Bearded Man with his Right Arm Raised

Prints and Drawings

1562/64

Giuseppe Porta
Italian, c. 1520–c. 1575

Between 1562 and 1566, Salviati was in Rome working on a commission for two large frescoes in the Sala Regia, a formal reception hall in the Vatican. This sheet is a single-figure study for the first of these, which depicts the peace treaty that Pope Alexander III and Holy Roman Emperor Frederick Barbarossa reached in Venice in 1177. The corresponding painted figure can be seen in the large crowd at right in the fresco.

An example of the artist’s mature draftsmanship, the drawing demonstrates a range of techniques, from the carefully modeled face and the crumpled pleats of the sleeve to the delicate black chalk of the figure’s beard.

Status: Currently Off View
Department: Prints and Drawings

Artist: Giuseppe Porta, called Giuseppe Salviati
Title: Bearded Man with his Right Arm Raised
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.: Made 1562–1564
Medium: Black, red, and ocher chalk, heightened with touches of white chalk, on bluish gray laid paper
Dimensions: 20.6 × 26.3 cm (8 1/8 × 10 3/8 in.)
Credit Line: Gift of Richard and Mary L. Gray
Reference Number: 2019.860
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/202146/manifest.json

Alfred Erskine Gathorne-Hardy, Descriptive Catalogue of Drawings by the Old Masters in the Possession of the Hon. A.E. Gathorne-Hardy (Ballantyne, 1902), pp. 28–29, no. 51 (as Paolo Veronese).
Terence Mullaly, “Italian Sixteenth-Century Drawings in Edinburgh,” Burlington Magazine 111 (1969), p. 632, fig. 80 (as Leandro Bassano).
Theodore Crombie, “Graphic Masterpieces”, Apollo 94 (1971), p. 504, fig. 2 (as Giuseppe Salviati).
David McTavish, Giuseppe Porta, called Giuseppe Salviati (Garland, 1981), pp. 356–57, no. 32, fig. 224.
Scott Reyburn, “Art Market,” Antique Trade Gazette (Aug. 24, 2002), p. 23 (ill.).

London, Royal Academy of Arts, Drawings by Old Masters, 1953, cat. 123 (as Federico Zuccaro).
Edinburgh, Merchants’ Hall, Italian 16th-Century Drawings from British Private Collections, 1969, cat. 49 (anon. North Italian artist).
London, Colnaghi, Loan Exhibition of Drawings by Old Masters from the Collection of Mr. Geoffrey Gathorne-Hardy, 1971–72, cat. 30 (as Giuseppe Salviati).
Art Institute of Chicago, Gray Collection: Seven Centuries of Art, Sept. 25, 2010–Jan. 2, 2011, cat. 4 (ill.).
The Art Institute of Chicago, “Pure Drawing: Seven Centuries of Art from the Gray Collection”, January 25 - May 10, 2020, p. 17, fig. 2, p. 131, GC 13, traveled to New York, The Morgan Library, February 19 - June 6, 2021, and Berkeley CA, UC Berkeley Art Museum and Pacific Film Archive, August 4 - November 28, 2021.

Baron Jan Gijsbert Verstolk van Soelen; sold, Amsterdam, Mar. 22, 1847, lot 147 (as Paolo Veronese), to Roos for Gerard Leembruggen Jzn.; sold, Amsterdam, Mar. 5–10, 1886, lot 896 (as Paolo Veronese) to John Malcolm, 1st Baron of Poltalloch (1805–1893); to his son-in-law, Alfred Erskine Gathorne-Hardy (1845–1918); by descent to Geoffrey Malcolm Gathorne-Hardy (1878–1972); by descent to Robert Gathorne-Hardy (1902–1973); sold, Sotheby’s, London, Apr. 28, 1976, lot 11. Private collection, Switzerland; sold, Christie’s London, July 9, 2002, lot. 11. C.G. Boerner/Artemis, New York, Richard and Mary L. Gray, Chicago, 2003; given to the Art Institute of Chicago, 2019.

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.

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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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Artist

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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.

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Dimensions

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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.