
Saint Luke Drawing the Virgin and Christ Child
Girolamo da Carpi·c. 1535
Historical Context
Girolamo da Carpi's Saint Luke Drawing the Virgin and Christ Child, painted around 1535, depicts the patron saint of painters at work, a subject with obvious significance for artists and their guilds. Girolamo da Carpi, a Ferrarese painter and architect who worked for the Este court, was influenced by Correggio, Parmigianino, and Dosso Dossi. This painting reflects the Renaissance preoccupation with artistic self-definition and the elevated status of painting.
Technical Analysis
Girolamo's oil-on-panel technique shows the influence of Correggio in the soft, sfumato modeling and warm tonality. The composition creates an intimate scene of artistic creation, with careful attention to the light that illuminates both the Virgin and the artist's work.
Provenance
Lucrezia d’Este (died 1598), Duchess of Urbino, Ferrara, by 1592, when it was recorded in the oratory of the Palazzo d’Este, Ferrara, as “…San Luca che ritrae la Madonna con Nro Sigre in brazzo di mano di Girolamo da Carpi” [see Della Pergola 1959, p. 343 and Della Pergola 1960, p. 440, no. 42, and Della Pergola 1963, p. 85, no. 312; Lucrezia had probably inherited it from her father Duke Ercole II d’Este (died 1559) or her uncle Cardinal Ippolito II d’Este (died 1572)]; bequeathed by her to Cardinal Pietro Aldobrandini (died 1621), Rome and Frascati, listed in 1603 Aldobrandini inventory as by Raphael, “San Luca, che sta ritrando la Madonna, di Raffaelle da Urbino” [see D’Onofrio 1964, Part I, p. 20, no. 61 and Part II, p. 159, listed under no. 89, as no. 61]; by descent to his nephew Cardinal Ippolito Aldobrandini (died 1638), Rome and Frascati, no. 42 in 1626 Aldobrandini inventory, “Un quadro con S luca che sta ritrahendo la Mad.a di mano di Raffael d’Urbino del n. 61” [Della Pergola 1960, p. 429]; by descent to his niece Olimpia Aldobrandini (died 1682), Rome and Frascati, in 1682 inventory as no. 312, “Un quadro in tavola con San Luca che sta ritrahendo la Madonna, alto pmi uno e tre quarti, con cornice nera di mano di Raffaele d’Urbino…”[Della Pergola 1963, p. 74]; probably by descent to her son Prince Giovanni Battista Pamphili (died 1709), Rome; probably by descent to his son Prince Girolamo Pamphili (died 1760), Rome. Acquired in Rome by Richard Dalton about 1763 for Sir Richard Grosvenor, 1st Earl Grosvenor, London, as by Raphael [according to Young 1820, no. 56 and Grosvenor House Catalogue 1876, p. 24, no. 69]; by descent to Hugh Richard Arthur Grosvenor, 2nd Duke of Westminster, until at least 1903 [Berenson 1903]. Baron Alfred de Rothschild (died 1918), London [according to the 1925 sale catalogue of his daughter’s collection]; by descent to his daughter, Almina, Countess of Carnarvon; her sale, Christie’s, London, May 22, 1925, lot no. 89, to Douglas [according to annotated copy of sale catalogue in Ryerson Library; copy in curatorial file]; R. Langton Douglas, London and Fiesole, 1925 [this and the following provided by Michael Tollemache acting as agent for the Gronau family]. Georg Gronau (died 1938), Fiesole, by 1930; by descent to his son, Hans-Dietrich Gronau (died 1951), London and Florence; his widow, Carmen Gronau (died 1999), London and Florence; by descent to her grand-daughter, London; sold to the Art Institute of Chicago with Michael Tollemache Fine Art, London, as agent.
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