Saint Luke Displaying a Painting of the Virgin
Framed: 101 3/16 × 85 5/16 inches (257.02 × 216.69 cm)
- 114
The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries, Pinacoteca Nazionale, Bologna, September 10-November 10, 1986; National Gallery of Art, Washington, D.C., December 19, 1986-February 16, 1987; The Metropolitan Museum of Art, New York, March 26-Mary 24, 1987, no. 168.
A Bountiful Decade: Selected Acquisitons, 1977-1987, The Nelson-Atkins Museum of Art, Kansas City, Missouri, October 14-December 6, 1987, no. 55.
Giovanni Francesco Barbieri, Il Guercino, 1591-1666, Richard L. Feigen & Co., New York, March 12-April 25, 1992, no. 12.
Commissioned for the church of San Francesco, Reggio Emilia, 1653-at least June 1721;
Probably The Honorable John Spencer (1708-1746), by 1746;
Probably by descent to his son, John Spencer (1734-1783), 1st Earl Spencer, Althorp, Northamptonshire, 1746-1783 [1];
By descent to the Earls Spencer, Althorp, Northamptonshire, 1783-ca. 1983;
With P. and D. Colnaghi, London, on joint account with Richard L. Feigen and Co., New York, by 1983;
Purchased from Colnaghi and Feigen by The Nelson-Atkins Museum of Art, Kansas City, MO, 1983.
NOTES:
[1] The painting is included in a 1750 inventory of the Spencer collection.
C.C. Malvasia, Felsina pittrice, vite de pittori bolognesi, ed. G. P. Zanotti, vol. 2 (1678; repr. Bologna, 1841), 269, 336.
[Jacopo Alessandro Calvi], Notizie della vita, e delle opera del Cavaliere Gioan Francesco Barbieri detto il Guercino da Cento (Bologna: Tipografia Marsigli, 1808), 139.
Thomas Frognall Dibdin, Aedes Althorpianae, or an Account of the Mansion, Books, and Pictures at Althorp; the Residence of George John, Earl Spencer, K.G., vol. 1 (London: W. Nicol, 1822), 276.
Johann David Passavant, Kunstreise durch England und Belgien (Frankfurt: Siegmund Schmerber, 1833), 191.
Johann David Passavant, Tour of a German Artist in England, vol. 2 (London: Saunders and Otley, 1836), 34
Gustav Friedrich Waagen, Treasures of Art in Great Britain, vol. 3 (London: John Murray, 1854), 456.
Giuseppe Campori, Gli artisti italiani e stranieri negli stati estensi: Catalogo critico corredato di documenti inediti (Modena: Tipofrafia della R.D. Camera, 1855), 50.
Gaetano Atti, Intorno alla vita e alle opera di Gianfrancesco Barbieri, detto il Guercino da Cento: Commentario (Rome: Tipografia delle Scienze Matematiche e Fisiche, 1861), 116.
Ulrich Thieme and Felix Becker, eds., Allgemeines Lexikon der bildenden Künstler, vol. 15 (Leipzig: E.A. Seemann, 1922), 219.
Philip Toynbee, ed., “Horace Walpole’s Journals of Visits to Country Seats…1760,” The Walpole Society 16 (1927-28): 32, as by Francesco Albani.
Dorothy Klein, St. Lukas als Maler der Maria: Ikonographie der Lukas-Madonna (Berlin: Oskar Schloss, 1933), 87, 117n401.
Andor Pigler, Barockthemen: eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18. Jahrhunderts, vol. 1 (Budapest: Verlag der Ungarischen Akademie der Wissenschaften, 1956), 444.
Nefta Barbanti Grimaldi, Il Guercino: Gian Francesco Barbieri, 1591-1666 (Bologna: Edizione G.R., 1968), 111.
Kenneth Garlick, “A Catalogue of Pictures at Althorp,” The Walpole Society 45 (1974-1976): 34.
Nerio Artioli and Elio Monducci, Dipinti “Reggiani” del Bonone e del Guercino, exh. cat. (Reggio Emilia: Ente Provinciale per il Turismo, 1982), 115-17, 176-78, (repro.).
“Italian Masterpiece is Added to the Collection,” Calendar of Events (The Nelson-Atkins Museum of Art) (June 1984): unpaginated, (repro).
Donald Hoffman, “Guercino fills a gap at gallery,” The Kansas City Star (June 3, 1984): 11D, (repro.).
