{"pagination":{"total":132132,"limit":15,"offset":0,"total_pages":8809,"current_page":1,"next_url":"https:\/\/api.artic.edu\/api\/v1\/artworks?page=2&limit=15"},"data":[{"id":5292,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/5292","is_boosted":false,"title":"The Terrace","alt_titles":null,"thumbnail":null,"main_reference_number":"1957.49","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1740,"date_end":1750,"date_display":"c. 1745","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Follower of Canaletto (Antonio Canal; Italian, 1697\u20131768)","place_of_origin":"Italy","description":null,"short_description":null,"dimensions":"49.2 \u00d7 58.6 cm (19 3\/8 \u00d7 23 in.); Framed: 69.6 \u00d7 79.1 \u00d7 7 cm (27 3\/8 \u00d7 31 1\/8 \u00d7 2 3\/4 in.)","dimensions_detail":[{"depth":null,"width":58,"height":49,"diameter":null,"clarification":null},{"depth":7,"width":79,"height":69,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Gift of Mrs. Clive Runnells","catalogue_display":null,"publication_history":"Giulio Ferrari, Les deux Canaletto: Antonio Canal, Bernardo Bellotto, peintres (Turin, 1914), p. 26, pl. 50.\n\nCharles Oulmont, \u201cCollection M.-F. Gentili di Giuseppe,\u201d Les Arts no. 162 (1917), pp. 13, 18\u201319, ill. \n\nHellmuth Allwill Fritzsche, Bernardo Belotto, gennant Canaletto (Burg bei Magdeburg, 1936), p. 105, no. 10.\n\nRodolfo Pallucchini and G. F. Guarnati, Les eaux-fortes de Canaletto (Venice, 1945), p. 34, under no. 18.\n\nDaniel Catton Rich, \u201cReport of the Director: Annual Report 1956\u20131957,\u201d The Art Institute of Chicago Quarterly 51, 3 (September 1957), p. 52.\n\nArt Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 65.\n\nW. G. Constable, Canaletto: Giovanni Antonio Canal, 1697\u20131768, vol. 2 (Oxford, 1962), p. 411, no. 469 b or e. \n\nStefan Kozakiewicz, Bernardo Bellotto, genannt Canaletto, vol. 2 (Recklinghausen, 1972), p. 487, no. Z402.\n\nEttore Camesasca, L\u2019opera completa del Bellotto (Milan, 1974), pp. 122\u201323, no. 323 A, ill. \n\nW. G. Constable and J. G. Links, Canaletto: Giovanni Antonio Canal, 1697\u20131768, vol. 2 (Oxford, 1976), p. 443, no. 469; reprinted (Oxford, 1989).\n\nJohn D. Morse, Old Master Paintings in North America (New York, 1979), p. 44.\n\nNew York Graphic Society, Fine Art Collections (Greenwich, Connecticut, 1986), p. 165, ill.","exhibition_history":"Paris, Galerie d\u2019Art Sambon, Exposition des paysagistes v\u00e9nitiens et fran\u00e7ais des XVIIe et XVIIIe si\u00e8cles, June 5\u2013July 5, 1928, no cat. no. \n\nAuckland City Art Gallery, Canaletto: Master of Venice, April 9\u2013June 1, 1986, no cat no.; traveled to National Gallery of Art, Wellington, June 19\u2013July 31, 1986; Robert McDougall Art Gallery, Christchurch, August 14\u2013September 25, 1986.","provenance_text":"Probably Sir Charles Turner, London, by 1908; his sale, Rudolph Lepke, Berlin, November 17, 1908, no. 4, as Bernardo Belotto. Possibly A. S. Drey, Munich [according to Constable and Links 1976]. Antonio Dal Zotto (died 1918), Venice [according to Paris 1928 when the picture and its pendant, 1957.48, were lent by Federico Gentili di Giuseppe]. Federico Gentili di Giuseppe, Paris, (died 1940), by 1917 [see Oulmont 1917]; by descent to his daughter Adriana Salem, Paris and Cambridge, Massachusetts, by 1952 [according to Kleinberger stock card in European Painting Department, Metropolitan Museum of Art, New York, the painting was on loan to the Fogg Museum of Art from 1952\u201354]; by descent to her son, Daniel Salem, Paris [according to stock card referenced above]; sold to F. Kleinberger & Co., New York, 1956 [according to stock card referenced above and a letter from Harry G. Sperling to Daniel Catton Rich dated November 1, 1956 in curatorial file]; purchased by the Art Institute from F. Kleinberger & Co. with funds provided by Mrs. Clive Runnells (died 1977), who maintained a partial life interest in the picture.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":null,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":null,"color":null,"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":47125,"artist_title":"Follower of Canaletto","alt_artist_ids":[],"artist_ids":[47125],"artist_titles":["Follower of Canaletto"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["oil on canvas","towns","oil paint (paint)","painting","18th Century","stairs","clouds","trees","sky","terrace","men","figures","building","Italian","oil paintings (visual works)","paint","canvas","paint","painting","oil painting","painting (image making)","painting techniques","painting","european painting"],"style_id":"TM-13379","style_title":"18th Century","alt_style_ids":[],"style_ids":["TM-13379"],"style_titles":["18th Century"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-14164","TM-78","TM-10387","TM-9","TM-54"],"classification_ids":["TM-66","TM-14164","TM-78","TM-10387","TM-9","TM-54"],"classification_titles":["oil on canvas","Italian","oil paintings (visual works)","paint","painting","european painting"],"subject_id":"TM-12677","alt_subject_ids":["TM-12208","TM-11222","TM-11205","TM-12468","TM-14306","TM-10121","TM-15161","TM-14683"],"subject_ids":["TM-12677","TM-12208","TM-11222","TM-11205","TM-12468","TM-14306","TM-10121","TM-15161","TM-14683"],"subject_titles":["towns","stairs","clouds","trees","sky","terrace","men","figures","building"],"material_id":"TM-2451","alt_material_ids":["TM-3124","TM-2577","TM-13502"],"material_ids":["TM-2451","TM-3124","TM-2577","TM-13502"],"material_titles":["oil