The Crucifixion Artist: Annibale Carracci (Italian, 1560–1609)

ca. 1587–88

European Art

On view, 2nd floor, European Art

Medium

Oil on canvas laid on panel

Dimensions

unframed: 81.5 × 61.5 cm (32 1/16 × 24 3/16 in.)

Credit Line

Gift of Richard L. Feigen, B.A. 1952 in honor of Laurence Kanter

Accession Number

2011.235.1

Culture

Italian, Bologna

Period

16th century

Classification

Paintings

Disclaimer

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of records is ongoing.

Provenance
(probably) Queen Christina of Sweden, Rome (until 1689); Cardinal Dezio Azzolino, Rome (1689); Marchese Pompeo Azzolino, Rome (1689-96); Prince Livio Odescalchi, Rome (1696-1713); Prince Baldassarre Odeschalchi-Erba, Rome (1713-21); Philippe Duc d'Orleans, Palais Royal, Paris (1721/23); Louis Philippe Duc d'Orleans, Paris (1752-85); Louis Philippe Joseph Duc d'Orleans, Paris (1785-92); Viscomte Edouard de Walckiers, Brussels (1792); Francois de laborde de Mereville, Paris (1792-98); Jeremiah Harman, London (1798); A Syndicate (3rd Duke of Bridgewater, Lords Carlisle and Gower), London - exhibited for asale by Bryan at the Lyceum, Strand, London (1798-99), no. 126; 3rd Duke of Bridgewater, London (1799-1803); By descent to: 5th Earl of Ellesmere, London - his sale, Christie's London, Oct. 18, 1946, lot 64 - bought by "Madeira" with Wetzler, Madeira (1946); Edourdo Paquete, Funchal, Madeira.
Bibliography

  • Paola D'Agostino, "Reconsidering the Crucifixion by Annibale Carracci," Yale University Art Gallery Bulletin (2014): 64–69, fig. 1.
  • Daniele Benati and Eugenio Riccòmini, Annibale Carracci, exh. cat. (Milan: Electa, 2006), 146–47, no. III.7.
  • R. B. Simon, Important Old Master Paintings. Discoveries...in una nuova luce... (New York: Piero Corsini Inc., 1988), 41–44, fig. 7.
  • Gianfranco Malafarina, L'opera completa di Annibale Carracci (Milan: Rizzoli International Publications, Inc., 1976), 92, fig. 19.
  • D. Stephen Pepper, "I limiti del Positivismo: L'Annibale Carracci di Donald Posner," Arte Illustrata 49 (June 1972): 267.
  • Donald Posner, Annibale Carracci: A Study in the Reform of Italian Painting around 1590, 2 vols. (London: Phaidon, 1971), 10, no. 18, pl. 18.
  • Karl Theodore Parker, Catalogue of the Collection of Drawings in the Ashmolean Museum, volume II: Italian Schools (Oxford: Clarendon Press, 1956), 80.
  • Casimir Stryienski, La Galerie du Regent, Philippe, Duc d'Orleans (Paris: Goupil & Cie, 1913), 169, no. 240.
  • Gustav Friedrich Waagen, Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings Drawings, Sculptures, Illuminated MSS, 3 (London: London, 1854), 488, fig. 4.
  • Francis Egerton Ellesmere, Earl of Ellesmere, Catalogue of the Bridgewater collection of pictures, belonging to the Earl of Ellesmere, at Bridgewater House, Cleveland Square, St. James's (London: J. M. Smith, 1851), fig. 245.
  • Anna Brownell Murphy Jameson, Companion to the most celebrated private galleries of art in London: Containing accurate catalogues, arranged alphabetically, for immediate reference, each preceded by an historical and critical introduction, with a prefatory essay on art, artists... (London: Saunders and Otley, 1844), 100, fig. 21.
  • John Young, A Catalogue of the Collection of Pictures, of the most noble the Marquess of Stafford, Cleveland House, London, Containing an etching of every picture, and accompanied with historical and biographical notices, 1 (of 2 vols.) (London: Hurst, Robinson, and Co., 1825), 77–78, no. 105.
  • William Buchanan, Memoirs of Painting with a Chronological History of the Importation of Pictures by the Great Masters into England Since the French Revolution, 1 (London: R. Ackermann, 1824), 81.
  • William Young Ottley and Peltro William Tomkins, Engravings of the Most Noble the Marquis of Stafford's collection of pictures in London, arranged according to schools and in chronological order, with remarks on each picture, by William Young Ottley, II (London: Longman, Hurst, Rees, Orme, and Brown, 1818), 56, Class II, fig. 47.
  • Jacques Couché, Galerie du Palais Royal: gravée d'après les tableaux des différentes écoles qui la composent. Avec un abrégé de la vie des peintres et une description historique de chaque tableau / par M. l'Abbé de Fontenai, 1 (Paris: J. Couché et Bouilliard, 1786), no. 16, fig. 5.
  • Louis François Dubois de Saint-Gelais, Description des tableaux du Palais royal (Paris: Chez d'Houry, 1727), 31–32.

Object copyright
No Copyright - United States
Additional information

Object/Work type

religious art

Subject

crucifixions

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