Madonna of the Goldfinch
Giovanni Battista Tiepolo·c. 1767/1770
Historical Context
Madonna of the Goldfinch (c. 1767/1770) dates from Tiepolo's final years in Madrid and represents his late devotional style. The goldfinch, traditionally associated with Christ's Passion (its red face said to be stained by a drop of Christ's blood), adds symbolic depth to the tender domestic scene. Tiepolo's late religious works, painted in the shadow of approaching Neoclassicism, represent the final flowering of the great Venetian coloristic tradition.
Technical Analysis
The intimate devotional work shows Tiepolo's late style with somewhat more restrained color than his earlier works. Warm flesh tones and soft modeling create a tender atmosphere, with the goldfinch providing a small, bright accent of color.
Look Closer
- ◆The expansive sky is not mere background — Tiepolo builds it from carefully modulated blues, greys, and whites that establish the painting's overall mood and luminosity.
Provenance
Principe Giovanni-Battista del Drago [1860-1956], Rome, 1904.[1] Unknown [probably a dealer], Hamburg, 1905; Arthur Maier [d. 1935], Karlsbad.[2] (Steinmayer and Bourgeois, Paris); sold 16 October 1904 to (F. Kleinberger Galleries, Paris). [3] (Schaeffer Galleries, New York); purchased 1940 by the Samuel H. Kress Foundation, New York;[4] gift 1943 to NGA. [1] According to Adolfo Venturi, "Tre quadri della raccolta dei principi del Drago in Roma", _L'Arte_ 7 (1904): 64. Martha Hepworth of the Getty Provenance Index (letter of 15 March 1993, NGA curatorial files) noted that some of del Drago's paintings came from Spain: the Mantegna _Sacra Conversazione_, now in the Isabella Stewart Gardner Museum, Boston, was given by Maria Cristina, Queen Regent of Spain, to her daughter on her marriage to Filippo, Principe del Drago in 1856. [2] According to Eduard Sack, _Giambattista und Domenico Tiepolo. Ihr Leben und Ihre Werke_, Hamburg, 1910: 216, the painting was briefly in Hamburg in 1905 before passing to Maier. [3] Kleinberger Gallery stock card no. 6729, Department of European Paintings, Metropolitan Museum of Art. Sack 1910: 216, placed the painting with Kleinberger, but does not mention that it was owned by Steinmayer and Bourgeois, which is included in Pompeo Molmenti, G. B. Tiepolo, _La sua vita e le sue opere_, Milan, 1909: 310-311, repro. 315; Pompeo Molmenti, _G. B. Tiepolo_, Paris, 1911: 253, pl. 241. [4] According to notations in the Kress records, NGA curatorial files. There is a card in the file of "Paintings Sold," Box 6, Schaeffer Gallery Records, Getty Research Institute, which confirms the sale to Kress in 1940 and gives stock no. as 497, but there is no separate stock card for this number. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1385.