paint (paint)","canvas","paint","painting"],"technique_id":"TM-14210","alt_technique_ids":["TM-4273","TM-3891","TM-3971"],"technique_ids":["TM-14210","TM-4273","TM-3891","TM-3971"],"technique_titles":["painting","oil painting","painting (image making)","painting techniques"],"theme_titles":[],"image_id":null,"alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1957.49"],"contexts":{"groupings":["accession"]}},{"input":["The Terrace"],"weight":1747,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-06T10:39:59-05:00","updated_at":"2026-07-06T13:45:55-05:00","timestamp":"2026-07-06T13:45:55-05:00"},{"id":16147,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/16147","is_boosted":false,"title":"Virgin and Child Enthroned","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhAgAFAPMAACAWESghGjMoHzgqIDcxI0I7LEo5Kkg7LUdCNFVTQwAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAACAAUAAAQIsJCEjjBghAgAOw==","width":2407,"height":4830,"alt_text":"A work made of tempera and oil (?) on panel, transferred to canvas."},"main_reference_number":"1933.1008","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1516,"date_end":1516,"date_display":"1516","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Girolamo da Santacroce (Italian, born 1480-85, died 1556)","place_of_origin":"Italy","description":null,"short_description":null,"dimensions":"86.9 \u00d7 44.7 cm (34 1\/4 \u00d7 17 5\/8 in.); Framed : 115.6 \u00d7 74.3 \u00d7 7.7 cm (45 1\/2 \u00d7 29 1\/4 \u00d7 3 in.)","dimensions_detail":[{"depth":null,"width":44,"height":86,"diameter":null,"clarification":null},{"depth":7,"width":74,"height":115,"diameter":null,"clarification":"Framed"}],"medium_display":"Tempera and oil (?) on panel, transferred to canvas","inscriptions":"Inscribed lower right: M.D.XVI.ADI.XX\/ IIII OTVBRIO\/IHERONIMO.DA.SATA + (on the step of the throne)","credit_line":"Mr. and Mrs. Martin A. Ryerson Collection","catalogue_display":null,"publication_history":"Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 159, no. 2025.\n\nRose Mary Fischkin, \u201cMartin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago\u201d (unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago), pp. 53\u201355. \n\nW. H., \u201cSome Recently Acquired Pictures of the Venetian School,\u201d Bulletin of The Detroit Institute of Art 8, 5 (1927), p. 51.\n\nArt Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 180.\n\nBernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 507.\nWilliam R. Valentiner, \u201cPaintings in the Collection of Martin A. Ryerson\u201d (unpub. MS [1932], Archives, The Art Institute of Chicago), n. p. \n\nG. Gombosi, \u201cSantacroce, Girolamo,\u201d in Thieme-Becker, Allgemeines Lexikon der bildenden K\u00fcnstler von der Antike bis zur Gegenwart, vol. 29 (Leipzig, 1935), p. 423. \nBernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 436.\nBernard Berenson, Italian Pictures of the Renaissance: Venetian School, vol. 1 (London, 1957), p. 154, pl. 574. \n\nArt Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 410.\n\nHans Huth, \u201cItalienische Kunstwerke im Art Institute von Chicago, USA,\u201d in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 517.\n\nFritz Heinemann, Giovanni Bellini e i belliniani (Venice, 1962), vol. 1, pp. 39, 161, no. 136 (l); vol. 2, fig. 647.\n\nBurton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 93, 336, 571.\n\nBruno Della Chiesa and Edi Baccheschi,\u201d \u201cI pittori da Santa Croce,\u201d in I pittori bergamaschi dal XIII al XIX secolo: Il cinquecento, vol. 2 (Bergamo, 1976), p. 29, no. 10, p. 58, fig. 3.\n\nEllis Waterhouse, \u201cEarlier Paintings in the Earlier Years of the Art Institute: The Role of the Private Collectors,\u201d The Art Institute of Chicago Museum Studies 10 (1983), p. 89.\n\nBert W. Meijer, The Famous Italian Drawings at the Teyler Museum in Haarlem (Milan, 1984), p. 104.\n\nTerisio Pignatti, Five Centuries of Italian Painting, 1300\u20131800: From the Collection of the Sarah Campbell Blaffer Foundation (Houston, 1985), p. 83.\n\nChristopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 128\u2013130, ill.\n\nGiovanni Godi and Corrado Mingardi, Le collezioni d\u2019arte della Cassa di risparmio di Parma e Piacenza (Parma, 1994), p. 35, under no. 20.\n\nMauro Lucco, La pittura nel Veneto (Milan, 1996), p. 127 n. 293.\n\nMaria Elisa Avagnina, Margaret Binotto, and Giovanni Carlo Federico Villa, Pinacoteca civica di Vicenza: catalogo scientifico delle collezioni, vol. 1 (Milan, Silvana, Vicenza, 2003), p. 239, under no. 87.","exhibition_history":"Chicago, South Side Community Art Center, Exhibition of Religious Art, April 1942, no. 1.","provenance_text":"James Kerr-Lawson, Florence, by 1910; sold by Kerr-Lawson to Martin A. Ryerson (died 1932), Chicago, 1910 [see letter from Kerr-Lawson to Ryerson dated May 10, 1910 and invoice dated June 14, 1910, in curatorial files]; on loan to the Art Institute from 1923 [according to registrar\u2019s records]; bequeathed to the Art Institute, 1933.