Italian Renaissance Drawing at the Morgan Library and Museum

Invention and Design: Early Italian Drawing

Morgan Library and Museum  

February 15 to May 19, 2019

Reviewed by Ed Voves

The new art show at the Morgan Library and Museum, Invention and Design: Early Italian Drawing, is a perfect example of how a museum can draw on the strength of its collection to create a major exhibition. In the Morgan's case, the museum's curators have one of the world's greatest collections of works on paper to "draw" upon - prints, watercolors, sketches and finished drawings.

Invention and Design is particularly noteworthy because it illustrates the rise of drawing during the Italian Renaissance. From sketches in source or "model" books, dating to the 1300's, to drawings of the 1500's intended as unique works of art, this exhibition documents a major turning point in the world of art. During this era, artists in Italy raised themselves from the role of anonymous craftsmen to acknowledged masters of their own destiny. Skill in disegno was their passport to social recognition as well as a source of income.

The growing importance of disegno reflected other major cultural developments, notably the emergence of individuality as a major feature of Western European society. A gradual realization of humanity's natural environment took hold as well. Portrait drawings and - surprisingly -  detailed landscapes created with pen and brown ink feature prominently in the Morgan exhibit.

The constant reference to the word disegno reminds us of the often-told story of the Renaissance rivalry of disegno and colore. In this celebrated face-off, Michelangelo and Florentine draftmanship crossed swords with Venetian mastery of oil painting. The Italians refer to such an aesthetic rivalry as a paragone or comparison. 

Andrea Mantegna, Three Standing Saints, ca. 1455–1460

Certainly, such a difference of vision and style existed, but desegno ultimately was a unifying feature of the shared visual culture of Italy. 

“Draw Antonio," Michelangelo urged his assistant, Antonio Mini. "Draw and don't waste time.”

Antonio, alas, failed to take Michelangelo's advice, but the rest of Italy did.  As the Morgan exhibition shows, skill in drawing flourished in Tuscany, Lombardy, Emilia-Romagna and - yes - even among the Venetians.

The exhibition begins with an amazing, if rather mundane looking, artifact. It is a group of studies, drawn with pen and brown ink, on the back of a real estate document.

 Ed Voves, Photo (2019) 

Figures and Decorative Motifs, drawn on a parchment legal deed, dated 1321

                                                                                                      
This illustrated sheet dates to the middle of the 1300's, the Trecento as the Italians call the fourteenth century. This was so long ago, that pencils as we know them had not been invented and paper, made from linen rags, was still very rare. There are traces of leadpoint on these sketches. Leadpoint was an early drawing instrument,  a stylus tipped with lead. Silverpoint was later to be used more frequently before the arrival of graphite pencils.

According to the insightful museum text, the various images on this sheet of parchment were copied from illuminated manuscripts making it "a rare early record of a copying exercise, perhaps done by an aspiring artist."

Ed Voves, Photo (2019)

Sketch of the martyrdom of St. Stephen from Figures and Decorative Motifs, above.

We can view the medieval mind at work. The artist selected all manner of images to refine his skill. We see heraldic devices, mythological creatures and the dramatic story of the martyrdom of St. Stephen. 

It's all a jumble, but the individual scenes could have been used later as source material for book illustrations or as a design for a fresco. 

Ed Voves, Photo (2019) An artist's model book from the late 1300's on view at the Invention and Design Exhibition at the Morgan Library and Museum. 

Nearby is a model book, a more systematic way of preserving images for later use than individual sheets of parchment. Model books were the well-used props of artists' studios, handed down from master to journeyman artist. 

This model book, is open to pages which certainly did not supply images for a church wall or a devotional book. A pair of lovers, safe from prying eyes, are "joined together" while naked boys cavort and practice with sword and shield on the opposite page.

Circle of Tomaso da Modena, Model Book, ca. 1370–80

It is tempting to see these pictures as examples of the growing individualism in Italy during the Renaissance, especially as there is a similarity to the recognizable style of an artist named Tomaso da Modena. These drawings, however, are equally indicative of the earthy humor of the Middle Ages.

The transition from medieval to renaissance style is more apparent in a series of animal drawings on parchment. These are dated to the 1400's by an unknown artist, perhaps from Lombardy. The careful, nature-based depiction of a lynx is matched with an equally impressive imagining of a unicorn. 

