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oil paint (paint)259 × 186 Cm
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About the artwork
Artist supplied description.
In this second of the four large paintings from Giovanni Battista Tiepolo’s sequence illustrating the story of the crusader Rinaldo and the sorceress Armida, Armida has abducted Rinaldo and carried him away to her magical garden. She looks into a magic mirror while the knight sits enthralled, gazing into her eyes, his sword and shield cast aside. Meanwhile, Rinaldo’s two companions, Carlo and Ubaldo, appear at the garden gate to persuade him to return to their quest to seize control of Jerusalem.
Artwork metadata
Structured fields synced from connected systems.
| Medium | oil paint (paint) |
| Dimensions | 259 × 186 Cm |
| Tags | NarrativegardenfoliageplantsbushescupidswallsmirrormagicwomanwomanweaponstreessoldiersskyshieldsrocksnaturemenmanlovelandscapeslandscapehelmetsdecorativedecorationcloudsbeautyarmorCentury of Progressworld's fairsChicago World's Fairs |
| Certificate | Certificate not provided |
Timeline
Chain of custody, exhibitions, and verification milestones synced from the provenance service.
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exhibition
exhibition
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note
Douglas Druick, The Art Institute of Chicago: The Essential Guide, fourth ed.
Douglas Druick, The Art Institute of Chicago: The Essential Guide, fourth ed. (Chicago, 2013), p. 214.
Sat
14
Feb
note
Hardy George, ed., La Serenissima: Eighteenth-Century Venetian Art from North American Collections
Hardy George, ed., La Serenissima: Eighteenth-Century Venetian Art from North American Collections (Oklahoma City, 2010), pp. 23-25, ill., 27-28.
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note
Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, third ed.
Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, third ed. (Chicago, 2009), p. 36.
Sat
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note
Charles Brockden Brown, Ormond; or The Secret Witness, ed. Philip Barnard and Stephen Shapiro
Charles Brockden Brown, Ormond; or The Secret Witness, ed. Philip Barnard and Stephen Shapiro (Indianapolis, 2009), p. 358.
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Norma Broude, “G. B. Tiepolo at Valmarana: Gender Ideology in a Patrician Villa of the Settecento,” The Art Bulletin 91
Norma Broude, “G. B. Tiepolo at Valmarana: Gender Ideology in a Patrician Villa of the Settecento,” The Art Bulletin 91 (2009), pp. 160, 181.
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note
Art Institute of Chicago, The Essential Guide, third ed.
Art Institute of Chicago, The Essential Guide, third ed. (Chicago, 2009), p. 200.
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note
Torquato Tasso, The Liberation of Jerusalem
Torquato Tasso, The Liberation of Jerusalem (Gerusalemme liberata), trans. Max Wickert (Oxford, 2009), pp. xix, 402.
Sat
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note
Nils Büttner, The History of Gardens in Painting, trans. Russell Stockman
Nils Büttner, The History of Gardens in Painting, trans. Russell Stockman (New York, 2008), pp. 106-107, ill.
Sat
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note
Margaret Doody, Tropic of Venice
Margaret Doody, Tropic of Venice (Philadelphia, 2007), p. 234.
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note
Rodolfo Pallucchini, Encyclopaedia Britannica, 15th ed., s.v. “Giovanni Battista Tiepolo”
Rodolfo Pallucchini, Encyclopaedia Britannica, 15th ed., s.v. “Giovanni Battista Tiepolo” (Chicago, 2007), p. 764.
Sat
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note
Gregg Bordowitz, “Admissions,” in Considering Forgiveness, ed. Aleksandra Wagner and Carin Kuoni
Gregg Bordowitz, “Admissions,” in Considering Forgiveness, ed. Aleksandra Wagner and Carin Kuoni (New York, 2007), pp. 231-237, ill.
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note
Arnaldo Di Benedetto, Tra Rinascimento e Barocco: Dal petrarchismo a Torquato Tasso
Arnaldo Di Benedetto, Tra Rinascimento e Barocco: Dal petrarchismo a Torquato Tasso (Florence, 2007), pp. 107-108, ill.
