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Shown from the chest up, a man with pale, yellow-tinged skin is angled to our right with downcast eyes in this vertical portrait painting. He is cleanshaven with chin-length black hair. There is a deep vertical crease in the center of his forehead between dark brows. His eyes are hazel brown, and he has a long, hooked nose over slightly parted, pale pink lips. He wears a high-necked, red tunic with deep pleats down his chest. The arm closer to us has a fawn-brown sleeve. He is shown behind a narrow ledge where a brown, dove-sized bird with an ivory-white belly sits on a twig in the lower left corner. A window opening behind the man has two wooden shutters. The shutter to the right is closed, and the one to the left is pushed open so a sliver of pale sky is visible.

Giuliano de' Medici, c. 1478/1480

Sandro Botticelli

West Building, Main Floor — Gallery 7

This portrait of young Giuliano de’ Medici was likely painted after his murder in 1478. The downward tilt of his head, lowered eyelids, half-open window, and turtledove on a dead branch can all symbolize death. Giuliano and his brother Lorenzo de’ Medici were targets of an assassination plot. Members of the Pazzi family wanted to remove the Medicis from power.

They were attacked in the Duomo (cathedral) of Florence during High Mass on Easter. Lorenzo escaped with wounds, but Giuliano was killed. Portraits of Lorenzo (such as this painted terracotta bust) were made to show citizens that he was still alive and in power. Those of Giuliano were commemorative.

Dive deeper

Giuliano Medici, the younger brother of Lorenzo, was nursing a bad knee on Easter Day 1478 and had to be helped to the cathedral—by the very men who were plotting to kill him and his brother during mass. The assassins, members and supporters of the Pazzi family, banking rivals of the Medici, awaited their signal. As worshipers bowed their heads at the elevation of the host, Giuliano was brutally stabbed. Lorenzo escaped to the sacristy, remaining there while the Pazzi partisans attempted to seize the government. They soon failed, however, and Lorenzo resumed control.

The murder of Giuliano shocked Florence, and a number of portraits were ordered for public display to serve both as memorials and as warnings to other plotters. Botticelli's painting may have been the prototype for others, and lent symbolic gravity to Guiliano’s passing, showing him as an icon, almost a saint. The open window and mourning dove were familiar symbols of death, alluding to the flight of the soul and the deceased's passage to the afterlife. Some scholars, noting the lowered eyelids, suggest this portrait was painted posthumously from a death mask.

Object Data

Medium

tempera on panel

Dimensions

overall: 75.5 x 52.5 cm (29 3/4 x 20 11/16 in.)

framed: 105.7 x 81.3 x 11.3 cm (41 5/8 x 32 x 4 7/16 in.)

Credit Line

Samuel H. Kress Collection

Accession Number

1952.5.56

Artists / Makers

Sandro Botticelli (painter) Florentine, 1446 - 1510

Image Use

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Detail Information

Provenance

Grand Duke Ferdinand I de' Medici [1551-1609], Florence.[1] Marchese Alfonso Tacoli Canacci [1724-1801], Florence, by 1796;[2] by inheritance to his nephew, Pietro Tacoli [1773-1847], Modena; by inheritance to his daughter, Adelaide Tacoli; through her marriage into the Bellincini Bagnesi family, Modena; by descent to Marchesa Adele Bagnesi;[3] sold 1940 through (Zelindo Bonaccini [1890-1967], Modena)[4] to Count Vittorio Cini [1885-1977], Venice;[5] sold to (Wildenstein & Co., Inc., New York), probably in 1948;[6] sold June 1949 to the Samuel H. Kress Foundation, New York;[7] gift 1952 to NGA.

[1] The emblem of the queen bee surrounded by her subjects, visible on the reverse of the painting, appears also on the reverse of a medal made by Michele Mazzafirri for Grand Duke Ferdinand I de' Medici in 1588; see Karla Langedijk, The Portraits of the Medici, 15th-18th Centuries, Florence, 1983: 2:760-761. It is uncertain whether the NGA painting is the one described as "1o quadro colla testa di Giuliano de' Medici" ("one picture with the head of Giuliano de' Medici") in the 1503 inventory of the Cafaggiolo branch of the family collection (see John Shearman, "The Collections of the Younger Branch of the Medici," Burlington Magazine 117 [1975]: 26); in fact, several versions of Giuliano's portrait must have been painted, a number of which still exist today. No portrait of him is mentioned, however, in the 1492 inventory of the Medici Palace in Via Larga (see Libro d'inventario dei beni di Lorenzo di Magnifico, ed. by Marco Spallanzani and Giovanni Gaeta Bertelà, Florence, 1992; and Maria Grazia Ciardi Duprè Dal Poggetto, "I dipinti di Palazzo Medici nell'inventario di Simone de Stagio delle Pozze: Problemi di committenza e di arredo," in Toscana al temp di Lorenzo il Magnifico: Politica, economia, cultura, arte. Convegno di studi promosso dale Università di Firenze, Pisa e Siena, 5-8 novembre 1992, 3 vols., Pisa, 1996: 160-161) or in the 1560 inventory of the apartments of Cosimo I de' Medici in the Palazzo Vecchio (see James H. Beck, "The Medici Inventory of 1560," Antichità Viva 13 [1974]: no. 3, 64-66, and no. 5, 61-63). A "quadretto pittovi la testa di Giuliano di Piero de' Medici in carta pecora" ("a little picture with the head of Giuliano di Piero de' Medici painted on parchment"), certainly not identifiable with the NGA painting, is listed in inventories of 1553 and later (Karla Langedijk, The Portraits of the Medici. 15th-18th Centuries, 3 vols., Florence, 1981-1987: (1983):1063).