Italian School artist, Lynx and a Recumbent Unicorn, c.1400

It is a bit startling to see these images in such close proximity. Here, on this parchment page, there is no glaring distinction between renaissance ideals and medieval worldview, no "autumn of the Middle Ages", no brilliant dawn of the Renaissance.

Over time, there was a shift in human consciousness. The late-Middle Ages was a dynamic period in European history. In Italy, the remains of buildings and sculpture from antiquity were far greater in number than north of the Alps. This stimulated an appreciation of the mighty achievements of ancient Rome and Greece, exciting a desire to emulate and if possible to surpass the ancients. 

This breakthrough occurred first in the realm of portraiture. Of all the genres of art, realistic depiction of the human likeness mattered little to medieval artists. For a thousand years following the fall of Rome, the aim of the arts had been to encourage contemplation of God. Religion was no less important during the Renaissance, but the allure of Greece and Rome was difficult to resist.

The Morgan exhibition has a number of first rate portrait drawings on view. Using Roman coins and medallions as examples, artists during the 1400's initially concentrated on the portrait in profile. 

Italian school artist, Head of a Monk in Profile to the Left, c.1475-1500

The identity of the artist who created the Head of a Monk in Profile to the Left remains unknown, but this drawing with black and white chalk is outstanding. It matches the best of ancient sculpture in the way it focuses on the sensitive features and moral probity of this clergyman. 

Head of a Monk in Profile to the Left is likely to have been created as a presentation piece. But another profile, much less finished, is even more remarkable. Head of a Woman in Profile to the Right was created by a little known painter named Timoteo Viti (1469-1523). It was used to create an altarpiece for the Church of Sant' Angelo Minore in the town of Cagli, near to Urbino. 

Timoteo Viti, Head of a Woman in Profile to the Right, c.1515

The incredible rarity of Viti's sketch is based on the way it was originally used. It is a fragment of a cartoon used to create a fresco. Since these drawings were placed on wet plaster so that the design could be transferred to the plaster and then painted, cartoon sheets almost never survived. This one, showing the head of St. Mary Magdalene, somehow was preserved. Given the importance of fresco painting during the early Renaissance, this drawing is one of the key works of art in the Morgan exhibition.

It is fascinating to study the portrait drawings on display in Invention and Design. We are able to see the shift from profile to three-quarters portrait style during the 1400's. 

Lorenzo Costa, Head of a Bearded Man Looking Down to the Right, 15th century

In part, this transition was due to a need for greater naturalness in narrative painting. The study for a head of Jesus or a Christian saint by Lorenzo Costa testifies to the progressive development of portraiture in Italy.

A beautiful three-quarters portrait of a Venetian (or Lombard) woman shows the full triumph of the new realism - significantly in the region dominated by Venice. The merchant republic had strong ties to Germany and Flanders, where the three-quarters portrait style flourished. This outstanding work most likely was a preparatory drawing for a formal portrait painting. The Morgan curators have detected stylistic borrowing from Leonardo's influential La Belle Ferroniere, painted during the 1490's.

Italian school artist, Portrait of a Woman with Hairnet, ca. 1500-1520

Judging from style of the headband, called a lenza, and the hairnet, this accomplished drawing was created during the first decade of the 1500's, the Cinquecento. To art historians this marks the High Renaissance, a period of supreme achievement by Leonardo, Raphael and Michelangelo. This Morgan exhibition displays work by the first two of these Renaissance masters, along with other major figures such as Andrea Mantegna and Filippo Lippi.

It is the special merit of the Morgan exhibition that it demonstrates how the development of drawing in Renaissance Italy was a broadly-based phenomenon. The talents of many artists, barely remembered today, are allowed to shine, marking their places and contributions to the triumph of disegno. 

We have only to admire Giovanni Agostino da Lodi's Head of a Youth Facing Left (which introduces this review) to realize how profound and deep-rooted was the visual revolution which took place in Italy from the late 1300's to the 1500's. Had this angelic-faced youth been drawn by Raphael, it would have been celebrated as one of his signal achievement.
That this red chalk on paper masterpiece was created by a comparatively unknown artist is proof of a salient feature of civilization.

