Gian Lodovico Madruzzo

1. 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.

Recorded by Art Institute of Chicago.

• 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.

• 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.

View of Ponte Lugano on the Anio, from Views of Rome

Art Institute of Chicago

Villa Pamphili outside Porta S. Pancrazio, from Views of Rome

Art Institute of Chicago

Armida Encounters the Sleeping Rinaldo

Art Institute of Chicago

Rinaldo and the Magus of Ascalon

Art Institute of Chicago

Armida Abandoned by Rinaldo

Art Institute of Chicago

Rinaldo and Armida in Her Garden

Art Institute of Chicago

The Giant Wheel, plate 9 from Imaginary Prisons

Art Institute of Chicago

Virgin and Child with Saints Dominic and Hyacinth

Art Institute of Chicago

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