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.
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.
Sir Abraham Hume, A Descriptive Catalogue of a Collection of Pictures, Comprehending Specimens of all the Various Schools of Painting: Belonging to Sir Abraham Hume (London, 1824), p. 28, no. 88.
Piero Torriano, “Luca Cambiaso nel quarto centenario dalla nascita,” L’illustrazione italiana 54 (1927), pp. 522–23, ill.
Adolfo Venturi, Storia dell’arte italiana, vol. 9, pt. 7 (Milan, 1934), p. 854 n.
Frederick A. Sweet, “Venus and Cupid by Luca Cambiaso,” Art Institute Bulletin 37 (1943), pp. 2–3, cover ill.
Bertina Suida Manning, “Una Obra Maestra de Luca Cambiaso en la Coleccion del Duque de Alba en Madrid,” Archivo Español de Arte 25 (1952), p. 161.
Frederick A. Sweet, “La pittura italiana all’ Art Institute di Chicago,” Le vie del mondo: Rivista mensile del Touring Club Italiano 15 (1953), pp. 698–700, ill.
Attilio Podestà, “Luca Cambiaso e la sua fortuna,” Emporium 124 (1956), pp. 245, ill., 248.
Bertina Suida Manning and William Suida, Luca Cambiaso: la vita e le opere (Milan, 1958), pp. 25, 159–60, fig. 338.
Lili Fröhlich-Bum, “Luca Cambiaso,” Apollo 70 (1959), p. 94, fig. I.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 64–65.
John Maxon, The Art Institute of Chicago (New York, 1970), pp. 255, ill., 278.
Fiorella Caraceni Poleggi, La pittura a Genova e in Liguria dagli inizi al cinquecento (Genoa, 1970), p. 239.
Sydney J. Freedberg, Painting in Italy 1500 to 1600 (Harmondsworth, 1971), p. 416, pl. 269.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 40, 476, 571.
Metropolitan Museum of Art, The Robert Lehmann Collection, vol. 5 (New York, 1987), pp. 156, under no. 57, 159 n. 6.
Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 58–62, ill.
Lauro Magnani, Luca Cambiaso: da Genova all’Escorial (Genoa, 1995), pp. 196, 208 n. 27, fig. 216.
Daniel Arasse and Andreas Tönnesmann, La Renaissance maniériste (Paris, 1997), p. 324, ill.
Jonathan Bober and Giulio Bora, Capolavori della Suida-Manning Collection, exh. cat. (Milan, 2001), pp. 32–33, 37 n. 10, fig. 1.
Sibylle Weber am Bach, Hans Baldung Grien (1484/85–1545): Marienbilder in der Reformation (Regensburg, 2006), p. 130 n. 629.
London, British Institution, Pictures by Italian, Spanish, Flemish, Dutch and English Masters…, 1831, no. 2, as “Cupid stung by a Bee in his finger, complains to Venus.”
London, British Institution, Pictures by Italian, Spanish, Flemish, Dutch and English Masters…, 1836, no. 97.
Genoa, Teatro Carlo Felice, Mostra centenaria di Luca Cambiaso organizzata dalla Compagna, 1927, no. 8.
Indianapolis, John Herron Art Museum, Pontormo to Greco: The Age of Mannerism, 1954, no. 49.
Genoa, Palazzo dell’Accademia, Luca Cambiaso e la sua fortuna, 1956, no. 37.
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.
Austin, Blanton Museum of Art, Luca Cambiaso: 1527–1585, September 15 – December 31, 2006, cat. 63; Genoa, Palazzo Ducale, February 16 – June 17, 2007 [Austin only].
University of Chicago, Smart Museum of Art, Lust, Love, and Loss in Renaissance Europe, April 8-June 13, 2021, no cat.
William Patoun (d. 1782), Richmond, Surrey; sold by Patoun to Sir Abraham Hume, Bt. (d. 1838), Wormley Bury, Hertfordshire, by 1782 [see Hume 1824]; by descent to his grandson John Hume Egerton, Viscount Alford (d. 1851), Ashridge Park, Berkhamsted, 1838–51 [according to List of Paintings and Pictures settled by Sir Abraham Hume, Bart. as Heirlooms contained in a Deed of Settlement dated the 27th February, 1834, no. 36, typescript copy, London, National Gallery Library.]; by descent to Adelbert Salusbury Cockayne Cust, fifth Baron Brownlow, 1867–1927; sold Christie’s London, May 4, 1923, no. 109, to Collings for 12 gns [according to an annotated copy of the sale catalogue at Christie’s, London]. Private Collection, Italy [according to Sweet 1943]. William E. Suida, Baden, near Vienna, and New York, by 1927 to 1941 [see Genoa 1956 exhibition, and Suida Manning and Suida 1958]. Sold by A.F. Mondschein, New York, to the Art Institute, 1942.
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.