Gian Lodovico Madruzzo

1551–52

Giovanni Battista Moroni (Italian, 1520/24–1578)

One of the most accomplished painters working in the realist tradition of the Lombardy region of Northern Italy, Giovanni Battista Moroni was above all an outstanding portraitist. Here, he depicted Gian Lodovico Madruzzo. Moroni painted this commanding likeness—along with that of the subject’s brother, Gian Federico Madruzzo (National Gallery of Art, Washington, DC)—during the Council of Trent, a meeting to address challenges to the Catholic Church posed by the Protestant Reformation. Gian Lodovico Madruzzo eventually succeeded his uncle as prince-bishop, ruler of the city of Trent, in 1567.

Status: On View, Gallery 206
Department: Painting and Sculpture of Europe

Artist: Giovanni Battista Moroni
Title: Gian Lodovico Madruzzo
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.: 1551–1552
Medium: Oil on canvas
Dimensions: 199.8 × 116 cm (78 5/8 × 45 5/8 in.); Framed: 237.5 × 152.4 × 7.6 cm (93 1/2 × 60 × 3 in.)
Credit Line: Charles H. and Mary F. S. Worcester Collection
Reference Number: 1929.912
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/4081/manifest.json

Adamo Chiusole, Itinerario delle pitture, sculture, ed architetture più rare di molte città d’Italia (Vicenza, 1782), p. 21.
C. Perini, Trento e i suoi contorni, guida del viaggiattore (Trent, 1859; repr. 1868), p. 131.
Otto Mündler, “Beiträge zu Jacob Burckhardt’s Cicerone: Abtheilung Malerei,” Jahrbücher für Kunstwissenschaft 11 (1869), p. 313.
Ottone Brentari, Guida del Trentino (Bassano, 1890), p. 166.
Ivan Lermolieff [G. Morelli], Kunstkritische Studien über italienische Malerei, vol. 2 (Leipzig, 1891), p. 86 n. 1.
C. von Lützow, “Giovanni Battista Moroni,” Die Graphischen Künste 14 (1891), p. 24.
Giovanni Morelli, Italian Painters: Critical Studies of Their Works, trans. Constance Jocelyn Ffoulkes (London, 1893), p. 65 n. 2.
Jacob Burckhardt, Der Cicerone: eine Anleitung zum Genuss der Kunstwerke Italiens, 7th ed. (Leipzig, 1898), p. 856; 9th ed., p. 11.
Lodovico Oberziner, “Il ritratto di Cristoforo Madruzzo di Tiziano,” in Strenna del giornale dell’Alto Adige (Trent, 1900, repr.), pp. 16–18.
Lodovico Oberziner, “Ritratti classici a Trento,” Rassegna d’arte 11 (1902), pp. 88–89, ill.
Francesco Menestrina, “Dipinti notevoli a Trento nel 1833,” Strenna del giornale dell’Alto Adige (1904), p. 11.
Bernard Berenson, North Italian Painters of the Renaissance (New York, 1907), p. 272.
Georges Lafenestre, “Les portraits des Madruzzi par Titien et G.-B. Moroni,” Revue de l’art ancien et moderne 21 (1907), pp. 352, 357–60, ill.
“Cronaca,” L’arte 12 (1909), p. 76.
Georges Lafenestre, “Une Exposition de tableaux italiens,” Revue de l’art ancien et moderne 25 (1909), pp. 18, 20.
G. F[ogolari], “Madruzzo di Tiziano e del Moroni,” Il popolo – giornale socialista (October 14, 1910), p. 1.
Gustav Frizzoni, “Moretto und Moroni: Eine Charakterisierung auf Grund zweier massgebender Studienblätter,” Münchner Jahrbuch der bildenden Kunst 7 (1912), p. 37.
André Michel, Histoire de l’art depuis les premiers temps chrétiens jusqú à nos jours, vol. 5, pt. 2 (Paris, 1913), p. 528.
Gino Fogolari, Trento (Bergamo, 1916), pp. 145, 164 ill.
Achille Locatelli Milesi, “Un grande ritrattista,” Emporium 44 (1916), pp. 376, 380, 381, 385, ill.
 A. L[ocatelli] M[ilesi] “Opere di G.-B. Moroni a Trento,” Bolletino della civica biblioteca di Bergamo 10 (1916), pp. 104–05.
H. B. W[ehle], “A Notable Loan of Paintings,” Bulletin of The Metropolitan Museum of Art 16, 9 (1921), p. 184.
Bryson Burroughs, The Metropolitan Museum of Art: Catalogue of Paintings, 6th ed. (New York, 1922), p. 213; 7th ed, p. 213.
Gino Fogolari, Trento (Bergamo, 1924), pp. 142, 158, 161, ill.
“Chicago,” Art News 25, 27 (1927), p. 15.
R. M. F[ischkin], “A Portrait by Moroni,” Bulletin of The Art Institute of Chicago 21 (1927), pp. 45–49, cover ill.
“Portrait by Giambattista Moroni Loaned to Art Institute,” Chicago Evening Post, April 5, 1927, p. 1, ill.
Trotti and Co., “letter to the editor,” Art News 25, 32 (1927), pp. 8–9.
“Chicago Opens Venetian Gallery,” Art News 26, 32 (1928), p. 1.
Heinrich Merten, Giovanni Battista Moroni: Des Meisters Gemälde und Zeichnungen (Marburg, 1928), p. 46, no. 82.
Adolfo Venturi, Storia dell’arte italiana, vol. 9, pt. 4 (Milan, 1929), p. 277 n. 1.
C. J. Bulliet, “Gallery to House Gifts to Museum,” Chicago Daily News, February 18, 1930.
Daniel Catton Rich, “Chicago Given Worcester Art,” Art News 28, 22 (1930), pp. 2, 9, 14, ill.
Daniel Catton Rich, “The Mr. and Mrs. Charles H. Worcester Gift,” Bulletin of The Art Institute of Chicago 24 (1930), pp. 30–31, ill.
Paolo Arrigoni, “Moroni, Gianbattista,” in Thieme-Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, vol. 25 (Leipzig, 1931), p. 165.
Lionello Venturi, Pitture italiane in America (Milan, 1931), pl. CCCXCVIII.
Simone Weber, “Notizie di pittori del secolo XVI nel Trentino,” Atti della società italiana per il progresso della scienze 11 (1931), p. 586.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), pp. 5, 165, ill.
Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 381.
Gertrud Lendorff, Giovanni Battista Moroni: Der Porträtmaler von Bergamo (Winterthur, 1933; trans. Bergamo, 1939), p. 1, 10, 23–24, 27, 30, 33, 39, 57, no. 16.