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Alexis Merle du Bourg, “Les grands thèmes tirés de La Jérusalem délivrée du Tasse dans la peinture
Alexis Merle du Bourg, “Les grands thèmes tirés de La Jérusalem délivrée du Tasse dans la peinture (XVIe-XIXe siècles): Renaud et Armide (fin du chant XVI),” L’Estampille/L’Object d’Art no. 414 (2006), p. 20.
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Roberto Calasso, Il Rosa Tiepolo
Roberto Calasso, Il Rosa Tiepolo (Milan, 2006), pp. 83-84. (English trans. Alastair McEwen, Tiepolo Pink (2010), p. 67.)
Sat
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note
Alexis Merle du Bourg, “Les grands thèmes tirés de La Jérusalem délivrée du Tasse dans la peinture
Alexis Merle du Bourg, “Les grands thèmes tirés de La Jérusalem délivrée du Tasse dans la peinture (XVIe-XIXe siècles): Renaud (chant I-chant XIV),” L’Estampille/L’Object d’Art no. 412 (2006), p. 22.
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note
Alexis Merle du Bourg, “Les grands thèmes tirés de La Jérusalem délivrée du Tasse dans la peinture
Alexis Merle du Bourg, “Les grands thèmes tirés de La Jérusalem délivrée du Tasse dans la peinture (XVIe-XIXe siècles): Renaud et Armide (chants XVII et XVIII),” L’Estampille/L’Object d’Art no. 415 (2006), p. 20.
Sat
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Feb
note
Alexis Merle du Bourg, “Les grands thèmes tirés de La Jérusalem délivrée du Tasse dans la peinture
Alexis Merle du Bourg, “Les grands thèmes tirés de La Jérusalem délivrée du Tasse dans la peinture (XVIe-XIXe siècles): Renaud (chants XV et XVI),” L’Estampille/L’Object d’Art no. 413 (2006), p. 20, ill.
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note
Victor M. Cassidy, “Revisiting the Permanent Collection,” Chicago Life Magazine
Victor M. Cassidy, “Revisiting the Permanent Collection,” Chicago Life Magazine (Summer 2006): p. 20, ill.
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note
Everett Fahy, ed., The Wrightsman Pictures
Everett Fahy, ed., The Wrightsman Pictures (New Haven, 2005), p. 92.
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note
Giovanni Careri, Geste d’amour et de guerre: La Jérusalem délivrée, images et affects
Giovanni Careri, Geste d’amour et de guerre: La Jérusalem délivrée, images et affects (Paris, 2005), pp. 201, 203, fig. 53, ill. (Italian trans. Giovanni Careri, La fabbrica degli affetti : La Gerusalemme liberata dai Carracci a Tiepolo, 2010, pp. 181-183, fig. 53, ill.)
Sat
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note
Sylvie Mamy, L’Allée de Mélisande: Les jardins et la musique
Sylvie Mamy, L’Allée de Mélisande: Les jardins et la musique (Paris, 2004), pp. 40, 42, 46, 50, plate VII, ill.
Sat
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Francesca Castria Marchetti, Rosa Giorgi, and Stefano Zuffi, Il Barocco 1600-1770: L’Arte Europea da Caravaggio a Tiepolo
Francesca Castria Marchetti, Rosa Giorgi, and Stefano Zuffi, Il Barocco 1600-1770: L’Arte Europea da Caravaggio a Tiepolo (Milan, 2004), p. 276, ill.
Sat
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note
Jeannine Guérin Dalle Mese, “Armide découvre Renaud endormi,” in Les belles infidèles de la Jérusalem délivrée: la fortune du poème du Tasse, XVIe-XXe siècle, ed. Raymond Abbrugiati and José Guidi
Jeannine Guérin Dalle Mese, “Armide découvre Renaud endormi,” in Les belles infidèles de la Jérusalem délivrée: la fortune du poème du Tasse, XVIe-XXe siècle, ed. Raymond Abbrugiati and José Guidi (Marseille, 2004), pp. 160-164.
