St. Gerardo Sagredo, Bishop of Csanád

Painting and Sculpture of Europe

1633

Bernardo Strozzi (Italian, 1581–1664)

A native of Genoa, Bernardo Strozzi was largely a self-trained artist. His style was formed by absorbing the rich textures of Peter Paul Rubens and the dramatic lighting employed by followers of Caravaggio who passed through Genoa. Strozzi eventually settled in Venice in 1630 or 1631; this painting was probably commissioned there by a member of the Sagredo family to commemorate their saintly forebear Gerardo Sagredo, a Benedictine monk who became Bishop of Csanád, a region straddling present-day Hungary, Romania, and Serbia.

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

Artist: Bernardo Strozzi
Title: St. Gerardo Sagredo, Bishop of Csanád
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.: 1625–1635
Medium: Oil on canvas
Dimensions: 130.3 × 100 cm (51 1/4 × 39 3/8 in.); Framed: 158.8 × 130.8 × 10.2 cm (62 1/2 × 51 1/2 × 4 in.)
Credit Line: Alexander A. McKay Fund
Reference Number: 1958.328
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/8104/manifest.json

Art Institute of Chicago, Annual Report (Chicago, 1959), p. 10.
Art Institute of Chicago Quarterly (April 1959) p. 35, ill. p. 36.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961) pp. 441-442, ill. p. 50.
Hans Huth, “Italianische Kunstwerke im Art Institute von Chicago, USA,” Miscellanea Bibliothecae Hertzianae (1961), p. 518.
Anna Maria Matteucci, “Per Bernardo Strozzi,” Arte Antica e Moderna 19 (1962), p. 293, ill. no. 100a.
Louisa Mortari, Bernardo Strozzi (Rome, 1966), pp. 48, 98, 148, fig. 236.
Rodolfo Pallucchini, “L’Art Institute di Chicago,” L’Illustrazione del Medico (February 1966) pp. 11-12.
Anna Maria Matteucci, I Maestri del Colore: Bernardo Strozzi (Milan, 1966), pp. 10, fig. 2, ill. X.
Carlo Donzelli and Giuseppe Maria Pilo, I Pittori del Seicento Veneto (Florence, 1967), p. 384.
Michael Milkovich, Bernardo Strozzi: Paintings and Drawings, Catalogue for exhibition at University Art Gallery, State University of New York at Binghamton, 8 October - 5 November 1967, ill. p. 96.
John Maxon, The Art Institute of Chicago (London and New York, 1970), p. 286, ill. p. 258.
Franco Sborgi, “Il ritratto a Genova nel Seicento e nel Settecento,” in La Pittura a Genova e in Liguria, vol. 2, (1971), p. 316.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972), pp. 193, 457, 571.
John Maxon, The Art Institute of Chicago (London and New York, 1977), p. 287, ill. p. 258.
Homan Potterton, Venetian Seventeenth Century Painting, catalogue for exhibition at the National Gallery, London, 5 September - 30 November 1979, p. 32.
Cristiana Mazza, “La committenza artistica del futuro doge Nicoló Sagredo e l’inventario di Agostino Lama,” Arte veneta 51 (1997), pp. 90.

Manchester, Art Treasures Exhibition, 1857, no. 364, as Giovanni Lanfranco, A Bishop.

Possibly commissioned by Niccolò Sagredo (d. 1685), 1633; possibly Sagredo collection until at least 1685 [for dating of inventory, see Mazza p. 89]. Thomas Egerton, 2nd Earl of Wilton, England, by 1857 [lent to 1857 Manchester exhibition]. Mrs. H. Danninger, England. Antonio Morassi, by 1957; sold to Wildenstein, July 1957, New York; sold to Art Institute, 1958.

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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.

Learn more.