (ill.).
César Pemán, “Juan de Zurbarán,” Archivo español de arte 31 (1958), pp. 206-207, 210 p.
VI.Paul Guinard, Zurbarán et les peintres espagnols de la vie monastique (Paris, 1960), p. 281, no. 602.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago, A Catalogue of the Picture Collection (Chicago, 1961), p. 490.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections (Cambridge, Mass, 1972), pp. 15, 506, 571.
Carlo Volpe, “La natura morta,”in La pittura L’Accademia Clementina, exh. cat. (Bologna Palazzi del Podestà e di Re Enzo, 1979), p. 151.
Marco Rosci, “La ‘Natura Morta’,” Storia dell’arte italiana vol. 4. ed Federico Zeri (Turin, 1982), pp. 97-98, fig. 138.
Luigi Salerno, La Natura morta italiana 1560-1805 (Rome, 1984), p. 132, under no. 32.
Daniele Benati in La pittura in Italia: Il Seicento (Milan, 1988), p. 235.
Anna Colombi Ferretti, “La natura morta a Bologna e in Romagna “ in La natura morta in Italia, vol. I (Milan, 1987), p. 455, fig. 544.
Gianluca and Ulisse Bocchi, Naturalia: nature morte in collezioni pubbliche e private (Turin, 1992), p. 82.
Bruno Passamani, “L’Ultima natura morta del fratello del Guercino,” in Studi di storia dell’arte in onore di Mina Gregor (Milan, 1994), p. 224.
Claus Grimm, Stilleben: Die italienischen, spanischen und französischen Meister (Stuttgart and Zurich, 1995), p. 99, pl. 43.
Ugo Ruggeri, “Barbieri, Paolo Antonio” in Dictionary of Art, vol 3 (London, 1996), p. 211.
Gianluca and Ulisse Bocchi, Naturaliter: Nuovi contributi alla natura morta in Italia settentrionale e Toscana tra XVII e XVIII secolo (Casalmaggiore, 1998), pp. 236, 240-241.
Emilio Negro, “Paolo Antonio Barbieri” in La Scuola del Guercino, eds. Emilio Negro, Massimo Pirondini, and Nicosetta Roio (Modena, 2004), pp. 86, 88.

Hartford, Conn., Wadsworth Atheneum, The Painters of Still Life, Jan. 25 - Feb. 15, 1938, cat. 43 (ill.).
The Columbus Gallery of Fine Arts, Masterpieces of Spanish Painting, Oct. 8 - Nov. 14, 1954, cat. 32.

Julius H. Weitzner, New York, by 1934; sold to the Art Institute, October 1934.

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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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