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1933,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":18.8076,"color":{"h":37,"l":67,"s":40,"percentage":0.008062503330164419,"population":115},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":34118,"artist_title":"Girolamo da Santacroce","alt_artist_ids":[],"artist_ids":[34118],"artist_titles":["Girolamo da Santacroce"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["tempera","oil paint (paint)","panel painting","16th Century","Virgin and child\/Madonna and child","paint","oil on panel","oil paintings (visual works)","Italian","canvas","organic material","panel (wood)","plant material","tempera","wood (plant material)","oil painting","painting","painting (image making)","painting techniques","transferring","sixteenth century","bird","chair","children","clouds","doves","Italy","Jesus","sky","Throne","Virgin Mary","woman","woman with children","painting","european painting"],"style_id":"TM-13772","style_title":"16th Century","alt_style_ids":["TM-15477"],"style_ids":["TM-13772","TM-15477"],"style_titles":["16th Century","sixteenth century"],"classification_id":"TM-153","classification_title":"tempera","alt_classification_ids":["TM-10387","TM-80","TM-78","TM-14164","TM-9","TM-54"],"classification_ids":["TM-153","TM-10387","TM-80","TM-78","TM-14164","TM-9","TM-54"],"classification_titles":["tempera","paint","oil on panel","oil paintings (visual works)","Italian","painting","european painting"],"subject_id":"TM-8779","alt_subject_ids":["TM-13572","TM-14682","TM-10118","TM-11222","TM-12843","TM-12619","TM-12446","TM-12468","TM-14287","TM-8808","TM-13813","TM-15267"],"subject_ids":["TM-8779","TM-13572","TM-14682","TM-10118","TM-11222","TM-12843","TM-12619","TM-12446","TM-12468","TM-14287","TM-8808","TM-13813","TM-15267"],"subject_titles":["Virgin and child\/Madonna and child","bird","chair","children","clouds","doves","Italy","Jesus","sky","Throne","Virgin Mary","woman","woman with children"],"material_id":"TM-2451","alt_material_ids":["TM-3124","TM-2601","TM-3644","TM-3478","TM-2405","TM-2431"],"material_ids":["TM-2451","TM-3124","TM-2601","TM-3644","TM-3478","TM-2405","TM-2431"],"material_titles":["oil paint (paint)","canvas","organic material","panel (wood)","plant material","tempera","wood (plant material)"],"technique_id":"TM-3975","alt_technique_ids":["TM-4273","TM-14210","TM-3891","TM-3971","TM-4126"],"technique_ids":["TM-3975","TM-4273","TM-14210","TM-3891","TM-3971","TM-4126"],"technique_titles":["panel painting","oil painting","painting","painting (image making)","painting techniques","transferring"],"theme_titles":[],"image_id":"9cabe627-598a-e86f-5f10-456e5e4997bf","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1933.1008"],"contexts":{"groupings":["accession"]}},{"input":["Virgin and Child Enthroned"],"weight":470,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-06T10:41:07-05:00","updated_at":"2026-07-06T13:45:54-05:00","timestamp":"2026-07-06T13:45:55-05:00"},{"id":20598,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/20598","is_boosted":false,"title":"Interior: A Sultana taking Coffee in the Harem","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAADosHBchJV4nEHsnBX0mBHItD0g2KGNDH3dAH09HLExGMFpRP3NTJm5OO3hNMG1SMlVVTnJlTmdsYYArBY4yCKM3DIZCE5pQH4pkMpVtOpRvO5pzO4NoQ4VuSZx1RJ94RY5zUoB2Y4F5ZgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhwIBio8lwOgnMxwOSQBiHRyQkWgAMjgbiYhEUKpQJYRAEADs=","width":2990,"height":2250,"alt_text":"A work made of oil on canvas."},"main_reference_number":"1964.243","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1742,"date_end":1743,"date_display":"1742\u201343","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Giovanni Antonio Guardi (Italian, 1699\u20131760)","place_of_origin":"Italy","description":null,"short_description":null,"dimensions":"46 \u00d7 63 cm (18 1\/16 \u00d7 24 3\/4 in.); Framed: 65.5 \u00d7 84.8 \u00d7 10.8 cm (25 3\/4 \u00d7 33 3\/8 \u00d7 4 1\/4 in.)","dimensions_detail":[{"depth":null,"width":63,"height":46,"diameter":null,"clarification":null},{"depth":10,"width":84,"height":65,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Gift of Mrs. Joseph Regenstein","catalogue_display":null,"publication_history":"F.J.B. Watson, \"A series of 'Turqueries by Francesco Guardi,\" Baltimore Museum of Art News Quarterly, Vol. 24, no. 1 (1960), p. 8, fig. 9.\n\n\"Continental Masters at Wildenstein's,\" Apollo, 72 (1960), p. 11.\n\nWildenstein, New York, 1960, Important Paintngs and Drawings by Continental Masters, XVIth-XXth Centuries, p. 6, no. 21, ill.\n\nThe Art Institute of Chicago, Annual Report 1963-64, p. 19, ill. p. 14.\n\nAntonio Morassi, Guardi: Antonio e Francesco Guardi, Venice, c. 1973, pp. 120, 328, pl. 123.\n\nJohn D. Morse, Old Master Paintings in North America, New York, 1979, pp. 159, 160.\n\nFilippo Pedrocco and Federico Montecuccoli degli Erri, Antonio Guardi, Milan, 1992, cat. no. 62, fig. 80.\n\nIlleana Chiappini di Sorio, \u201cAlcune osservazioni sulle \u2018turcherie\u2019,\u201d in Alessandro Bettagno, ed., I Guardi: Vedute, capricci, feste, disegni e \u201cquadri turcheschi\u201d (Venice, 2002), p. 175, fig. 200.\n\nGiuseppe Maria Pilo, \u201cIl gioco delle parti nei quadri turcheschi dei fratelli Guardi,\u201d in Alessandro Bettagno, ed., I Guardi: Vedute, capricci, feste, disegni e \u201cquadri turcheschi\u201d (Venice, 2002), p. 225, fig. 200. \n\nLuca Scarlini, \u201cAlpi d\u2019Oriente: Carl Henrici e le turcherie,\u201d in Bolzano, 1700\u20131800, exh. cat. (Galleria civica and Palazzo Mercantile, Bolzano, 2004), p. 258, fig. 2; German trans. (Galleria civica e Palazzo Mercantile, Bolzano, 2004). \n\nEmmanuelle Peyraube, Le harem des Lumi\u00e8res: l\u2019image de la femme dans la peinture orientaliste du XVIIIe si\u00e8cle (Paris, 2008), p. 63, ill.