“Fellows View the Guercino,” The Independent Magazine (June 16, 1984): unpaginated, (repro.).
“Seventeenth-Century Paintings: Recent Acquisitions and Conservation in American and European Museums,” The Burlington Magazine 126 (1984): 320, (repro.).
Giovanni Fallani, ed., L’arte sacra nei Ducati Estensi: Atti della II Settimana dei Beni storico-artistici della Chiesa nazionale negli Antichi Ducati Estensi, Ferrara, 13-18 settembre 1982 (Ferrara: Stabilimento Artristico Tipografico, 1984), 365.
M. Therese Southgate, “The Cover: Giovanni Francesco Barbieri, St. Luke Displaying a Painting of the Virgin, 1652,” The Journal of the American Medical Association 256, no. 14 (October 10, 1986): 1841, (repro.).
The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries (Washington, D.C.: National Gallery of Art, 1986), 478-481.
John Russell, “Italy’s Heralds of the Baroque,” review of The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries, The New York Times (March 22, 1987): sec. 2, pp. 34.
Roger Ward, ed., A Bountiful Decade: Selected Acquisitions, 1977-1987, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1987), 130-131, (repro.).
Luigi Salerno and Denis Mahon, I dipinti del Guercino (Rome: Bozzi, 1988), no. 300, pp. 368-89, (repro.).
Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 60-61, (repro.).
John Walsh, “Jan Steen’s Drawing Lesson and the Training of Artists,” Source: Notes in the History of Art 8/9, no. 4/1 (Summer-Fall 1989): 83, 86n22.
Denis Mahon, The Drawings of Guercino in the Collection of Her Majesty the Queen at Windsor Castle (Cambridge: Cambridge University Press, 1989), 129.
Olivier Bonfait, “Il pubblico del Guercino: Richerche sul mercato dell’arte nel XVII secolo a Bologna,” Storia dell’Arte, no. 68 (1990): 83.
Leo Steinberg, “Steen’s Female Gaze and Other Ironies,” Artibus et Historiae 11, no. 22 (1990): 126n30.
Roger Ward, “Selected Acquisitions of European and American Paintings at The Nelson-Atkins Museum of Art, Kansas City, 1986-1990,” Burlington Magazine 133, no. 1055 (February 1991): 156.
Simon Blow, “A Tale of Two Houses,” Connoisseur 221 (1991): 63.
Michael Helson et al., Guercino in Britain: Paintings from British Collections, exh. cat. (London: National Gallery Publications and the Burlington Magazine Publications, 1991), 4, 6-7, (repro.).
David M. Stone, Guercino: Catalogo complete dei dipinti (Florence: Cantini, 1991), no. 287, pp. 294-295, (repro.).
Carel van Tuyll van Serooskerken, Guercino (1591-1666): Drawings from Dutch Collections, exh. cat. (S’Gravenhage: Gary Schwartz, 1991), 134.
Tom Henry, review of Guercino (1591-1666): Drawings from Dutch Collections, by Carel van Tuyll van Serooskerken, The Burlington Magazine 133 (July 1991): 476.
Advertisement, The Burlington Magazine 134 (1992): ii, (repro.).
Arthur C. Danto, Mark Tansey: Visions and Revisions (New York: Harry N. Abrams, 1992), 8-9, (repro.).
Giovanni Francesco Barbieri, Il Guercino, 1591-1666, exh. cat. (New York: Richard L. Feigen, 1992), 42-44, (repro.).
Nicholas H. J. Hall, ed., Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York (New York: Colnaghi, 1992), 70-71, 129, (repro.).
Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art, 1933-1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 108.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 169, (repro.).
Andrea Emiliani et al., La Pittura in Emilia e in Romagna: Il seicento, vol. 2 (Milan: Electa, 1994), 392.
Jared Jackson, Art: A comparative study (Dubuque, Iowa: Kendall/Hunt Publishing, 1994), 211-212, (repro.).
Elliot W. Rowlands, The Collections of The Nelson-Atkins Museum of Art: Italian Paintings, 1300-1800 (Kansas City, MO: Nelson-Atkins Museum of Art, 1996), 21, 297-306, (repro.).
Jana Zapletalová, “A new Guercino: Copy or Replica?” Institute of the History of Art of the Academy of Sciences of the Czech Republic 59 (2011): 299, 300,302n20, 302n21, 302n36, 344, (repro.).