When genius resides in the talents of the many, rather than a select elite, and scope is given for these talents to be utilized, then a glorious rebirth of the arts, a Renaissance, is bound to occur.                                                                                                                                                                                                                                                        ***
Text: Copyright of Ed Voves, all rights reserved 

Images courtesy of the Morgan Library and Museum, New York City

Introductory Image:                                                                                                          Giovanni Agostino da Lodi (Italian, ca.1467–ca.1524), Head of a Youth Facing Left, 15th century, red chalk on paper. The Morgan Library & Museum, 1973.35:2; Gift of János Scholz.

Andrea Mantegna (Italian, 1431–1506), Three Standing Saints, ca. 1455–1460, pen and brown ink on laid paper toned with red chalk. Thaw Collection, The Morgan Library & Museum, 1985.100.

Ed Voves, Photo (2019) Figures and Decorative Motifs, drawn on the back of a parchment legal document, dated 1321. Pen and brown ink, yellow watercolor, over lead point (?), on parchment; verso: deed of sale, dated 1321. 12 1/16 x 30 3/16 inches (307 x 766 mm) Morgan Library & Museum, 1973.46; Purchase with the special assistance of the Fellows Fund.

Ed Voves, Photo (2019) Sketch of the martyrdom of St. Stephen, detail from Figures and Decorative Motifs, credit information above.

Ed Voves, Photo (2019)  Artist's model book (attributed to an artist from the circle of Tomaso da Modena) from the late 1300's on view at the Invention and Design: Early Italian Drawing Exhibition at the Morgan Library and Museum.

Circle of Tomaso da Modena (Italian, 1325/6–1379) Pages from a Model Book, ca. 1370–80.  Most sketches are in pen and brown ink, with terra verde wash, on parchment; some with additions of colored wash. Leaves: 9 1/8 x 6 7/8 inches (232 x 176 mm) Purchased by Pierpont Morgan (1837–1913) in 1909  II, 2-25

Italian School artist (active 15th century), Lynx and a Recumbent Unicorn, c. 1400. Brown and black watercolor with opaque white watercolor on parchment: 6 3/8 x 4 3/4 inches (162 x 121 mm) Purchased by Pierpont Morgan (1837-1913) in 1909. The Morgan Library & Museum, I, 83

Italian School artist (active 15th century) Head of a Monk in Profile to the Left, ca. 1475-1500. Black and white chalk with smudging, on light brown paper cut to octagon shape. 10 7/16 x 9 3/4 inches (265 x 247 mm; maximum dimensions) Morgan Library & Museum, 1976.43: Thaw Collection

Timoteo Viti (1469-1523), Head of a Woman in Profile to the Right, c.1515. Black chalk and charcoal, with white chalk, incised with stylus, on two pieces of brownish paper of joined vertically: 8 3/16 x 9 1/2 inches (207 x 242 mm); support: 9 7/16 x 9 9/16 (239 x 243 mm). Morgan Library & Museum, IV, 186; Purchased by Pierpont Morgan (1837-1913) in 1909.

                                                                                                                                        Lorenzo Costa (Italian, 1460–1535), Head of a Bearded Man Looking Down to the Right, and a Hand, 15th century. Brush and gray-brown ink, heightened with white gouache, over metalpoint, on gray-brown prepared paper. The Morgan Library & Museum, IV, 6.                                                                                                                                              Italian school artist (active 15th century), Portrait of a Woman with Hairnet, ca. 1500-1520. Black chalk, heightened with white chalk, on paper: 8 13/16 x 7 1/4 inches (223 x 185 mm).The Morgan Library & Museum, 1961.61; Gift of H.P. Kraus, 1961.                            

Renaissance Masterpiece by Pontormo at The Getty Center

Pontormo: Miraculous Encounters

The Getty Center, Malibu, CA

February 5 - April 28, 2019

Reviewed by Ed Voves

William Blake had the habit of writing comments in his copy of Sir Joshua Reynolds' Discourses on Art (1798). Usually these remarks expressed his indignant disapproval of the great English portrait painter and president of the Royal Academy. But there were occasional pearls of wisdom in Blake's marginalia. In one of his rebukes of Sir Joshua's view of art history, Blake wrote:

Ages are all equal. But Genius is Always Above The Age.

Blake never visited Italy, though he was familiar with Michelangelo's Sistine Chapel frescoes through engravings. Thus, the visionary British artist never was able to appreciate art from the "age" which followed Michelangelo's great achievements or to study art by a "genius" who was in some ways a forebear of his own prophetic work.