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note
Jaynie Anderson, Tiepolo’s Cleopatra
Jaynie Anderson, Tiepolo’s Cleopatra (Melbourne, 2003), pp. 87, 186.
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note
Daniel Heartz, Music in European Capitals: The Galant Style, 1720-1780
Daniel Heartz, Music in European Capitals: The Galant Style, 1720-1780 (New York, 2003), pp. 13, 484, 840, plate VII, ill.
Sat
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note
Julius Bryant, Kenwood: Paintings in the Iveagh Bequest
Julius Bryant, Kenwood: Paintings in the Iveagh Bequest (New Haven, 2003), p. 138.
Sat
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note
Art Institute of Chicago, The Essential Guide, revised ed.
Art Institute of Chicago, The Essential Guide, revised ed. (Chicago, 2003), p. 138.
Sat
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Feb
note
Arnaldo Di Benedetto, “Lo Sguardo di Armida
Arnaldo Di Benedetto, “Lo Sguardo di Armida (un’icona della «Gerusalemme Liberata»),” in Torquato Tasso e le arti, ed. A. Curò (Bergamo, 2002), p. 96.
Sat
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note
Filippo Pedrocco, The Art of Venice: From Its Origins to 1797
Filippo Pedrocco, The Art of Venice: From Its Origins to 1797 (Florence, 2002), pp. 162-163.
Sat
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note
Filippo Pedrocco, Giambattista Tiepolo
Filippo Pedrocco, Giambattista Tiepolo (Milan, 2002), pp. 248-249, ill.
Sat
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note
George Knox and Jacques van Schoor, Le Menuet de Lorenzo Tiepolo
George Knox and Jacques van Schoor, Le Menuet de Lorenzo Tiepolo (Sarreguemines, 2001), p. 19.
Sat
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note
Stefano Zuffi, ed., Arte e erotismo
Stefano Zuffi, ed., Arte e erotismo (Milan, 2001), pp. 290-291, ill. (English trans. Stephen Sartarelli, Love and the Erotic in Art (2010), p. 366, ill.)
Sat
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note
Christie’s, Important Old Master Paintings: January 27, 2000
Christie’s, Important Old Master Paintings: January 27, 2000 (New York, 2000), under no. 84.
Sun
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note
Filippo Pedrocco, “Lorenzo Tiepolo en Venecia,” in Lorenzo Tiepolo, exh. cat. Madrid, Museo Nacional del Prado, 1999, pp. 19-20.
Filippo Pedrocco, “Lorenzo Tiepolo en Venecia,” in Lorenzo Tiepolo, exh. cat. Madrid, Museo Nacional del Prado, 1999, pp. 19-20.
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note
Keith Christiansen, “Giambattista Tiepolo. Paris,” Burlington Magazine 141
Keith Christiansen, “Giambattista Tiepolo. Paris,” Burlington Magazine 141 (1999), p. 245
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note
Lorenzo Tiepolo, exh. cat. Madrid, Museo Nacional del Prado, 1999, p. 193.
Lorenzo Tiepolo, exh. cat. Madrid, Museo Nacional del Prado, 1999, p. 193.
Sun
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note
Vernon Hyde Minor, Baroque & Rococo: Art & Culture
Vernon Hyde Minor, Baroque & Rococo: Art & Culture (New York, 1999), pp. 37-39, ill., 180.
Sun
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note
Art Institute of Chicago, Master Paintings in The Art Institute of Chicago, second ed.
Art Institute of Chicago, Master Paintings in The Art Institute of Chicago, second ed. (Chicago, 1999), p. 36.
Sun
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Feb
note
Keith Christiansen, “Tiepolo, Theater, and the Notion of Theatricality,” The Art Bulletin 81
Keith Christiansen, “Tiepolo, Theater, and the Notion of Theatricality,” The Art Bulletin 81 (1999), pp. 684, 692.