\n\nSotheby's, New York, The Courts of Europe, sale cat. (Sotheby's, January 30, 2014), p. 114, under lot 133.","exhibition_history":"Houston, Museum of Fine Arts, The Guardi Family,1958, no. 21.\n\nLondon, Wildenstein and Co., Ltd., Paintings and Drawings by Continental Masters, XVI-XXth Centuries, no. 21.\n\nVenice, Fondazione Giorgio Cini Instituto di Storia dell\u2019Arte, Franceso Guardi: Vedute, Capricci, Feste, August 28-November 28, 1993, cat. 6.\n\nMarseille, France, Mus\u00e9e des Beaux-Arts, Odalisques - du pittoresque au pictural, October 14, 2000 - January 8, 2001; Barcelona, Centre de Culture Contemporaire, February 13-April 13, 2001.","provenance_text":"One of more than forty cabinet pictures of Turkish highlife commissioned by Field Marshall Matthias Johann, Graf von der Schulenburg (d. 1747) Venice. By descent to his nephew Christian Gunther von der Schulenburg, transferred from Venice to Hehlen, near Hannover. By descent in the Schulenburg family until c. 1952 or shortly thereafter. Sold by Count Johann Heinrich von der Schulenburg. Private collection, Switzerland. Wildenstein and Co., from March , 1957 sold to Mrs. Joseph Regenstein, 1964. Gift of Mrs. Regenstein, 1964.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1964,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":61.2534,"color":{"h":38,"l":42,"s":49,"percentage":0.03891764054320045,"population":208},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":34762,"artist_title":"Giovanni Antonio Guardi","alt_artist_ids":[],"artist_ids":[34762],"artist_titles":["Giovanni Antonio Guardi"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["painting","oil paint (paint)","oil painting","18th Century","nobility","Italian","oil paintings (visual works)","oil on canvas","paint","canvas","paint","painting","painting","painting (image making)","painting techniques","coffee","interior","luxury","orange (color)","red (color)","table","textile","Tile","Turkey","wealth","window","woman","women","european painting"],"style_id":"TM-13379","style_title":"18th Century","alt_style_ids":[],"style_ids":["TM-13379"],"style_titles":["18th Century"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-14164","TM-78","TM-66","TM-10387","TM-54"],"classification_ids":["TM-9","TM-14164","TM-78","TM-66","TM-10387","TM-54"],"classification_titles":["painting","Italian","oil paintings (visual works)","oil on canvas","paint","european painting"],"subject_id":"TM-12553","alt_subject_ids":["TM-14307","TM-14037","TM-12505","TM-11905","TM-11851","TM-14175","TM-14573","TM-15458","TM-13279","TM-13455","TM-14921","TM-13813","TM-8735"],"subject_ids":["TM-12553","TM-14307","TM-14037","TM-12505","TM-11905","TM-11851","TM-14175","TM-14573","TM-15458","TM-13279","TM-13455","TM-14921","TM-13813","TM-8735"],"subject_titles":["nobility","coffee","interior","luxury","orange (color)","red (color)","table","textile","Tile","Turkey","wealth","window","woman","women"],"material_id":"TM-2451","alt_material_ids":["TM-3124","TM-2577","TM-13502"],"material_ids":["TM-2451","TM-3124","TM-2577","TM-13502"],"material_titles":["oil paint (paint)","canvas","paint","painting"],"technique_id":"TM-4273","alt_technique_ids":["TM-14210","TM-3891","TM-3971"],"technique_ids":["TM-4273","TM-14210","TM-3891","TM-3971"],"technique_titles":["oil painting","painting","painting (image making)","painting techniques"],"theme_titles":[],"image_id":"ca8ba7cf-670b-8db8-3ceb-9bbdb595b096","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1964.243"],"contexts":{"groupings":["accession"]}},{"input":["Interior: A Sultana taking Coffee in the Harem"],"weight":835,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-06T10:42:02-05:00","updated_at":"2026-07-06T13:45:53-05:00","timestamp":"2026-07-06T13:45:55-05:00"},{"id":47590,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/47590","is_boosted":false,"title":"Mrs. Allan Maconochie","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAABIGABMHAhcLAhoPABkNAxwPAx4TACEWBSIeCSYhBTEnBzErBnNYJWxmN2liOIZuM4p\/VKOMU5ySYryoawAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURYNA4APIwyTJFiiFBg0AURwgAOw==","width":1867,"height":2250,"alt_text":"A work made of oil on canvas."},"main_reference_number":"1974.390","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1789,"date_end":1789,"date_display":"1789","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"James Northcote (English, 1746-1831)","place_of_origin":"England","description":null,"short_description":null,"dimensions":"76.4 \u00d7 63.6 cm (30 1\/16 \u00d7 25 1\/16 in.); Framed: 101.6 \u00d7 87.7 \u00d7 9.6 cm (40 \u00d7 34 1\/2 \u00d7 3 3\/4 in.)","dimensions_detail":[{"depth":null,"width":63,"height":76,"diameter":null,"clarification":null},{"depth":9,"width":87,"height":101,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Inscribed lower left, in red paint: Js. Northcote. Fecit. 1789 (in fictive oval frame)","credit_line":"Gift of Mr. and Mrs. Denison B. Hull","catalogue_display":null,"publication_history":"Stephen Gwynn, Memorials of an Eighteenth Century Painter (London, 1898), p. 273, no. 250.