Tarquin and Lucretia

New York, M. Knoedler and Co., Classics of the Nude, 1939, no. 10. New York World's Fair, Masterpieces of Art: European Paintings and Sculpture, 1300–1800, 1939, no. 378. San Francisco, California Palace of the Legion of Honor and the M. H. de Young Memorial Museum, "Seven Centuries of Painting," 1939–40, no. Y-19. Cleveland Museum of Art, Masterpieces of Art from the New York and San Francisco World's Fairs, February 7– March 7, 1940, no. 63; Minneapolis Institute of Arts, 28 May–23 June, 1940, no. 37; Los Angeles County Museum of Art, July 15– September 15, 1940, no. 4. Philadelphia Museum of Art, Masterpieces of Painting, 1950–51, no. 24. New York, E. and A. Silberman Galleries, An Exhibition of Paintings . . . for the Benefit of the Research Fund of Art and Archeology, The Spanish Institute, Inc., 1955, no. 16. Cleveland Museum of Art,"Venetian Tradition, 1956, no. 49. The Art Institute of Chicago, Bill Viola: A 25-Year Survey, October 16, 1999 – January 9, 2000, included in the gallery that held Viola’s The Greeting for the Chicago venue. Madrid, Museo Nacional del Prado, Jacopo Tintoretto (1518-1594), January 1-April 1, 2007, cat. 42. Boston, MA, Museum of Fine Arts, Titian, Tintoretto, Veronese: Rivals in Renaissance Venice, March 15, 2009-August 16, 2009, cat. 46; Paris, Musee du Louvre, Sept 14, 2009-January 4, 2010. Venice, Fondazione Musei Civici di Venezia, Jacopo Tintoretto and the 500th anniversary of his birth, September 1 - December 30 2018, fig. 177; Washington D.C., National Gallery of Art, March 3 - June 30, 2019.

"Found in France: The New Veronese, Vivarini, and Tintoretto," Illustrated London News (4 December 1937), p. 1015. Alfred M. Frankfurter, "The Classic Nude: 1460–1905," Art News 37, no. 29 (1939), cover ill. Pictures on Exhibit 12, no. 4 (1940), pp. 37–38. Erich von der Bercken, Die Gemälde des Jacopo Tintoretto (Munich, 1942), p. 119, no. 265, figs. 12–14. Hans Tietze, Tintoretto: The Paintings and Drawings (London, 1948), p. 357, fig. 285. Rodolfo Pallucchini, La giovinezza del Tintoretto (Milan, 1950), p. 151. Frederick A. Sweet, "Tintoretto and El Greco," Art Institute of Chicago Bulletin 44 (1950), pp. 22–23 (detail ill., cover ill.). Daniel Catton Rich, "The Windy City, Storm Center of Many Contemporary Art Movements," Art Digest 26, 3 (1951), p. 29 (ill.). Frederick A. Sweet, "La pittura italiana all'Art Institute di Chicago," Le vie del mondo: Rivista mensile del Touring Club Italiano 15 (1953), pp. 698–99 (ill.). Bernard Berenson, Italian Pictures of the Renaissance: Venetian School (London, 1957), vol. 1, p. 171, vol. 2, pl. 1291. R. Pedrazzi Tozzi, "La maturità di Domenico Tintoretto in alcune telle ritenute di Jacopo," Arte antica e moderna 12 (1960), p. 388. Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Pictures in the Collection (Chicago, 1961), pp. 449–50. Hans Huth, "Italienische Kunstwerke im Art Institute von Chicago, USA," in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 518. Carlo Bernari and Pierluigi de Vecchi, L'opera completa del Tintoretto, Classica dell' arte 36 (Milan, 1970), pp. 100–01, no. 131a (ill.). Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972), pp. 199, 482, 571. Eddy de Jongh, "Pearls of Virtue and Pearls of Vice," Simiolus 8 (1975–76), p. 88, fig. 18. John D. Morse, Old Master Paintings in North America (New York, 1976), pp. 261–62. Rodolfo Pallucchini, "Per la storia del Manierismo a Venezia" in Da Tiziano a El Greco: Per la storia del Manierismo a Venezia, exh. cat. Palazzo Ducale, Venice, 1981, p. 53. Rodolfo Pallucchini and Paola Rossi, Tintoretto: Le opere sacre e profane (Milan, 1982), vol. 1, pp. 105, 229, no. 450 (ill.). Stefania Mason Rinaldi, Palma il Giovane: L'opera completa (Milan, 1984), pp. 46, 87, under no. 117. Erasmus Weddigen, "Jacopo Tinteretto und die Musik," Artibus et Historiae 10 (1984), pp. 99, 102–03, 188 n. 180, p. 119 nn. 185, 187. Philipp Fehl, "Mourning for Lucretia: Titian, Tintoretto and Veronese" in Nuovi studi su Paolo Veronese, ed. Massimo Gemin (Venice, 1990), pp. 279-80, 284 n. 8. Daniel Arasse, Le détail: Pour une histoire rapprochée de la peinture (Paris, 1992), fig. 166. Christopher Lloyd, Italian Paintings before 1600 in The Art Institute of Chicago (Chicago, 1993), pp. 243-46. ill. Sergio Marinelli, " Aspetti della teatralità nell' opera di Jacopo Tintoretto" in Jacopo Tintoretto nel quarto centenario della morta. Atti del Convegno Internazionale di Studi (Venezia, 24-26 novembre 1994), ed. Paola Rossi and Lionello Puppi (Venice, 1996), p. 265, fig. 8. Elizabeth Rodini, “The Language of Stones” in Renaissance Jewelry in the Alsdorf Collection. Art Institute of Chicago Museum Studies 25, 2 (2000), pp. 22-23, fig. 9. Garry Wills, Venice: Lion City. The Religion of Empire (New UYork, London, Toronto, Sydney and Singapore, 2001), p. 168, fig. 50. Georges Didi-Huberman, Ninfa Moderna. Essai sur le drapé tombé (Paris, 2002), p. 21, figs. 12 and 13 a and b. Peter Schjeldahl, "Venetian Brass: Tintoretto's fitful brilliance," New Yorker, February 12, 2007, p. 87 (ill.). Robert Echols and Frederick Ilchman, Tintoretto: 1519-1594, exh. cat. (Fondazione Musei Civici di Venezia, Marsilio, 2018), pp. 194-195, 259.