Virginia Nirdlinger, “The Art of History: Four Paintings in the Exhibition at Chicago,” Parnassus 5, 4 (1933), pp. 8, 11, ill.
Malcolm Vaughan, “The Significance of the Century of Progress Art Exhibition,” Bulletin of the Art Institute of Chicago 27 (1933), p. 87.
Simone Weber, Artisti trentini ed artisti che operarono nel Trentino (Trent, 1933), p. 207.
Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 327.
Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1935), p. 20.
Hans Tietze, Meisterwerke europäscher Malerei in Amerika (Vienna, 1935), pp. 92, 330, no. 92, ill.
Ercole Mazza, “Gianbattista Moroni,” Rivista di Bergamo 12 (1938), p. 484.
Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture, and Drawings (Chicago, 1938), pp. 12–13, no. 8, pl. 7.
Davide Cugini, Moroni: pittore (Bergamo, 1939, repr. 1978), pp. 40–42, fig. 19.
Giulio Benedetto Emert, Fonti manoscritte inedite per la storia dell’arte nel Trentino (Florence, 1939), pp. 125, 138, 173.
Ercole Mazza, “Giambattista Moroni,” in G.B. Moroni pittore (Albino, 1939), pp. 19, 28.
“Un monumento a G. B. Moroni in Albino,” Bergomum 33 (1939), p. 120.
Walter Pach, Masterpieces of Art: Catalogue of European and American Paintings, 1500–1900, exh. cat. (New York, New World’s Fair, 1940), p. 9.
Frank Holland, “Superb Painting Chosen as Masterpiece of Month,” Chicago Sun, September 10, 1944.
Davide Cugini, “Nota su G. B. Moroni a Trento,” Bergomum 39 (1945), p. 45.
Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1948), p. 26.
Piero Sannazzaro, “Madruzzo, Ludovico,” in Enciclopedia Cattolica (Rome, 1951), col. 1802, detail ill.
Frederick A. Sweet, “La pittura italiana all’ ‘Art Institute’ di Chicago,” Le vie del mondo: Rivista mensile del Touring Club Italiano 15 (1953), pp. 699–701, ill.
Giovanni Morelli, Italienische Malerei der Renaissance im Briefwechsel von Giovanni Morelli und Jean Paul Richter, 1876–1891, ed. Irma Richter and Gisela Richter (Baden-Baden, 1960), p. 350.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 46, 340–41, ill.
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 518.
Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (1966), p. 203.
Bernard Berenson, Italian Pictures of the Renaissance (London, 1968), p. 285.
John Maxon, The Art Institute of Chicago (New York, 1970), p. 255, ill.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 145, 515, 570.
Mina Gregori, “Il ritratto di Alessandro Vittoria del Moroni a Vienna,” Paragone 27, 317–19 (1976), pp. 95, 99 n. 22.
Francesco Rossi, “Giovan Battista Moroni nel IV centenario della morte,” Notizie da Palazzo Albani 6, 2 (1977), p. 51.
Allan Braham, Giovanni Battista Moroni: 400th Anniversary Exhibition, exh. cat. (London, The National Gallery, 1978), p. 7.
D. Spinelli, “Trento lo scoprì prima di Bergamo,” L’eco di Bergamo, February 15, 1978, pp. 3, 7.
Mina Gregori, “Giovan Battista Moroni,” in I pittori bergamaschi dal XIII al XIX secolo, vol. 3, Il cinquecento (Bergamo, 1979), pp. 98–99, 144, 251–53, no. 92, p. 283 under no. 142, p. 295 under no. 173, p. 306 under no. 196, p. 307, under nos. 198–99, p. 311, under no. 208, p. 326, ill.
Sheldon Grossman, letter to the editor, “Titian and Moroni in Trent,” Apollo 109 (1979), p. 246.
Fern Rusk Shapley, Catalogue of the Italian Paintings, vol. 1 (London, 1979), pp. 340–41.
Mina Gregori in The Genius of Venice, 1500–1600, exh. cat. (London, Royal Academy of Arts, 1983–84), pp. 187–88, no. 61, under no. 62.
Artur Rosenauer, “Exhibition Reviews, London: Venice at The Royal Academy,” The Burlington Magazine 126 (1984), p. 305.
Ettore Camesasca, ed., Da Raffaello a Goya…da Van Gogh a Picasso: 50 dipinti dal Museu de Art di San Paolo del Brasile, exh. cat. (Milan, Palazzo Reale, 1987), p. 84.
Master Paintings in The Art Institute of Chicago (Chicago, 1988), p. 22, ill.
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 165–71, ill.
Francesco Rossi, G. B. Moroni (Soncino, 1991), p. 44, under no. 6.
Silvana Milesi, Moroni e il primo Cinquecento bergamasco (Bergamo, 1991), pp. 56–57, ill.
Laura Dal Prà, I Madruzzo e l’Europa, 1539–1658: I principi vescovi di Trento tra Papato e Impero, exh. cat. (Trent, Castello del Buonconsiglio, 1993), pp. 163, no. 2, 163–64, under no. 3.
Erica E. Hirschler, “Helping ‘Fine Things Across the Atlantic’: Mary Cassatt and Art Collecting in the United States” in Mary Cassatt: Modern Woman, exh. cat. (Chicago, Art Institute of
Chicago, 1998), pp. 202-203, 210, fig. 30.
Art Institute of Chicago, Treasures from the Art Institute of Chicago (Chicago, 2000), p. 95, ill.
Nicholas Penny, The Sixteenth Century Italian Paintings, vol. 1 National Gallery Catalogues (London, 2004), pp. 194, 202–03, 206, ill.
Erika Billeter, Hunde und ihre Maler: Zwischen Tizians Aristokraten und Picassos Gauklern (Bern, 2005), pp. 29–30, ill.
Larry J. Feinberg, “A Brief History of the Old Masters in the Art Institute of Chicago,” Art Institute of Chicago Museum Studies 32 (2006), pp. 14, 90 n. 13.
Anna Rühl, Moretto da Brescia: Bildnisse, Studien zu Form, Wirkung und Funktion des Porträts in der italienischen Renaissance (Korb, Remstal, 2011), fig. 50.
Ng, Aimee, Simone Facchinetti, Arturo Galansino, Moroni: The Riches of Renaissance Portraiture, Exh. cat. (The Frick Collection/Scala Arts Publishers, 2019) pp. 162-167, cat 27