\n\nJohn Wilson, \u201cThe Romantics, 1790\u20131830,\u201d in The British Portrait, 1660\u20131960 (Woodbridge, 1991), pp. 245\u201346. pl. 233.\n\nSusan Wise and Malcolm Warner, French and British Paintings from 1600 to 1800 in The Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1996), pp. 261\u20134, ill.","exhibition_history":"Vienna, Vereinigung bildender K\u00fcnstler Wiener Secession, Meisterwerke englischer Malerei aus drei Jahrhunderten, 1927, cat. 61 (ill.).\n\nExeter, Royal Albert Memorial Museum and Art Gallery, Works by Early Devon Painters, 1932, cat. 271, as Mrs. Alexander Maconochie.","provenance_text":"Allan Maconochie (died 1816), later first lord Meadowbank, husband of the sitter; by descent to Sir Evan Maconochie; sold Christie\u2019s London, December 17, 1926, no. 128, as Mrs. Alexander Maconochie, to Agnew, London, for 900 gns; sold by Agnew to Horace Trumbauer, November 1927, and bought back by Agnew, December 1927 [according to Agnew\u2019s stock books; see letter of March 19, 1993, from Gabriel Naughton to Malcolm Warner, in curatorial file]; sold by Agnew to F.W. Clayton, March 1928 [see letter cited above]. F.C. Daniell, London by 1932 [see Exeter 1932]. Neumans, Paris, 1936. Daniel H. Farr Co., New York, also in 1936 [this and previous location indicated on annotated mounts of photographs in the Witt Library, London]. Mrs. Norman Armour, Jr., New York; sold Parke-Bernet, New York, January 25, 1958, no. 289 (ill.), to Newhouse Galleries, New York; sold by Newhouse to Mr. Denison B. Hull, Winnetka, 1960 [letter of Adam Williams, Newhouse Galleries, September 29, 1993 in curatorial file]; given to the Art Institute by Mr. and Mrs. Denison B. Hull, 1974.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":null,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":43.3623,"color":{"h":43,"l":50,"s":74,"percentage":0.0023351173629986644,"population":20},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":36044,"artist_title":"James Northcote","alt_artist_ids":[],"artist_ids":[36044],"artist_titles":["James Northcote"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["oil on canvas","portraits: female subject","18th Century","oil painting","oil paint (paint)","woman","white (color)","ribbon","purple (color)","portraits","portrait","hat","fashion","dresses","painting techniques","painting (image making)","painting","painting","paint","canvas","british","paint","painting","european painting","oil paintings (visual works)","portrait"],"style_id":"TM-13379","style_title":"18th Century","alt_style_ids":[],"style_ids":["TM-13379"],"style_titles":["18th Century"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-15669","TM-10387","TM-9","TM-54","TM-78","TM-12855"],"classification_ids":["TM-66","TM-15669","TM-10387","TM-9","TM-54","TM-78","TM-12855"],"classification_titles":["oil on canvas","british","paint","painting","european painting","oil paintings (visual works)","portrait"],"subject_id":"TM-8582","alt_subject_ids":["TM-13813","TM-11841","TM-11890","TM-11850","TM-8658","TM-14105","TM-15651","TM-8663","TM-12529"],"subject_ids":["TM-8582","TM-13813","TM-11841","TM-11890","TM-11850","TM-8658","TM-14105","TM-15651","TM-8663","TM-12529"],"subject_titles":["portraits: female subject","woman","white (color)","ribbon","purple (color)","portraits","portrait","hat","fashion","dresses"],"material_id":"TM-2451","alt_material_ids":["TM-13502","TM-2577","TM-3124"],"material_ids":["TM-2451","TM-13502","TM-2577","TM-3124"],"material_titles":["oil paint (paint)","painting","paint","canvas"],"technique_id":"TM-4273","alt_technique_ids":["TM-3971","TM-3891","TM-14210"],"technique_ids":["TM-4273","TM-3971","TM-3891","TM-14210"],"technique_titles":["oil painting","painting techniques","painting (image making)","painting"],"theme_titles":[],"image_id":"4059d913-1ed9-a1f3-60de-571f921acc38","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1974.390"],"contexts":{"groupings":["accession"]}},{"input":["Mrs. Allan Maconochie"],"weight":832,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-06T10:42:52-05:00","updated_at":"2026-07-06T13:45:52-05:00","timestamp":"2026-07-06T13:45:55-05:00"},{"id":16156,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/16156","is_boosted":false,"title":"Saint John the Baptist Entering the Wilderness","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhAwAFAPMAADs9ND1FPkVBNURCNUdENEZENk5GMEpIO1tNMV1cSl5dTmxhRXduVXZvWAAAAAAAACH5BAAAAAAALAAAAAADAAUAAAQLcIwTFEiEMIPaQhEAOw==","width":5204,"height":10226,"alt_text":"A work made of tempera on panel."},"main_reference_number":"1933.1010","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1455,"date_end":1460,"date_display":"1455\u201360","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Giovanni di Paolo (Italian, 1398\u20131482)","place_of_origin":"Italy","description":"

This series of panels illustrates scenes from the life of Saint John the Baptist, a prophet who foretold Jesus\u2019s arrival as the Christian savior. The Art Institute\u2019s collection includes six panels<\/a> that were originally part of a group of 12 that possibly formed the doors of a reliquary shrine to the saint.<\/p>\n

