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Image for Portrait of Maria Salviati de' Medici and Giulia de' Medici
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Portrait of Maria Salviati de' Medici and Giulia de' Medici Thumbnail
Portrait of Maria Salviati de' Medici and Giulia de' Medici Thumbnail

Portrait of Maria Salviati de' Medici and Giulia de' Medici

Pontormo (Jacopo Carucci) (Italian, 1494-1557) (Artist)
ca. 1539 (Renaissance)
oil on panel
(Renaissance Europe )

Pontormo (Jacopo Carucci, but known by the name of his birthplace, the town of Pontorme) was esteemed by the Medici family, rulers of Florence, for his ability to capture the individuality of his sitters, while emphasizing their aristocratic demeanor. Maria Salviati, as in other contemporary portraits of her, wears the clothes of mourning for her deceased husband, the famous military leader Giovanni delle Bande Nere de' Medici (d. 1526). The little girl holding her hand here is Giulia, a Medici relative who was raised in Maria's household after the murder of the child's father, Duke Alessandro de' Medici (1511-1537). As Alessandro was born of a liaison between a Medici cardinal and an African slave, this formal portrait is the first of a child of African ancestry in European art. Giulia grew up with all the status of a Medici and married another aristocrat. Descendents of hers are alive today.
By the nineteenth century, as the painting changed hands, the identity of the figures was lost. Toward the end of the century the painting surfaced again, identified as Vittoria Colonna, a famous Renaissance poet, widow, and friend of Michelangelo. Good portraits of the poet are known today and the widow in the Walters' painting is not her! Presumably because of Colonna's ongoing fame (and the difficulty for a potential buyer to check on such things then), the dealer thought this name would make the painting easier to sell. The problem is that Colonna had no children; so probably to make the painting consistent with its new name, the child was painted out.
Although the painting was acquired by Henry Walters in 1902, little attention was paid to it until after Walters' collection was bequeathed to the city of Baltimore in 1931 and the Walters Art Gallery was established. Then in 1937 the painting was x-rayed and cleaned, revealing the presence of a child. For years the proposed identification of the child was as Maria Salviati's only child, Cosimo de' Medici (1519-1574), who went on to become Grand Duke of Tuscany. According to this theory, Cosimo, as a young adult, commissioned this image of his mother and himself to honor her attention to his upbringing after his father's death. The problem with this solution is that the child is clearly a girl with her hair in braids and a girl's clothing. In the 1990s the scholar Gabrielle Langdon proposed that the child was actually Giulia. After her work came to our attention and considerable research was carried out to confirm this proposal, the identification was changed here at the Walters and the idea slowly began to take shape for a project that would eventually become the 2012 Walters' exhibtion "Revealing the African Presence in Renaissance Europe". The accompanying publication, edited by Joaneath Spicer, is available as a free ebook.

Provenance
Provenance (from the French provenir, 'to come from/forth') is the chronology of the ownership, custody, or location of a historical object.

Medici Collections; Riccardo Romolo Riccardi, Palazzo Gualfonda, Florence, prior to 1612 [inventory of 1612, Florence, Archivio di Stato, Carte Riccardi, fil. 258, c.21r-23r, as "un quadro di br.a uno e mezzo della Sig.ra D. Maria Medici con una puttina per mano di Jacopa da Pontormo"] until after 1814 [Florence, Archivio di Stato, Carte Riccardi, fil. 278, as "no 147 un quadro rappresenta un ritratto di donna con una bambina"] [mode of acquisition unknown]; Don Marcello Massarenti Collection, Rome, prior to 1881 [mode of acquisition unknown] [1881 catalogue: no. 79; 1897 catalogue: no. 381, as Sebastiano del Piombo]; Henry Walters, Baltimore, 1902, by purchase; Walters Art Museum, 1931, by bequest.

Exhibitions

2019-2021 Excursions through the Collection: Portraiture, Adornment, and the Natural World.
2012-2013 Revealing the African Presence in Renaissance Europe. The Walters Art Museum, Baltimore; Princeton University Art Museum, Princeton.
2004-2005 Pontormo, Bronzino, and the Medici: The Transformation of the Renaissance Portrait. Philadelphia Museum of Art, Philadelphia.
2002-2003 The Legacy of Michelangelo. Palazzo Strozzi, Firenze; The Art Institute of Chicago, Chicago; The Detroit Institute of Arts, Detroit.
2001-2002 Virtue and Beauty: Leonardo's Ginevra de'Benci and Renaissance Portraits of Women. National Gallery of Art, Washington.
1998-2001 Highlights from the Collection. The Walters Art Gallery, Baltimore.
1995-1996 Going for Baroque. The Walters Art Gallery, Baltimore.
1980 Undercover Stories in Art. The Walters Art Gallery, Baltimore.

Conservation

Date Description Narrative
4/2/2023 Treatment cleaned; x-ray
4/2/2023 Examination examined for exhibition
4/2/2023 Examination examined for condition
2/5/1937 Treatment cradle removed; x-ray
2/5/1937 Examination examined for condition
9/10/1940 Treatment coated; loss compensation; other
1/1/1953 Examination examined for condition
12/21/1960 Treatment cleaned; coated
12/21/1960 Treatment other; surface cleaned
1/26/1971 Treatment re-housed
3/1/1986 Treatment loss compensation; coated
12/4/1986 Treatment cradle removed; examined for condition; inpainted; other; varnish removed or reduced
12/4/1986 Examination examined for condition
12/4/1986 Treatment examined for condition; other; varnish removed or reduced
8/1/1987 Treatment cleaned; coated; loss compensation; other
8/1/1987 Treatment coated; inpainted; other; varnish removed or reduced
11/1/2000 Loan Consideration examined for loan
11/12/2000 Examination cradle removed; examined for loan
11/12/2000 Examination examined for loan
11/12/2000 Loan Consideration examined for loan
10/15/2003 Examination examined for loan
10/20/2003 Loan Consideration examined for loan
10/24/2011 Examination examined for loan
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Geographies

Italy, Florence (Place of Origin)

Measurements

Painted surface: H: 34 5/8 x W: 28 1/16 x D: 3/8 in. (88 x 71.3 x 1 cm); Framed H: 44 1/2 x W: 36 1/4 x D: 3 1/2 in. (113.03 x 92.08 x 8.89 cm)

Credit Line

Acquired by Henry Walters with the Massarenti Collection, 1902

Location in Museum

Charles Street: Third Floor: 16th-Century Italian Art

Accession Number

In libraries, galleries, museums, and archives, an accession number is a unique identifier assigned to each object in the collection.

37.596

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Hours

  • Wednesday—Sunday: 10 a.m.—5 p.m.
  • Thursday: 1–8 p.m.
  • Monday—Tuesday: Closed

Location

600 N. Charles St.
Baltimore, MD
21201

Phone

410-547-9000

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