Paris, Galerie Trotti, Tableaux anciens de l’école italienne, 10 January–10 February, 1909, no. 20.
Art Institute of Chicago, A Century of Progress, June 1–November 1, 1933, no. 129.
Art Institute of Chicago, A Century of Progress, June 1–November 1, 1934, no. 50.
The Art Institute of Chicago, Masterpiece of the Month, September 1944, no cat.
The Dayton Art Museum, Old Masters from Midwestern Museums, March 5–April 19, 1948, no. 12.
The Minneapolis Institute of Arts, Great Portraits by Famous Painters, November 13–December 21, 1952, no. 3.
Bergamo, Palazzo della Regina, Giovan Battista Moroni (1520–1578), 1979, no. 8.
London, Royal Academy of Arts, The Genius of Venice, 1500–1600, November 25, 1983–March 11, 1984, no. 61.
Trent, Castello del Buon Consiglio, I Madruzzo e l’Europa, 1539–1658, July 10–October 31, 1993, no. 2.
Fort Worth, Texas, Kimbell Art Museum, Giovanni Battista Moroni: Renaissance Portraitist, February 26–May 28, 2000, no. 2.
Cremona, Associazione Promozione Iniziative Culturali di Cremona, Painters of Reality: The Legacy of Leonardo and Caravaggio in Lombardy, February 14-May 2, 2004, cat. 35; New York, Metropolitan Museum of Art, May 23–August 14, 2004 (New York only)
New York, The Frick Collection, The Portraits of Giovanni Battista Moroni, February 21 - June 2, 2019, cat. 27.