[2] The presence of a label with the inscription Etruria pittrice (see also note 5) suggests that by 1796 the painting belonged to marquis Alfonso Tacoli-Canacci, in whose catalogue it is registered under no. 444. As Dr. Vincenzo Buonocore informs Miklós Boskovits in a letter of 17 June 2002 (copy in NGA curatorial files), the painting was probably acquired by Tacoli Canacci after 1792, as it does not appear in the list of his paintings compiled in that year (now in the Real Biblioteca in Madrid, ms. II/574).

[3] The Getty Provenance Index states that the painting used to belong to the Coccapani Imperiali family. A handwritten note on the back of a photograph in Bernard Berenson's photographic files at the Biblioteca Berenson, I Tatti, Florence, states that the painting was "found" in Modena and that it entered the Cini collection through a Modenese dealer (see following notes). According to Dr. Vincenzo Buonocore, who is preparing a detailed study on the history of the Tacoli-Canacci collection, after the death of marquese Alfonso, his paintings went to his nephew and heir, Pietro Tacoli, and subsequently to the daughter of the latter, Adelaide, wife of Alessandro Bellincini Bagnesi in Modena.

[4] The anonymous author of an article in the magazine Europeo (8 July 1951, translation in NGA curatorial files) states that the painting was acquired "before the war [World War II] [by] Count Vittorio Cini through Prof. Zelindo Bonaccini of Modena." Working also as a painter, Bonaccini was known mostly for his activity as a dealer (see Alberto Barbieri, Arte ed artisti a Modena, Modena, 1982: 407).

[5] A publication on the paintings and works of art belonging to the Cini collection (Nino Barbantini, Il Castello di Monselice, Venice, 1940) does not yet mention the painting. However, Dr. Buonocore owns a list of paintings sold in 1940 by Adele Bagnesi to Count Cini which includes the Giuliano de' Medici (communication to Miklós Boskovits).

[6] According to a handwritten note on a photograph owned by Bernard Berenson (see note 3), the painting was with Wildenstein's by 1948; it was offered by this firm to Rush H. Kress for acquisition on 30 March 1949 (copy of letter in NGA curatorial files).

[7] The Wildenstein invoice to the Kress Foundation for 16 items, including the Botticelli painting, is dated 23 June 1949 (copy in NGA curatorial files, see also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/971).

Associated Names

Bagnesi, Adele, Marchesa
Bonaccini, Zelindo
Cini Foundation
Kress Foundation, Samuel H.
Medici, Ferdinand I de', Grand Duke
Tacoli Canacci, Alfonso, Marchese
Tacoli, Adelaide
Tacoli, Pietro
Wildenstein & Co., Inc.

Exhibition History

1999: Renaissance Florence: The Art of the 1470s, The National Gallery, London, 1999-2000, no. 1, repro.

2001: Virtue and Beauty: Leonardo's 'Ginevra de' Benci' and Renaissance Portraits of Women, National Gallery of Art, Washington, D.C., 2001-2002, no. 27, color repro.

2009: Botticelli, Städelsches Kunstinstitut und Städtische Galerie, Frankfurt, 2009-2010, no. 5, repro.

2011: The Portrait in Renaissance Italy: From Masaccio to Bellini, Gemäldegalerie, Staatliche Museen zu Berlin; The Metropolitan Museum of Art, New York, 2011-2012, no. 52, repro.

Bibliography

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1796: Catalogue raisonné, ou description exacte de plusieurs excellens tableaux…dans un recueil appurtenant à monsieur le marquis Alphonse Tacoli Canacci à Florence. Parma, 1796: 88, no. 444.

1942: Bettini, Sergio. Botticelli. Milan, 1942:25-26, repro. 46.

1948: Kunstschätze der Lombardei: 500 vor Christus – 800 nach Christus. Exh. cat. Kunsthaus, Zurich, 1948: 221.

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1976: Ettlinger, Leopold D., and Helen S. Ettlinger. Botticelli. London, 1976: 168.

1976: Hatfield, Rab. Botticelli’s Uffizi “Adoration”: A study in pictorial content. Princeton, 1976: 76-78, repro.

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1983: Langedijk, Karla. The Portraits of the Medici: 15th-18th Centuries. 3 vols. Florence, 1981-1987: 1:32-33; 2(1983):1068, 1073, repro.

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1988: Baldini, Umberto. Botticelli. Florence, 1988: 52, 267, repro.

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1989: Sekine. Istituto Giapponese di Cultura. The Japan Foundation. Annuario 23 (1989): 64-65.

1990: Campbell, Lorne. Renaissance Portraits: European Portrait-Painting in the 14th, 16th and 16th Centuries. New Haven and London, 1990: 69, 86, 115-116, pl. 136.

1990: Caneva, Caterina. Botticelli: catalogo completo dei dipinti. Florence, 1990: 56.

1990: Dühlberg, Angelica. Privatporträts. Geschichte und Ikonologie einer Gattung im 15. und 16. Jahrhundert. Berlin, 1990: 162.

1991: Acidini, Cristina. “Gli artisti di Lorenzo di Medici.” In Franco Borsi, ed. “Per Bellezza, per studio, per piacere.” