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    Museum collections / Art Institute of Chicago
    The Wedding at Cana
    Giuseppe Maria Crespi. The Wedding at Cana, c. 1686. The Art Institute of Chicago. Public domain (CC0).
    AT-00000166

    Public data from the Art Institute of Chicago. Learn more

    The Wedding at Cana

    by Giuseppe Maria Crespi

    Provenance

    Commissioned by Giovanni Ricci, Bologna, c. 1686 [Zanotti 1739, p. 36]; by descent to his nephew, Antonio Marchesini, Bologna, by 1739 [Zanotti 1739, p. 36]; by descent to Filippo Marchesini, Strada Maggiore, Bologna, by c. 1765 [included in Marcello Oretti, “Descrizione delle Pitture che ornano Le Case de Cittadini della Città di Bologna," [1765], Bologna, Biblioteca Comunale, MS.B.109, (pt. 1), pp. 6–7, see Calbi and Scaglietti Kelescian 1984 pp. 86–87]; bought by Dr. Giacomelli, Bologna, c. 1766 (Crespi, 1769, pp. 205–06). Palazzo Sampieri, Bologna, by 1789 until 1830 [mentioned by Lanzi 1789 and Ticozzi 1850]. Maurice Marignane, Paris [according to record in Registrar's office]. C. Marshall Spink, London by 1956; sold to the Art Institute, 1956.

    Exhibition history

    Bologna, Palazzi del Podestà e di Re Enzo, X biennale d’arte antica. L’Arte del settecento emiliano. La pittura, l’Accademia Clementina, 1979, no. 9 (ill.). Fort Worth, Kimbell Art Museum, Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy, 1986, no. 1 (ill.)

    Publications

    Giampietro Zanotti, Storia dell’Accademia Clementina di Bologna aggregata all’Instituto delle scienze e dell’Arti, Bologna, 1739, vol. 2, pp. 36–37. Luigi Crespi, Vite de’pittori bolognesi non descritte nella Felsina Pittrice all maesta di Carlo Emanuele III. Re di Sardegna &c. &c., Rome, 1769, pp. 205–206. Luigi Lanzi, Storia pittorica della Italia dal risorgimento delle Belle Arti fin presso al fine del XVIII Secolo, 3rd ed., Bassano, 1795–1796, vol. 5, p. 194; reprinted, Florence,edited by Martino Capucci, p. 125. Stefano Ticozzi, Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d’ogni età e d’ogni nazione…, Milan, 1830, vol. 1, p. 378. Carlo Volpe, Antefatti bolognesi ed inizi di Giuseppe Maria Crespi,” Paragone, 91 (1957), pp. 33–35, 37, fig. 23. “Report 1956–1957,” The Art Institute of Chicago Quarterly, 51 (1957), p. 52. W[altraut] M. van der Rohe, “The Marriage at Cana by Giuseppe Maria Crespi,” The Art Institute of Chicago Quarterly 52 (1958), pp. 6–9 (ill.). R. F. C., “Cronache-Chicago,” Emporium 128 (1958), pp. 87–89 (ill.). Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” Römische Forchungen der Biliotheca Hertziana, 16 (1961), p. 518, fig. 381. The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961) pp. 39 (ill.), 110. Mira Pajes Merriman, “The Paintings of Giuseppe Maria Crespi,” Ph. D. diss., Columbia University, 1968 (Ann Arbor, University Microfilms), pp. 22–24, 26, 179–81, no. 42, fig. 1. Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972), p. 59. Michael Liebmann, Giuseppe Maria Crespi, mit einem Text von Luigi Crespi, Dresden, 1976, p. 15, pl. 1. Renato Roli, Pittura Bolognese 1650–1800 dal Cignani ai Gandolfi, Bologna, 1977, pp. 106, 250, fig. 156. Mira Pajes Merriman, Giuseppe Maria Crespi, Milan, 1980, pp. 69–72, 201, 203, 250–51, no. 51, 254–255, 271, 293, 328, figs. 30, 51, pls. VIII–IX. Hanna Kiel, review of Bologna, “X. Biennale d’arte antica, l’arte del settecento emiliano,” in Pantheon 38 (1980), p. 32. The Art Institute of Chicago, 100 Masterpieces, Chicago, 1983, p. 64, pl. 27. Marcello Oretti e il patrimonio artistico privato Bolognese, Emilia Calbi and Daniela Scagliette Kelescian eds., Bologna, [1984], p. 87, B. 104, [b] 48/4. Dwight C. Miller, review of Mira Pajes Merriman, Giuseppe Maria Crespi, in Art Bulletin 67 (1985), p. 340. Mira Pajes Merriman, The Age of Correggio and the Carracci, Emilian Painting of the Sixteenth and Seventeenth Centuries, exh. cat., National Gallery of Art, Washington D.C., 1986, pp. 418–20, under no. 142. Mira P[ajes] Merriam, in The Settecento: Italian Rococo and Early Neo-Classical Paintings 1700–1800, exh. cat., Matthiesen Fine Art Ltd., London, 1987, pp. 109–10, under no. 22 (ill.). Renato Roli, in La pittura in Italia: Il Seicento, Milan, 1988, vol. 1, p. 265. Mira Pajes Merriman, “Giuseppe Maria Crespi” in Giuseppe Maria Crespi, 1665–1747, exh. cat., Pinacoteca Nazionale di Bologna, 1990, pp. LXIV, LXXIII. Eugenio Riccòmini, “Gli inizi del Crespi: ‘Una maniera affato nuova, tratta però da lunghi studi’” in Giuseppe Maria Crespi, 1665–1747, exh. cat., Pinacoteca Nazionale di Bologna, 1990, pp. LXXXIX–XCI. Catherine R. Puglisi, “Giuseppe Maria Crespi,” in Dictionary of Art, vol. 8, London, 1996, p. 140. Andres Priever, Vorbild und Mythos : die Wirkungsgeschichte der "Hochzeit zu Kana" Paolo Veroneses, Sigmarigen, 1997, pp. 73–74, fig. 25.

    Quick Overview

    Artist
    Giuseppe Maria Crespi (Italian, 1665–1747)
    Date
    c. 1686
    Medium
    Oil on canvas
    Dimensions
    188 × 248.4 cm (74 × 97 3/4 in.); Framed: 215.9 × 273.7 cm (85 × 107 3/4 in.)
    Type
    Painting
    Classification
    oil on canvas
    Style
    17th Century
    Place
    Italy
    Department
    Painting and Sculpture of Europe
    Credit line
    Wirt D. Walker Fund
    Accession no.
    1956.129

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    Open-access museum data

    This record comes from the open-access collection data that the Art Institute of Chicago publishes for unrestricted use (Creative Commons Zero). Art Trackers shows a selection of the museum's published fields. The Art Institute of Chicago is not an Art Trackers client and has not reviewed or endorsed this page; the museum's own website is the authoritative record.

    • View this work at the Art Institute of Chicago
    • The Art Institute of Chicago: open-access terms

    Data retrieved from the Art Institute of Chicago on October 7, 2026. The museum may have updated its record since.

    Open-access museum record · AT-00000166

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