Sat
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note
Possibly one of four scenes from Tasso made for the 'gabinetto degli specchi' of the Palazzo Corner a San Polo, Venice [according to inventories and other documents discussed by Romanelli 1998]....
Possibly one of four scenes from Tasso made for the 'gabinetto degli specchi' of the Palazzo Corner a San Polo, Venice [according to inventories and other documents discussed by Romanelli 1998]. Count Giovanni Serbelloni, Venice in 1838
Sat
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Feb
note
Keith Christiansen, “Tiepolo et sa famille en Europe,” in Histoire Artistique de L’Europe: Le XVIIIe Siècle, vol. 3, ed. Thomas W. Gaehtgens and Krzysztof Pomian
Keith Christiansen, “Tiepolo et sa famille en Europe,” in Histoire Artistique de L’Europe: Le XVIIIe Siècle, vol. 3, ed. Thomas W. Gaehtgens and Krzysztof Pomian (Paris, 1998), p. 195, ill.
Fri
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note
Giorgio Nonveiller, “A proposito dell’arte di Giambattista Tiepolo oggi,” in Dopo Tiepolo, ed. Toni Toniato and Giorgio Nonveiller
Giorgio Nonveiller, “A proposito dell’arte di Giambattista Tiepolo oggi,” in Dopo Tiepolo, ed. Toni Toniato and Giorgio Nonveiller (Milan, 1997), pp. 33, ill., 35.
Fri
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note
Giandomenico Romanelli and Filippo Pedrocco, Lorenzo Tiepolo e il suo tempo
Giandomenico Romanelli and Filippo Pedrocco, Lorenzo Tiepolo e il suo tempo (Milan, 1997), p. 132.
Fri
14
Feb
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Peter Partner, God of Battles: Holy Wars of Christianity and Islam
Peter Partner, God of Battles: Holy Wars of Christianity and Islam (Princeton, 1997), p. 285, ill.
Fri
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Feb
note
Justyna Guze, Tiepolo i tiepoleschi: w zbiorach polskich: rysunki, ryciny, obrazy
Justyna Guze, Tiepolo i tiepoleschi: w zbiorach polskich: rysunki, ryciny, obrazy (Warsaw, 1997), p. XLVIII.
Fri
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Feb
note
Adriano Mariuz and Giuseppe Pavanello, “The Interior Decoration of Palaces in Venice: From Baroque Magnificence to Rococo Elegance,” in Venice: Art & Architecture, Volume II, ed. Giandomenico Romanelli
Adriano Mariuz and Giuseppe Pavanello, “The Interior Decoration of Palaces in Venice: From Baroque Magnificence to Rococo Elegance,” in Venice: Art & Architecture, Volume II, ed. Giandomenico Romanelli (New York, 1997), pp. 628-629, ill.
Wed
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note
Peter O. Krückmann, ed., Der Himmel auf Erden: Tiepolo in Würzburg, vol. I
Peter O. Krückmann, ed., Der Himmel auf Erden: Tiepolo in Würzburg, vol. I (Munich, 1996), p. 155.
Wed
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note
Giuseppe Barbieri, “Tre storie vicentine di Giambattista Tiepolo,” in Tiepolo e la vita in villa: Arte e cultura nel Settecento veneto, ed. Gian Antonio Cibotto , et al.
Giuseppe Barbieri, “Tre storie vicentine di Giambattista Tiepolo,” in Tiepolo e la vita in villa: Arte e cultura nel Settecento veneto, ed. Gian Antonio Cibotto , et al. (Venice, 1996), p. 65.
Wed
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Feb
exhibition
Venice, Ca' Rezzonico, Giambattista Tiepolo, September 5-December 15, 1996, cat. 17b; New York, Metropolitan Museum of Art, January 24 – April 27, 1997.
Venice, Ca' Rezzonico, Giambattista Tiepolo, September 5-December 15, 1996, cat. 17b; New York, Metropolitan Museum of Art, January 24 – April 27, 1997.
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