The Italian Renaissance artist, in question, was Jacopo Pontormo (1494–1557). We are more fortunate than Blake because one of Pontormo's  greatest works, The Visitation, is the centerpiece of an exhibition which just opened at the Getty Museum in Malibu, California. This is the final stop for the exhibition which debuted at the Uffizi Galleries in Florence in the spring of 2018.

I saw the exhibit at the Morgan Library and Museum in New York last fall. It was a rare privilege to behold a masterpiece never before displayed in the United States.

Ed Voves (Photo 2018) 

Exhibition banner for the Pontormo exhibition at the Morgan Library & Museum

Languishing under the long shadow of Michelangelo, Pontormo was a Florentine painter of talent and intelligence. He suffered the further disadvantage of being an innovator of the controversial artistic techniques known as Maniera or Mannerism. Later art critics dismissed Mannerism as a pastiche of gimmicks, mind games and coy sensuality. A typical example of such denigration was made by Emilio Cecchi in 1956: 

Jacopo Pontormo was probably the greatest exponent of that group of esthetic heretics we call Mannerists, each of whom officiated with a ritual of his own.

Instead of being hailed as a successor to Leonardo and Michelangelo, Pontormo's reputation was in decline even before he died. As we shall see, the unveiling of The Visitation coincided with dramatic shifts in the political scene in Italy. In this new age, skilled courtiers were as much in demand as creators of genius.

This profoundly moving painting has recently been restored to its original glory after earlier, botched, attempts at conservation. The Visitation's American tour will hopefully lead to a reassessment of Pontormo and the era of Mannerism.

Pontormo's The Visitation was painted around 1528-1529. It has long been displayed in the Church of San Michele in Carmignano, a village near Florence.

Prior to creating this remarkable work, Pontormo had painted two earlier versions of the Visitation. One was a smaller oil on panel showing just two figures embracing, set against a darkened background. This was painted in 1514 and may have been a working model for the the full-scale fresco of the Visitation which he painted between 1514 to 1516 for a chapel in Florence. The fresco version is a magnificent work but very much in the tradition of Florentine painting stretching back to the 1400's. The Visitation of 1528-29, painted on wood panels, would be a very different - and revolutionary - work of art!

Jacopo Pontormo, The Visitation Fresco, Santissima Annunziata, Florence, 1514-1516

Pontormo had been trained in drawing or disegno by one of the masters of the trade, Andrea del Sarto. As befitted a Florentine artist of his era, Pontormo prepared a meticulous preparatory sketch for The Visitation of 1528. Amazingly, this drawing, which appears below, has survived.

For the first time ever, the first-draft and finished painting are united in an exhibition, enabling us to chart the changes in design which Pontormo made. It is noteworthy that the ancient column, appearing in the drawing, did not make the final version. Classical motifs, of any kind were discarded in the 1528-29 oil in favor of an intense, almost prison-like setting, which contributes to an overwhelming sense of  immediacy. 

                           

Jacopo Pontormo, Study for The Visitation, c.1528-1529

This oil painting on wood panels was created during a dark time in Italian history. Rome had just been brutally sacked by mercenaries of Emperor Charles V in 1527. The Republic of Florence was being threatened by the Medici, intent on restoring their rule, which indeed they did. Artillery bombardment, famine and plague brought the proud city to its knees in 1530 after a lengthy siege.

The Visitation  of 1528 is notable for the contrast of bright, unusual colors, the movement and interplay of draped bodies and unnerving, psychological insight. This was not the first time that Pontormo had exhibited his mastery of unconventional art techniques. And it was not the first time that he had painted this episode from Christian history.

The dazzling (verging on discordant) color scheme had featured in Pontormo's The Deposition from the Cross, painted shortly before he commenced work on The Visitation. But the chief point of similarity between The Deposition and The Visitation is the way that Pontormo uses the eyes of protagonists to draw viewers of the paintings into the action taking place. The beseeching eyes of the young men (possibly angels) carrying Christ's body in The Deposition and the transfixing stare of the two mysterious figures In The Visitation engage us to such an extraordinary extent that we become actors in the dramatic events recorded in "holy writ."

This is not a subjective interpretation of these works. Every aspect of Pontormo's paintings - color scheme, structural positioning, disregard of the rules of perspective - point to his intention to create an emotional event NOW rather than a depiction of THEN.

