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Portfolios%20%3D%20%221008%22%20and%20Century%20%3D%20%2216th%20Century%22%20and%20Creation_Place2%20%3D%20%22Italy%22
Painting
Portrait of a Boy of the Bracciforte Family of Piacenza
Girolamo Mazzola Bedoli, (ca. 1505 - ca. 1569)
Abate, Niccolò dell'
Italy
1509-1512 - 1571
Male
Previous attribution
Bedoli, Girolamo Mazzola
Italy
ca. 1505 - ca. 1569
Male
65 x 34 5/8 in. (165.1 x 87.9 cm)
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overall
frame
Oil
Oil
ca. 1560
1555
1565
1400-1600, angels, children, musical instruments (depictions), paintings, portraits, Renaissance & Baroque
Painting
Every pictorial element in this full-length portrait of a young boy refers to his aristocratic heritage and high status in society. His costume is made of a richly-textured fabric trimmed with buttons of gold; the elegant purse at his waist, his fashionable small plumed hat and the golden hilt of his sword attest to the wealth of his family. The coat of arms on the gilded medallion he holds in his right hand clearly identifies him as a member of the Bracciforte family of Piacenza, one of the richest cities in Renaissance Europe. A book, flute and allegorical statue of Fame, shown here as a winged figure holding two long, thin trumpets, are on a table at his right; they suggest the importance of education and music in the highest strata of Renaissance society.
For decades, this portrait was attributed to the painter Niccolò dell’Abate. Recent scholarship, however, has suggested that it is the work of Girolamo Mazzola Bedoli, who was well known for his portraits of the Farnese and other notable and aristocratic families in the Duchy of Piacenza as well as the nearby Duchy of Parma. These two duchies united only a few years after this portrait was painted.
[Gallery label text]
back of stretcherback of canvasback of canvas, 18th-century hand?back of canvas, 18th-century hand?back of frameback of canvasback of stretcherback of canvas, Circular pattern-- mark of old seal or stamp since removed or faded?
1976.13
item
Memorial Art Gallery
6/9/2000
76.13TR1
transparency
4 x 5
00/00/00
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76.13SL1
slide
full
2 x 2
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glossy
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negative
4x5
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76.13DI1
digital image
4 x 5
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76.13DI2
digital image
4 x 5
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76.13DI3
digital image
00/00/00
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76.13DI#4
digital image
4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A3.jpg
76.13DI#5
digital image
Detail
4/18/2011
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76.13DI#6
digital image
Detail
4/18/2011
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76.13DI#7
digital image
Detail
4/18/2011
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76.13DI#8
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A7.jpg
Painting
Portrait of a Venetian Patrician
Jacopo Robusti Tintoretto, (Venice, 1518 - 1594, Venice)
Tintoretto, Domenico
Italy
1560 - 1635
Male
Alternate
Tintoretto, Jacopo Robusti
Italy
1518 - 1594
Male
Alternate
44 3/4 x 35 in. (113.7 x 88.9 cm)
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Oil
Oil
16th Century
1500
1599
1400-1600, George Eastman Collection, men, paintings, portraits, Renaissance & Baroque
Painting
back of frame, Printed and handwrittenback of frameback of frameback of frameback of frameback of frame, Red ink. Label of a French packer/shipper, mostly illeg.
1968.97
item
Memorial Art Gallery
3/3/2001
68.97SL1
slide
full
2 x 2
00/00/00
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68.97SL3
slide
detail base
2 x 2
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full
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8 x 10
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68.97TR1
transparency
4 x 5
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68.97DI1
digital image
4 x 5
00/00/00
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68.97SL2
slide
detail- hands
2 x 2
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68.97SL4
slide
detail- fur on sleeve
2 x 2
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68.97DI2
digital image
Detail
6/16/2009
http://127.0.0.1:5000/Media/images/68.97_A2.jpg
68.97DI3
digital image
Detail
6/16/2009
http://127.0.0.1:5000/Media/images/68.97_A3.jpg
x-ray
00/00/00
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Painting
Portrait of a Man
Vincenzo di Biagio Catena, (ca. 1470 - 1531)
Catena, Vincenzo di Biagio
Italy
ca. 1470 - 1531
Male
12 3/4 x 10 1/4 in. (32.4 x 26 cm)
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overall
frame
Oil
Oil
ca. 1508
1503
1513
1400-1600, European art, men, paintings, portrait, portraits
Painting
Vicenzo Catena was active a generation after Hans Memling, the Northern Renaissance artist who inspired Kehinde Wiley’s contemporary portrait nearby. Despite a difference of 500 years in the creation of Catena’s and Wiley’s portraits, the similarities are striking. Both are three-quarter profiles of young men of their day, set in a distant landscape. The sitters are linked not by social status but by their stillness and intensity of gaze, and by their immediate relationship to the viewer.
Catena’s patrons were primarily members of the aristocratic and wealthy classes of Venice, Italy, of which the sitter for "Portrait of a Young Man" was certainly a member. The portrait’s aesthetic appeal derives from the simple, crisp composition; high level of craftsmanship; strong characterization of the sitter; and fluid use of brilliant and contrasting oil glazes.
[Hawks Gallery reinstallation, summer 2019]
back of frameback of frameback of frameback of cradleback of cradle, Two identical red wax sealsside of frame
1949.64
item
Memorial Art Gallery
2/20/2001
49.64SL1
slide
full
2 x 2
00/00/00
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glossy
8x10
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8x10
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5x7
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negative
4x5
00/00/00
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49.64DI1
digital image
5/16/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/49.64_I1.jpg
49.64SL2
slide
detail - eyes
2x2
00/00/00
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49.64SL3
slide
detail - face
2x2
00/00/00
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49.64SL4
slide
full and left profile
2x2
00/00/00
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49.64DI2
digital image
Full
00/00/00
http://127.0.0.1:5000/Media/images/49.64_A1.jpg
49.64DI#2
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.64_A2.jpg
49.64DI#3
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.64_A3.jpg
x-ray
00/00/00
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