The narrative begins as John leaves civilization, entering the wilderness to become a hermit. In a following scene, John wears a hair shirt, a coarse undergarment symbolizing his ascetic life, as he announces that Jesus is the savior prophesied as the Agnus Dei, the Lamb of God. Subsequent panels show John\u2019s imprisonment and violent execution at the hands of Herod, ruler of Galilee. Giovanni di Paolo related the Baptist\u2019s complex biography with expressive figures represented multiple times to indicate their movement through highly imaginative and stylized settings.<\/p>\n","short_description":null,"dimensions":"68.5 \u00d7 39.5 cm (27 \u00d7 15 1\/2 in.); Framed: 80.1 \u00d7 53.4 \u00d7 8.9 cm (31 1\/2 \u00d7 21 \u00d7 3 1\/2 in.)","dimensions_detail":[{"depth":null,"width":39,"height":68,"diameter":null,"clarification":null},{"depth":8,"width":53,"height":80,"diameter":null,"clarification":"Framed"}],"medium_display":"Tempera on panel","inscriptions":"Inscribed upper right: ADA D[?] GNA (on bridge)","credit_line":"Mr. and Mrs. Martin A. Ryerson Collection","catalogue_display":null,"publication_history":"F. Mason Perkins, \u201cDipinti sconosciuti della scuola senese,\u201d Rassegna d\u2019arte senese 3, 1 (1907), pp. 82\u201383, ill. \n\nE. Jacobsen, Das Quattrocento in Siena: Studien in der Gem\u00e4ldegalerie der Akademie (Strasbourg, 1908), p. 50. \n\nBernard Berenson, The Central Italian Painters of the Renaissance, 2d ed. (New York and London, 1909), p. 177. \n\nPaul Schubring, \u201cOpere Sconosciute di Giovanni di Paolo e del Vecchietta,\u201d Rassegna d\u2019arte 12, 10 (1912), pp. 163\u201364. \n\nJ. A. Crowe and G. B. Cavalcaselle, A History of Painting in Italy, 2d ed., vol. 5, ed. T. Borenius (New York, 1914), p. 178 n. \n\nF. Mason Perkins, \u201cDipinti senesi sconosciuti o inediti,\u201d Rassegna d\u2019arte 14 (1914), p. 163 n. 2. \n\nPaul Schubring, Cassoni: Truhen und Truhenbilder der italienischen Fr\u00fchrenaissance (Leipzig, 1915), vol. 1, pp. 324\u201325, nos. 445\u201350; vol. 3, pl. CV. \n\nArt Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture, and Architecture (Chicago, 1917), p. 165. \n\nGiacomo De Nicola, \u201cThe Masterpiece of Giovanni di Paolo,\u201d Burlington Magazine 33, 184 (1918), pp. 45\u201354, pl. I. \nFogg Art Museum, Harvard University: Collection of Mediaeval and Renaissance Paintings (Cambridge, Massachusetts, 1919), p. 121. \n\nArt Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago, August 1920), p. 62. \n\nCurt H. Weigelt, in Allgemeines Lexikon der bildenden K\u00fcnstler von der Antike bis zur Gegenwart, ed. Ulrich Thieme and Felix Becker, vol. 14 (Leipzig, 1921), p. 135. \n\nArt Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago, 1922), p. 71.\n\nArt Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago, 1923), p. 71. \n\nFrank Jewett Mather, Jr., A History of Italian Painting (New York, 1923), p. 95. \n\nG. Soulier, Les Influences orientales dans la peinture toscane (Paris, 1924), p. 206. \n\nArt Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 159, no. 2029.\n\nRose Mary Fischkin, \u201cTwo Paintings by Matteo di Giovanni,\u201d Bulletin of the Art Institute of Chicago 20, 3 (1926), p. 30.\n\nMary Rose Fischkin, \u201cMartin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII, Loaned to The Art Institute of Chicago\u201d (unpub. MS. 1926, Ryerson Library, Art Institute of Chicago), pp. 30\u201334. \n\nRichard Offner, Italian Primitives at Yale University (New Haven, 1927), p. 40. \n\nRaimond van Marle, The Development of the Italian Schools of Painting, vol. 9 (The Hague, 1927), pp. 427\u201330.\n\nRobert Lehman, The Philip Lehman Collection (Paris, 1928), under no. XLVI. \n\nKurt Erdmann, \u201cOrientalische Tierteppiche auf Bildern des XIV. und XV. Jahrhunderts: Eine Studie zu den Anf\u00e4ngen des orientalischen Kn\u00fcpfteppichs,\u201d Jahrbuch der preussischen Kunstsammlungen 50 (1929), p. 283. \n\nEmilio Cecchi, Pietro Lorenzetti (Milan, 1930), p. 27. \n\nCurt H. Weigelt, Sienese Painting of the Trecento (New York, 1930), p. 86 n. 75. \n\nLionello Venturi, Pitture italiane in America (Milan, 1931), no pag., pl. CXXXVII.\n\nBernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 245.\n\nArt Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 180. \n\nG. H. Edgell, A History of Sienese Painting (New York, 1932), pp. 218\u201320, fig. 307. \n\nWilliam R. Valentiner, \u201cPaintings in the Collection of Martin A. Ryerson\u201d (unpub. MS [1932], Archives, Art Institute), no pag. \n\nDaniel Catton Rich, \u201cThe Paintings of Martin A. Ryerson,\u201d Bulletin of The Art Institute of Chicago 27, 1 (1933), pp. 6\u20138, ill. \n\nAlfred M. Frankfurter, \u201cArt in the Century of Progress,\u201d Fine Arts 20 (1933), p. 60. \n\nArt Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1935), pp. 20\u201321.\n\nHans Tietze, Meisterwerke europ\u00e4ischer Malerei in Amerika (Vienna, 1935), p. 325, under no. 37.\n\nBernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 211. \n\nJohn Pope-Hennessy, Giovanni di Paolo, 1403\u20131483 (London, 1937), pp. 80\u201390, pl. XXb.