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Публічні продажі цього самого художника, ранжовані за технікою, роком створення, розмірами й давністю продажу.
[presumably] Carlo Maratti and Francesca Gommi Maratti, Casino d'Albano
[possibly] by descent to their daughter, Faustina Maratti Zappi (1679–1745)
Pietro Ceci (d. 1919), Rome
by descent to his widow, Maria Barbani Ceci, and daughters, Feliciana Schiff-Giorgini and Adriana Mi...
(Carlo Orsi, Milan)
Luigi Koelliker, Milan
(Robilant + Voena, London and Milan)
[presumably] Carlo Maratti and Francesca Gommi Maratti, Casino d'Albano [possibly] by descent to their daughter, Faustina Maratti Zappi (1679–1745) Pietro Ceci (d. 1919), Rome by descent to his widow, Maria Barbani Ceci, and daughters, Feliciana Schiff-Giorgini and Adriana Misciatelli (Carlo Orsi, Milan) Luigi Koelliker, Milan (Robilant + Voena, London and Milan) (Nicholas Hall, New York, by whom sold to the Cleveland Museum of Art) The Cleveland Museum of Art, Cleveland, OH
Recent Acquisitions. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-June 7, 2018). Lust, Love, and Loss in Renaissance Europe. The David and Alfred Smart Museum of Art, Chicago, IL (organizer) (April 5-June 12, 2021). Mostra del Ritratto Italiano. Palazzo Vecchio, Florence, Italy (1911), room 26, no. 17 (as “una scultrice,” and “scuola italiano”). Carlo Maratti 1625–1713. Nicholas Hall, New York, New York (2017). Mola e il su tempo. Pittura di figura dalla Collezione Koelliker. Palazzo Chigi, Arricia, Italy (January 2–April 23 2005). Recent Acquisitions. The Cleveland Museum of Art, Cleveland, OH (March 17, 2018–June 6, 2018).
William Adolphe Bouguereau (French, 1825–1905) · 1879
Художник · 1715
Albert Besnard (French, 1849–1934) · 1879
Художник · 1200
Jueji Yongzhong (Chinese, active around 1300) · 1250
In 1700 Carlo Maratti’s wife died, permitting him to marry his longtime mistress, Francesca Gommi, who began modeling for the artist in the 1670s and was the mother of his only child, Faustina. This painting was presumably painted shortly after the marriage as an homage from the artist to his new wife. To introduce an allegorical element into the composition, Maratti included a painting within a painting—in this case a drawing depicting Venus forging the love-darts of her adolescent son Cupid, suggesting that love will conquer all.
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