Order reproductions from the Gallery Shop. Gigliola Fragnito, “Ranuccio Farnese,” in Dizionario biografico degli italiani, ed. The way he is looking out to the left of the picture, and the slight turning of his body, makes him look as if he is about to move from the place where the artist has captured him on canvas. 1 [1930]: 70–71, 85), and sometimes by Francesco Salviati, on the basis of an inscription on the back. Following John Pope-Hennessy,[20] [20]John Pope-Hennessy, The Portrait in the Renaissance (London and New York, 1966), 279–280, 326. Palazzo Ducale, Colorno; Galleria Nazionale di Capodimonte, Naples; Haus der Kunst, Munich; Milan, 1995: 206), the picture was probably transferred from the Palazzo Reale to the Palazzo di Capodimonte as part of the reorganization of the royal collection undertaken by Padre Giovanni Maria della Torre between 1756 and 1764. Farnese was patron to Federico Commandino, an important translator of ancient Greek mathematical works. [6] A. Filangieri di Candida, “La galleria nazionale di Napoli,” Le gallerie nazionali iItaliane 5 (1902): 304, no. 1, Italian Schools, ed. But Gronau did not know the picture in the original, and following the judgment of Herbert Cook, he regarded it, together with other versions in the Berlin Museum and in the Brauer collection, Florence, as a copy, and the signature as false. and since the cleaning of the picture in 1949–1950, no further doubts have been raised about its authenticity or high quality. [4] The Farnese collection was transferred to Naples in 1734, probably initially to the Palazzo Reale, when it was inherited by Charles of Bourbon, king of Naples. Pietro Aretino, Lettere, ed. 1] [fig. You may download complete editions of this catalog from the catalog’s home page. 1542. Amadeo Ronchini, “Delle relazioni di Tiziano coi Farnesi,” Atti e memorie delle RR Deputazioni di Storia Patria per le Provincie Modenesi e Parmensi 2 (1864): 129–130, 145; Joseph Archer Crowe and Giovanni Battista Cavalcaselle, Titian, His Life and Times (London, 1877), 2:75–79; Georg Gronau, “Zwei Tizianische Bildnisse der Berliner Galerie,” Jahrbuch der Königlich Preussischen Kunstsammlungen 27 (1906): 3–7. He wears the Maltese cross on his robe. FreeArt provides Free 8x10 inch prints. In this video I make a study of Titian's Portrait of Ranuccio Farnese from the National Gallery of Art U.S.A. using an indirect painting method. Inv. Peter Humfrey and Joanna Dunn based on the examination report by Paula De Cristofaro. “V. © 2020 National Gallery of Art Notices Terms of Use Privacy Policy, For Ranuccio Farnese’s biography, see Gigliola Fragnito, “Ranuccio Farnese,” in. Ranuccio Farnese (11 August 1530 – 29 October 1565) was an Italian prelate, who was Cardinal of Santa Lucia in Selci from 1545 to his death in 1565. When the picture resurfaced in the Cook collection toward the end of the 19th century, John Charles Robinson accepted the signature as genuine, and because of the Neapolitan provenance, he accurately conjectured that the sitter was a member of the Farnese family. As pointed out by Francis Kelly, it was used by Taddeo Zuccaro as the basis for the full-length portrait of Ranuccio included in his fresco of 1562–1563, Pierluigi Farnese Being Made Gonfalonier of the Church, in the Sala dei Fasti Farnesiani at the Villa Farnese, Caprarola. Adult responsibility came to Ranuccio when he was still a child, as Titian brilliantly conveyed through the cloak of office, too large and heavy, sliding off the boy’s small shoulders. [11] The Kress Foundation made an offer to Contini Bonacossi on 7 June 1948 for a group of twenty-eight paintings, including Titian's "Portrait of a Boy;" the offer was accepted on 11 July 1948 (see copies of correspondence in NGA curatorial files). Luba Freedman differentiated between the Ranuccio and the Clarissa Strozzi to the extent that the latter stresses the sitter’s character as a child (in this case, of only two years old), whereas the former portrays him as the future adult, and as the heir to a great dynasty. Paolo Procaccioli (Rome, 1998), 2:128–130. Cook himself had come to a more positive judgment by 1913,[17] [17]In a note appended to his corresponding entry in the catalog of the Cook collection, Tancred Borenius rejected the portrait, adding that “the slovenly signature is obviously a forgery.” But Cook disagreed, declaring in the same entry, “I cannot share any doubt as to the authenticity of this portrait; unfortunately its condition leaves much to be wished for, and this must explain its failure to command universal recognition.” See Tancred Borenius, A Catalogue of the Paintings at Doughty House, Richmond, and Elsewhere in the Collection of Sir Frederick Cook Bt., vol.
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