\n\nRen\u00e9 Brimo, Art et go\u00fbt: L\u2019\u00c9volution du go\u00fbt aux \u00c9tats-Unis d\u2019apr\u00e8s l\u2019histoire des collections (Paris, 1938), p. 92. \n\nRobert Langton Douglas, review of Giovanni di Paolo by J. Pope-Hennessy, in Burlington Magazine 72, 418 (1938), pp. 44\u201347. \n\nHelen F. Mackenzie, \u201cPanels by Giovanni di Paolo of Siena,\u201d Bulletin of The Art Institute of Chicago 32, 7 (1938), pp. 106\u201309, ill. \n\nJohn Pope-Hennessy, \u201cLetters: Giovanni di Paolo,\u201d Burlington Magazine 72, 419 (1938), p. 95. \n\nA. Weller, review of Giovanni di Paolo by John Pope-Hennessy, Art Bulletin 20 (1938), p. 126. \n\nAlfred M. Frankfurter, \u201cThe Mediaeval Style in Painting,\u201d Art News 38, 20 (1940), p. 14. \n\nCesare Brandi, \u201cGiovanni di Paolo, II,\u201d Le arti 30 (1941), pp. 325\u201328, 331\u201332, pl. CXXVII. \n\nRegina Shoolman and Charles E. Slatkin, The Enjoyment of Art in America (Philadelphia and New York, 1942), p. 256.\n\nPeleo Bacci, Documenti e commenti per la storia dell\u2019arte (Florence, 1944), pp. 89\u201390. \n\nArt Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Chicago, 1945), p. 28.\n\nH. G. Fell, \u201cThe Connoisseur Divan,\u201d Connoisseur 116 (1945), p. 53. \n\nJ. Lipman, \u201cThe Composite Scene in Primitive Painting,\u201d Gazette des Beaux-Arts 6th ser., 29 (1946), p. 124.\n\nCesare Brandi, Giovanni di Paolo (Florence, 1947), pp. 44\u201348, 51\u201352, 120, fig. 56. \n\nJohn Pope-Hennessy, Sienese Quattrocento Painting (Oxford, 1947), pp. 13, 27, pl. XXX.\n\nArt Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1948), p. 25.\n\nCesare Brandi, Quattrocentisti senesi (Milan, 1949), pp. 101, 261\u201362, pl. 150. \n\nUgo Galetti and Ettore Camesasca, Enciclopedia della pittura italiana, vol. 1 (Milan, 1950), pp. 1164\u201365, 1167, ill. \n\nMartin Davies, National Gallery Catalogues: The Earlier Italian Schools (London, 1951), p. 191, under no. 5454; reprinted (London, 1961).\n\nGeorge Kaftal, Iconography of the Saints in Tuscan Painting (Florence, 1952), p. 552. \n\nArt News 51, 4 (1952), col. 552. \n\nMario Salmi, L\u2019arte italiana, vol. 1 (Rome, 1953), p. 431, fig. 656. \n\nFrederick A. Sweet, \u201cLa pittura italiana all\u2019Art Institute di Chicago,\u201d Le vie del mondo: Rivista mensile del Touring Club Italiano 15 (1953), pp. 696\u201397. \n\nEnzo Carli, La pittura senese (Milan, 1955), pp. 224, 226.\n\nMarilyn Aronberg Lavin, \u201cGiovannino Battista: A Study in Renaissance Religious Symbolism,\u201d Art Bulletin 37, 2 (1955), pp. 90\u201391 n. 33. \n\nEnzo Carli, Sienese Painting (Greenwich, Connecticut, 1956), pp. 63\u201364. \n\nLouis R\u00e9au, Iconographie de l\u2019art Chr\u00e9tien, vol. 2, pt. 1, (Paris, 1956), pp. 442, 450, 452, 455\u201356, 458. \n\nG. U., \u201cSchede di restauro,\u201d Bollettino dell\u2019Istituto Centrale del Restauro 27\u201328 (1956), p. 160. \n\nJohn Pope-Hennessy, \u201cSassetta and Giovanni di Paolo: The Renaissance in Siena,\u201d Art News Annual 27 (1958), pp. 133, 137, 142, 144\u201348, 151, 154, 180, ill. \n\nArt Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 179.\n\nEnzo Carli, \u201cProblemi e restauri di Giovanni di Paolo,\u201d Pantheon 19 (1961), pp. 163\u201377. \n\nErnest T. De Wald, Italian Painting, 1200-1600 (New York, 1961), p. 339.\n\nHans Huth, \u201cItalienische Kunstwerke im Art Institute von Chicago, USA,\u201d in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 517. \n\nJohn Pope-Hennessy, \u201cGiovanni di Paolo,\u201d in Encyclopedia of World Art, vol. 6 (New York, 1962), col. 357.\n\n\u201cThe Great Grey City,\u201d Apollo 84 (1966), p. 177. \n\nFrederick A. Sweet, \u201cGreat Chicago Collectors,\u201d Apollo 84 (1966), pp. 198, 202.\n\nVictor Lasareff, \u201cSaggi sulla pittura veneziana dei sec. XIII-XIV: La maniera greca e il problema della scuola cretese (II),\u201d Arte veneta 20 (1966), p. 48, fig. 50. \n\nElizabeth Ourusoff de Fernandez-Gimenez, \u201cGiovanni di Paolo: The Life of St. Catherine of Siena,\u201d Bulletin of The Cleveland Museum of Art 54 (1967), pp. 105\u201307.\n\nBernard Berenson, Italian Pictures of the Renaissance: Central Italian and North Italian Schools (London, 1968), vol. 1, p. 176. \n\nArt Institute of Chicago, Grands Mus\u00e9es 2 (Paris [1968]), pp. 11, 20, ill., 67. \n\nBernhard Degenhart and Annegrit Schmitt, Corpus der italienischen Zeichnungen, 1300-1450, pt. 1, vol. 2 (Berlin, 1968), p. 320, under no. 240, detail fig. 423. \n\nFrederick Hartt, History of Italian Renaissance Art: Painting, Sculpture, Architecture (Englewood Cliffs and New York, 1969), pp. 312\u201313; 3d revised edition (New York, 1987). \n\nJohn Maxon, The Art Institute of Chicago (London, 1970), pp. 26\u201327. \n\nBurton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 89, 571. \n\nKatharine Kuh, \u201cThese Are a Few of My Favorite Things,\u201d Chicago Tribune Sunday Magazine (April 23, 1972), p. 34. \n\nMillard Meiss, \u201cSts. Elijah and John the Baptist\u201d by Pietro Lorenzetti; \u201cThe Baptism\u201d by Giovanni di Paolo, exh. cat. (Princeton University, The Art Museum, 1973), pp. 3\u20135, fig. 8.\n\nDizionario enciclopedico Bolaffi dei pittori e degli incisori italiani, vol. 6 (Turin, 1974), p. 56. \n\nMillard Meiss, \u201cA New Panel by Giovanni di Paolo from His Altarpiece of the Baptist,\u201d Burlington Magazine 116, 851 (1974), pp. 73\u201378, ill. \n\nRegina Shoolman Slatkin, \u201cFran\u00e7ois Boucher: St. John the Baptist. A Study in Religious Imagery,\u201d The Minneapolis Institute of Arts Bulletin 62 (1975), p. 8.