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Portrait of Francesca Gommi Maratti
The Cleveland Museum of Art · Mr. and Mrs. William H. Marlatt Fund
Museum

Portrait of Francesca Gommi Maratti

c. 1701
Carlo Maratti (Italian, 1625–1713) visual detail
艺术家Carlo Maratti (Italian, 1625–1713)
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来源与流传记录

公开
by 1705

[presumably] Carlo Maratti and Francesca Gommi Maratti, Casino d'Albano

possibly until 1745

[possibly] by descent to their daughter, Faustina Maratti Zappi (1679–1745)

By 1911–1919

Pietro Ceci (d. 1919), Rome

1919–2004

by descent to his widow, Maria Barbani Ceci, and daughters, Feliciana Schiff-Giorgini and Adriana Mi...

2004

(Carlo Orsi, Milan)

2004–2014

Luigi Koelliker, Milan

2014–2017

(Robilant + Voena, London and Milan)

来源传承文本

[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

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展览

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来源展览文本

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).

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有来源的概览 佐证资料

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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证据状态

观察到的销售: 0 · 可比销售: 0 · 来源与流传记录: 9 · 展览: 2.

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