The Deposition reinforces this direct, personal invitation from Pontormo to join the ranks of the Christian faithful. He included his own face among the group of the devout, grieving disciples. Like the young men bearing Christ's body, Pontormo looks directly at the viewer, appealing to his or her belief. A preparatory sketch of this self-portrait is on view among the supporting art works in Miraculous Encounters.

Jacopo Pontormo, Self Portrait, c. 1526-1528

The event which Pontormo's painting of the embracing women celebrates is one of the most significant in Christian sacred history. The Visitation has psychological implications which extend across the course of Western art, as I noted in an earlier Art Witness essay.

In the Gospel of St. Luke (Chapter 1, verses 39-56), we read how Mary, pregnant with Jesus, has gone to visit her older cousin, Elizabeth. Against all expectations, Elizabeth is too expecting a child, the future St. John the Baptist. When she sees Mary, Elizabeth realizes that her younger cousin will give birth to the Messiah. Elizabeth becomes the first person to identify Jesus as redeemer of all humanity.

And it came to pass, that when Elizabeth heard the salutation of Mary, the infant leaped in her womb. And Elizabeth was filled with the Holy Ghost:  And she cried out with a loud voice, and said: Blessed art thou among women, and blessed is the fruit of thy womb

This glorious, hopeful event in sacred history reflected the mood of opinion in Florence at the time The Visitation was being painted. In 1527, the Florentines reasserted Republican rule, driving out the Medici faction. The vibrant, eye-catching colors reflected this upsurge of democratic feeling, although it should also be noted that Pontormo's patrons for this particular work were members of the Pinadori merchant family, whose specialty products included painting pigments.

Thanks to the magnificent restoration work by Daniele Rossi, we can properly appreciate the sheer brilliance of Pontormo's color scheme for the first time in centuries. Pontormo's palette matched the emotions of the Florentine citizens under the restored Republic.

  Jacopo Pontormo, Detail of The Visitation, after (top) & prior to restoration in 2013

In a master stroke of psychological insight, Pontormo placed surrogates or "body-doubles"" of Mary and Elizabeth, directly facing us. Their faces are blank canvases, waiting for our response to determine their expression. They are questioning the viewer - Pontormo, us - before they reveal their feelings.

What was Pontormo, a sensitive and intelligent citizen of Florence, thinking as he painted this magnificent work? Surely, he was aware of the daunting odds facing the Republic of Florence in its confrontation with the Medici, who enjoyed the military support of Emperor Charles V.

Pontormo's The Visitation can be interpreted in many ways, but the haunted thoughts and fears which cloud the mind of humanity is surely one of its major themes.

Ironically, it was the pre-restoration Visitation, tinged with candle smoke and suffocated by layers of varnish, that most accurately reflected the somber emotional atmosphere of Italy following the Medici's crushing of democracy in Florence in 1530.

Revolutions, especially cultural ones, cannot be reversed. The printing press could not be "uninvented." The voyages of Columbus and Magellan had proven the ancient Greek theory that the earth was round. The globe could not be pressed flat. If the Renaissance cruelly disappointed hopes for political and religious reform, individualism and independent thought could not be suppressed.

Pontormo was one of the greatest portrait painters of the 1500's. He brought the kind of psychological probing and sense of immediacy which we see in The Visitation to his portraits.  

Jacopo Pontormo, Portrait of a Halberdier (Franceso Guardi?),1529-1530

Two of Pontormo's portraits complement The Visitation in Miraculous Encounters at the Getty.  One of these is the Getty's own Portrait of a Halberdier. This is one of the signature Old Masters in the Getty collection. The well-armed protagonist of this painting has been identified by many scholars as Francesco Guardi, though some questions remain.     
         

          
Jacopo Pontormo, Portrait of a Man (Carlo Neroni), 1529-1530

The other portrait, which was also on display at the Morgan, is believed to be the Florentine cavalier, Carlo Neroni. Like Portrait of a Halberdier, it was painted very close in time to The Visitation and the subsequent siege and fall of Florence. Together, these are portraits of the "lost generation" of the Italian Renaissance. 

These young patriots, men of conviction, were not destined to secure victory for the Republic of  Florence. Political independence was crushed throughout Italy. The light of liberty was not to be rekindled until the 1860's by Garibaldi.