\n\nMarvin Eisenberg, \u201cA Late Trecento Custodia with the Life of St. Eustace,\u201d in Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss, ed. Irvin Lavin and John Plummer, vol. 1 (New York, 1977), p. 143 n. 1. \n\nArt Institute of Chicago, 100 Masterpieces (Chicago, 1978), pp. 40.\n\nSotheby\u2019s, Monaco, Beaux tableaux anciens, sale cat. (Sotheby\u2019s, June 13, 1982), under lot. 14. \n\nEnzo Carli and Giulietta Chelazzi Dini, in Il gotico a Siena: Miniature, pitture, oreficerie, oggetti, d\u2019arte, exh. cat. (Siena, Palazzo Pubblico, 1982), pp. 352, 359. \n\nEllis Waterhouse, \u201cEarlier Paintings in the Earlier Years of the Art Institute: The Role of the Private Collectors,\u201d Art Institute of Chicago Museum Studies 10 (1983), p. 90. \n\nSamuel Y. Edgerton, Jr., Pictures and Punishment: Art and Criminal Prosecution during the Florentine Renaissance (Ithaca and London, 1985), pp. 150\u2013152. \n\nPaul Pieper, Die deutschen, niederl\u00e4ndischen und italienischen Tafelbilder bis um 1530 (M\u00fcnster, 1986), pp. 529\u201335, ill. \n\nJohn Pope-Hennessy with Larry Kanter, The Robert Lehman Collection, vol. 1, Italian Paintings (New York, 1987), pp. 121\u201323. \n\nArt Institute of Chicago, Master Paintings in The Art Institute of Chicago (Chicago 1988), pp. 14\u201315; reprinted (Chicago, 1999); revised editions (Chicago, 2009), (Chicago, 2013).\n\nJohn Pope-Hennessy, \u201cGiovanni di Paolo,\u201d The Metropolitan Museum of Art Bulletin 46, 2 (1988), p. 20.\n\nCarl Brandon Strehlke, in Painting in Renaissance Siena, 1420\u20131500, exh. cat. (New York, The Metropolitan Museum of Art, 1988), p. 216, fig. 1. \n\nMikl\u00f3s Boskovits with Serena Padovani, The Thyssen-Bornemisza Collection: Early Italian Painting, 1290\u20131470 (London, 1990), p. 113. \n\nMus\u00e9e Historique des Tissus de Lyon, Edouard Aynard: le fondateur du muse, exh. cat. (Lyon, Mus\u00e9e Historique des Tissus, 1990), pp. 38, 41. \n\nHenk van Os, Sienese Altarpieces, 1215-1460: Form, Content, Function, vol. 2, 1344-1460 (Groningen, 1990), pp. 89, 218 n. 113. \n\nChristopher Lloyd, Italian Paintings before 1600 in The Art Institute of Chicago (Chicago, 1993,) pp. 110\u201328, ill, cover ill.\n\nKatharine Baetjer, European Paintings in the Metropolitan Museum of Art: By Artists Born Before 1865 (New York, 1995), p. 55.\n\nGiovanna Damian, \u201cGiovanni di Paolo\u201d in Dictionary of Art, ed. Jane Shoaf Turner, vol. 12 (London, 1996), p. 716.\n\nBenjamin David, \u201cPope-Hennessy, Derrida and \u2018Literary Residue\u2019 in Visual Images: The Case of Sassetta\u2019s Borgo San Sepolcro Altarpiece,\u201d Studies in Iconography 19 (1998), p. 1. \n\nElke Anna Werner, Das Kunstwerk des Monats , exh. cat. (Westf\u00e4lisches Landesmuseumf\u00fcr Kunst und Kulturgeschichte M\u00fcnster, July 1999), no pag. no.\n\n\u00c9lisabeth Mognetti and Esther Moench, in Mus\u00e9e du Petit Palais, Avignon, Mus\u00e9e du Petit Palais: Peintures et Sculptures (Paris, 1999), no page no. \n\nTimothy Hyman, Sienese Paintings: The Art of a City-Republic (1278\u20131477) (New York, 2003), pp. 159, 169\u2013174, fig. 147. \n\nTimothy Bryan Smith, \u201cAlberto Aringheri and the Chapel of Saint John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena\u201d (Ph.D. diss., Florida State University, 2002), pp. 51\u201352, 69 n. 150, 343, fig. 87.\n\nDillian Gordon, National Gallery Catalogues: Italian Paintings, The Fifteenth Century (London, 2003), under nos. 5451\u20134, pp. 98\u201399.\n\nN. R. Havely, Dante and the Franciscans: Poverty and the Papacy in the Commedia (Cambridge and New York, 2004), p. 148 n. 58.\n\nChristiane L. 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Kress Foundation, 1959), pp. 338-344.\n\nArt Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 294.\n\nHans Huth, \u201cItalienische Kunstwerke im Art Institute von Chicago, USA,\u201d in Miscellanea Bibliothecae Hertzianae (Munich: A. Schroll, 1961), p. 518.\n\nRodolfo Pallucchini, \u201cA proposito della mostra Bergamasca del Marieschi,\u201d in Arte Veneta 20 (1966), p. 319, fig. 377.\n\nMercedes Precerutti-Garberi, \u201cMichele Marieschi ed i \u2018capricci\u2019 del castello Sforzesco di Milano\u201d in Pantheon 26 (1968), pp. 42, 44, fig. 10.\n\nBurton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge: Harvard University Press, 1972), p. 120.\n\nLudovico Mucchi and Alberto Bertuzzi, Nella profondit\u00e0 dei dipinti: la radiografia nell\u2019indagine pittorica (Milan: Electa Editrice, 1983), pp. 112, 169, 173, no. M5.\n\nMario Manzelli, \u201cProposta per l\u2019identificazione di Michele Marieschi e del suo alter-ego Francesco Albotto,\u201d in Arte Veneta 41 (1987), p. 114, no. M9.\n\nDario Succi, Michiel Marieschi: Venezia in scena, exh. cat. (Milan: Galleria Lorenzelli, 1987), pp. 76-7, under no. 16.\n\nRalph Toledano, Michele Marieschi. L\u2019opera completa (Milan: Arnoldo Mondadori, 1988), p. 87, no. V.14.1 (ill.); 2nd ed. (Milan: Arnoldo Mondadori, 1995), p. 84, no. V.19.a (ill.).\n\nDario Succi, Marieschi: tra Canaletto e Guardi, exh. cat. (Gorizia: Castello di Gorizia, 1989), pp. 194, 197, fig. 238.\n\t\nMario Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto (Venice: ASDE Associazione Dirigenza Enel, 1991), pp. 30, 54, no. M.11.2 (ill.); 2nd ed. (Venice: Studio LT2, 2002), pp. 38, 58, 62, 81, no. M.11.02, fig. 10.\n\nRodolfo Pallucchini, La pittura nel Veneto. 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