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Artworks
JACOPO ROBUSTI, CALLED IL TINTORETTO
Portrait of Cardinal Marcantonio da Mula, c. 1562–63Oil on canvas187 x 103 cm;
73 5/8 x 40 1/2 in.Literature
G. Vasari, Le vite de’ piu eccellenti pittori, scultori, et architettori, 1st ed. (2 vols.): Firenze 1550. Second, expanded ed. (3 vols.): Firenze 1568;
C. Ridolfi, Le Maraviglie dell’Arte, overo le Vite de gl’illustri pittori veneti, e dello Stato, Venezia 1648 [edition ed. Detlev von Hadeln, 2 vols., Berlin, 1914–24; facsimile reprint of the von Hadeln edition, “Fonti per la storia dell’arte,” 2 vols., Roma 1965];
G.F. Waagen, Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated MSS., 3 vols. London 1854. Facsimile reprints by R.W. Lightbown (London 1970) and S. Pearce (London 1999); G.F. Waagen, Galleries and Cabinets of Art in Great Britain: Being an Account of More Than Forty Collections of Paintings,
Drawings, Sculptures, Illuminated MSS., Visited in 1854 and 1856… Forming a Supplemental Volume to the
Treasures of Art in Great Britain, 3 vols. London 1857. Facsimile reprint ed. Ronald W. Lightbown, London 1970;
M.L. Boyle, Biographical Catalogue of the Portraits at Panshanger the Seat of Earl Cowper, K.G., London 1885; P. Rossi, Jacopo Tintoretto. L’opera completa, R. Pallucchini and P. Rossi (eds), vol. 1: I Ritratti, with an introduction by Rodolfo
Pallucchini, Venezia 1974;
B. Davidson, “The Decoration of the Sala Regia under Pope Paul III,” in The Art Bulletin, LVIII, 1976, pp. 395-423;
R. Pallucchini and P. Rossi, Le opere sacre e profane, 2 vols., Milano 1982; L. Partridge and R. Starn, “Triumphalism and the Sala Regia in the Vatican,” in All the World’s a Stage. Art and Pageantry in the Renaissance and Baroque. Papers in Art History from the Pennsylvania State University, vol. vi/1, Triumphal Celebrations and the Ritual of Statecraft, Pennsylvania
1990, pp. 22-81;
L. Attardi, in V. Sgarbi (ed), Tintoretto, exh. cat., Roma, Scuderie del Quirinale, 25 February–10 June 2012, Genève-Milano 1992;
P. Rossi (ed), Jacopo Tintoretto. Ritratti, exh. cat., Venezia, Gallerie dell’Accademia, 25 March–10 July 1994, subsequently Vienna, 31 July–30 October 1994, Milano 1994;
A. Böck, Die Sala Regia im Vatikan als Biespiel der Selbstdarstellung des Papsttums in der zweiten Halfte des 16. Jahrhunderts, Hildesheim–Zurich–New York 1997, pp. 125-26;
J.L. de Jong, “The Painted Decoration of the Sala Regia in the Vatican: Intention and Reception,” in T. Weddingen, A. Roth, B. Kempers (eds), Functions and Decorations: Art and Ritual at the Vatican Palace in the Middle Ages and the Renaissance, Turnhout 2004;
M. Falomir (ed), Tintoretto, exh. cat., Museo Nacional del Prado, Madrid 2007;
J.L. de Jong, “Propagating Venise’s Finest Hour: Vicissitudes of Giuseppe Porta Salviati’s Painting of Pope Alexander III and Emperor Frederick Barbarossa in the Sala Regia at Vatican Palace,” in A. De Vries (ed), Cultural Mediators. Artists and Writers in the Crossroads of Tradition, Innovation and Reception in the Low Countries and Italy, vol. XXXI, Groningen 2008; A. Celletti, “Autorappresentazione papale ed età della Riforma: gli affreschi della Sala Regia vaticana,” Eurostudium January–March 2013;
C. Furlan and P. Tosini (eds), I cardinali della Serenissima. Arte e committenza tra Venezia e Roma (1523–1605), Cinisello Balsamo 2014; P. Tosini, “Impronte veneziane: le committenze artistiche dei cardinali della Serenissima a Roma,” in I cardinali della Serenissima. Arte committenza tra Venezia e Roma (1523–1605), C. Furlan and P. Tosini (eds), Cinisello
Balsamo 2014, pp. 283-307.