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Cardinal Bandinello Sauli, His Secretary, and Two Geographers by Sebastiano del Piombo

Cardinal Bandinello Sauli, His Secretary, and Two Geographers

Sebastiano del Piombo·1516

Historical Context

Sebastiano del Piombo's portrait of Cardinal Bandinello Sauli with his secretary and two geographers, painted in 1516, is one of the most ambitious group portraits of the Roman Renaissance. Sauli was a Genoese cardinal and patron of learning, and the inclusion of geographers reflects the cardinal's intellectual interests during an era of geographical discovery. Painted during Sebastiano's years of close collaboration with Michelangelo in Rome, this monumental composition rivals Raphael's contemporary portraits in its psychological depth.

Technical Analysis

Sebastiano's oil-on-panel technique combines Venetian richness of color with the monumental figure conception absorbed from Michelangelo. The four figures are arranged with careful attention to spatial relationships and psychological interaction, each face painted with penetrating individual characterization.

Provenance

Palazzo Giacomo Balbi del fu Costantino, Genoa, by 1780. Henry Labouchère, 1st baron Taunton [d. 1869], Quantock Lodge, Bridgwater, Somerset, by 1854; probably his widow, Mary Matilda [d. 1892]; probably by inheritance to their daughter, Mary Dorothy Stanley [d. 1920], Quantock Lodge, or her son, Captain Edward Arthur Vesey Stanley [1879-1941], Quantock Lodge, until at least 1912. Henry George Charles Lascelles, Viscount Lascelles and later 6th earl of Harewood [1882-1947], London, and Harewood House, Leeds, Yorkshire, by 1920;[1] by inheritance to his son, George Henry Hubert Lascelles, 7th earl of Harwood [1923-2011], Harewood House; sold 1949 to the Samuel H. Kress Foundation, New York;[2] gift 1961 to NGA. [1] The painting was published in 1920, owned by Viscount Lascelles, as _Portrait Group_ to illustrate the article "A Portrait Group by Sebastiano del Piombo" by Tancred Borenius, _The Burlington Magazine_ XXXVII, no. CCXI (October 1920): 169, repro. Viscount Lascelles became the 6th earl of Harewood after his father's death in October 1929. See also Tancred Borenius, _Catalogue of the Pictures and Drawings at Harewood House and Elsewhere in the Collection of the Earl of Harewood_, Oxford, 1936: no. 62, pl. XIX, where the painting is listed as being in the earl's London residence. Until its demolition in 1934 the earl had resided in Chesterfield House, which he purchased shortly before his 1922 marriage to H.R.H. Princess Mary, the Princess Royal, daughter of King George V and Queen Mary. A photograph probably taken in 1931 shows the painting hanging at the top of the great staircase (reproduced in John Cornforth, _London Interiors from the Archives of Country Life_, London, 2000: 102); however, a photograph of the same part of the house published in 1922 around the time of the wedding shows the same wall empty (H. Avray Tipping, "Chesterfield House, Mayfair.-I. A Residence of Viscount Lascelles," LI, no. 1312 [25 February 1922]: 237). [2] See The Kress Collectioon Digital Archive, https://kress.nga.gov/Detail/objects/442.

See It In Person

National Gallery of Art

Washington, D.C., United States

Visit museum website →

Quick Facts

Medium
Oil on panel
Dimensions
overall: 121.8 × 150.4 cm
Era
High Renaissance
Style
High Renaissance
Genre
Portrait
Location
National Gallery of Art, Washington, D.C.
View on museum website →

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Portrait of a Man, Said to be Christopher Columbus (born about 1446, died 1506)

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Portrait of a Young Woman as a Wise Virgin by Sebastiano del Piombo

Portrait of a Young Woman as a Wise Virgin

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Portrait of a Humanist by Sebastiano del Piombo

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