Probably Madruzzo family, Castello del Buon Consiglio, Trent; by descent to Carlo Emanuele Madruzzo (died 1658) [the painting and its pendant, the portrait of his brother Gian Federico Madruzzo now in the National Gallery of Art, Washington D.C., have been identified as the “due quadri de ritratti de Madruzzi” recorded in an inventory of the Castello made between December 1658 and January 13, 1659, see Oberziner 1900 and Shapley, 1979]; possibly his cousin Charlotte de Lénoncourt [see Oberziner 1900]. Barons Roccabruna, Trent, by 1682; by descent to Giacomo Roccabruna (died 1735) [The picture and the portrait of Gian Federico Madruzzo, as well as the portrait of their uncle Cardinal Cristoforo Madruzzo by Titian, are presumably the “I tre quadri grandi di Madruzzi” mentioned in a 1682 Roccabruna inventory cited by Oberziner 1900]; by descent to his sister Anna Caterina, wife of Baron Antonio Gaudenti della Torre, Trent [according to Oberziner 1900]; Gaudenti family, Trent, until at least 1782 [Chiusole 1782 noted that “il Signor Gaudenti, fra altre cose degne, conserva tre ritratti di Tiziano”]; to the brothers Barons Isidoro and Valentino Salvadori, Trent, by 1833 [according to an 1833 manuscript by Benedetto Giovanelli published by Emert 1939 describing “Tre ritratti de’ Madruzzi”; see Emert 1939 for the relationship of the Guadenti and Salvadori families]; sold to Trotti and Co., Paris, and Knoedler, Paris, 1906 along with the portrait of Gian Federico Madruzzo and the portrait of Cardinal Cristoforo Madruzzo by Titian [see Trotti 1927 and Gregori 1979]; sold by Trotti and Knoedler to James Stillman (died 1918), Paris and New York, by 1907 along with the portraits of Gian Federico Madruzzo and Cardinal Cristoforo Madruzzo [Trotti 1927 and Berenson 1907]; by descent to his son Charles Chauncey Stillman (died 1927), New York, along with the portraits of Gian Federico Madruzzo and Cardinal Cristoforo Madruzzo; on loan to The Metropolitan Museum of Art, New York, 1921–26 [according to registrar’s records]; sold American Art Association, New York, February 3, 1927, no. 27 to Charles H. Worcester, Chicago [for buyer information, see Rich, Art News, 1930; the portrait of Gian Federico Madruzzo was sold as no. 28.]; on loan to the Art Institute from 1927; given to the Art Institute, 1929.

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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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