Cupid Chastised

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1. Commissioned by Agostino Chigi (died 1644), Siena, through the agency of Giulio Mancini in March 1613; painting completed by October 1613 [see Wazbinski, 1996]; by descent in the Chigi family, Siena and Rome [recorded in 1644 Chigi inventory: "Un quadro con cornici di noce di alto braccia due 3/4 large braccia due rappresenta un soldato [Mars] che spezza [Amour] presente Venere, la quale cerca difenderlo, opera di Bartolomeo Manfredi Milanese scudi cento 100," see Archivio Chigi Armadio CCCLI]; by descent to Fabio Chigi, later Pope Alexander VII (died 1667), Rome [recorded in 1657 Chigi inventory, no. 57, “Un quadro dipinto di un Marte che spezza Amore e Venere che finge tenerlo [illegible] con strata alto p[a]lmi 7 incirca largo 5 1/2 incirca di Bartolomeo Manfredi con cornice dorata liscia,” see Archivio Chigi Armadio CCCLXXXI]; by descent to his nephew, Agostino Chigi III, Rome (died 1705) [Moir, 1985]; by descent to Prince Ludovico Chigi Albani della Rovere (1866-1951), Palazzo Chigi, Rome until at least 1917; the painting was probably moved to Ludovico Chigi's residence in Ariccia, near Rome, 1917, when the palazzo became property of the Italian government [according to c. 1983 draft of Moir article in Museum studies 1985, copy in curatorial file]. Armando Brasini (1879-1965), Rome, by c. 1935 [according to Carlo Sestieri’s letter, October 3, 1988, in curatorial file stating that he saw it there when he was 13]; Wildenstein and Company, New York and Paris, by 1938 [Voss 1938, p. 30 and Moir 1985]; sold by Wildenstein to Charles H. Worcester, Chicago, 1939 [letters from Wildenstein to Worcester, Nov. 16 and 21, 1939, in curatorial file]; lent to the Art Institute from 1939; given to the Art Institute, 1947.

Recorded by Art Institute of Chicago.

• San Francisco, California Palace of the Legion of Honor, Exhibition of Italian Baroque Painting 17th and 18th Centuries, 1941, cat. 13 (ill. as Caravaggio).
• Milan, Palazzo Reale, Mostra del Caravaggio e dei caravaggeschi, 1951, cat. 62, fig. 59, as school of Caravaggio.
• Seattle Art Museum, Caravaggio and the Tenebrosi, 1954, no. cat., no. 3 on checklist, as school of Caravaggio.
• Cleveland Museum of Art, Caravaggio and His Followers, 1971, cat. 44, p. 129, cat. by Richard E. Spear.
• New York, The Metropolitan Museum of Art, The Age of Caravaggio, 1985, cat. 45 (ill.), traveled to Naples.
• Art Institute of Chicago, Among Friends and Rivals: Caravaggio in Rome, Sep. 8-Dec. 31, 2023, no cat.

• Giulio Mancini, Considerazioni sulla pittura, 1619-21, vol. 1 (Rome, 1956), p. 251.
• Anna, Lady Miller (née Anna Riggs), Letters from Italy vol. 3 (Dublin, 1776), p. 72.
• Ettore Sestieri, "Un Caravaggio di più," L' Arte 8 (October 1937), pp. 264-283, figs. 1, 4,7,9, 13, 15.
• Hermann Voss, "The Chastisement of Love by Caravaggio," Apollo 27 (1938), pp. 31-2, ill. op. p. 31.
• Thomas Carr Howe, Jr., “San Francisco Explores An Era Rediscovered by Modern Taste,” Art News 40 (1941), p. 28, ill.
• N[uma] S. Trivias, “Italian Baroque Painting in San Francisco,” Apollo 34 (1941), p. 44, ill on cover.
• George Isarlo, Caravage et le Caravagisme européen (Aix-en-Provence, 1941), p. 93.
• Roberto Longhi, "Ultimi studi sul Caravaggio e la sua cerchia," in Proporzioni, studi di storia dell'arte, ed. by Roberto Longhi, vol. 1 (Florence, 1943), pp. 25, 49, fig. 53.
• Katharine Kuh, "The Worcester Gift," The Art Institute of Chicago Bulletin 41 (1947), pp. 59, 61, p. 62, ill.
• "Chicago's Worcester Collection," Art News 47 (1947), p. 37, p. 36, ill.
• The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1948), p. 26, ill.
• "The Glory of Italian Painting: The Highest Peak of Art Since Ancient Greece," Masterpieces 1 (1950) p. 28, ill. p. 29.

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