Fate was unkind to Jacopo Pontormo, as well. He spent much of his later life working on a fresco cycle for the main chapel and choir of the Basilica of San Lorenzo in Florence. It was a vast work, dealing with complicated theological themes much like the later work of Michelangelo. Pontormo died before finishing the fresco. It did not find favor with the ruling Medici, though it was completed by Pontormo's assistant, Agnolo Bronzino. The frescoes were painted over during the 1700's, a victim of the low opinion of Pontormo and Mannerism which would not be reversed until the twentieth century.

To return to William Blake's reflections, not all of the "ages" of art history are equal. Some artists of genius are held in low repute, their works gathering dust in museum store rooms. This is especially true of artists like Pontormo whose protagonists stare us down from the wood panels or pieces of canvas on which they are painted, challenging our preconceptions.

Truth will emerge from the shadows. It always does, though in Pontormo's case it took a long time to happen. But thanks to the splendid exhibit now at the Getty, we are able to have a "miraculous encounter" with this Renaissance Man whose true genius we are only now beginning to appreciate.


***
Text: Copyright of Ed Voves, all rights reserved                                                                                           
Images courtesy of the  J. Paul Getty Trust 

Introductory Image:
Jacopo Pontormo (Italian: 1494-1557) The Visitation,  about 1528-1529.  Oil on wood panel: Unframed: 202 × 156 cm (79 1/2 × 61 7/16 in.) Accession No. EX.2019.1.6.  Parrocchia di San Michele Arcangelo a Carmignano (Prato). Repro Credit: Su concessione della Soprintendenza Archeologia, Belle Arti e  Paesaggio per la Città Metropolitana di Firenze e per le Province di  Pistoia e Prato. Photo © Antonio Quattrone, Florence

Ed Voves (Photo 2018) Exhibition banner for Pontormo: Miraculous Encounters, Autumn 2018, at the Morgan Library and Museum.

Jacopo Pontormo (Italian, 1494–1557) The Visitation, 1514-1516. Fresco: 392 cm x 337 cm (12.8 ft x 11 ft) Votive Chapel in Santissima Annunziata, Florence. Wikipedia images, The Yorck Project (2002) 10.000 Meisterwerke der Malerei

Jacopo Pontormo (Italian: 1494-1557) Study for The Visitation, about 1528-1529.  Black chalk, traces of white chalk, squared with red chalk:  Unframed: 47 × 34 cm (18 1/2 × 13 3/8 in.) Framed: 52.5 × 39.5 × 3 cm (20 11/16 × 15 9/16 × 1 3/16 in.) Accession No. EX.2019.1.5.  Image © Roberto Palermo / Gabinetto Fotografico delle Gallerie degli  Uffizi / Su concessione del Ministero per i Beni e le Attività Culturali e del Turismo. All rights reserved.

Jacopo Pontormo (Italian, 1494-1557) Self Portrait, about 1526-1528. Red chalk on paper tinted with diluted red chalk:  Unframed: 15.5 × 10.7 cm (6 1/8 × 4 3/16 in.) Framed: 52.5 × 39.5 × 3 cm (20 11/16 × 15 9/16 × 1 3/16 in.) Accession No. EX.2019.1.3 Image © Roberto Palermo / Gabinetto Fotografico delle Gallerie degli Uffizi / Su concessione del Ministero per i Beni e le Attività Culturali e del Turismo. All rights reserved

Jacopo Pontormo (Italian, 1494–1557) The Visitation, 1528-1529 (Detail of painting following the restoration by Daniele Rossi in 2013).  Full credits appear above for the introductory image.

Jacopo Pontormo (Italian, 1494–1557) The Visitation, 1528-1529 (Detail of painting pre-restoration.). Oil on panel. 202 × 156 cm (79.5 × 61.4 in)  Church of San Francesco e Michele, Carmignano. Wikipedia images, The Yorck Project: 10.000 Meisterwerke der Malerei. 

Jacopo Pontormo (Italian: 1494-1557) Portrait of a Halberdier (Franceso Guardi?),1529-1530. Oil or oil and tempera on panel, transferred to canvas: 95.3 × 73 cm (37 1/2 × 28 3/4 in.) Object No. 89 PA 49. The J. Paul Getty Museum, Los Angeles.

Jacopo Pontormo (Italian: 1494-1557) Portrait of a Man (Carlo Neroni), 1529-1530. Oil on panel:  Unframed: 92.1 × 73 cm (36 1/4 × 28 3/4 in.) Accession No. EX.2019.1.1.  Collection of Mr. and Mrs. J. Tomilson Hill. Image courtesy Shepherd Conservation, London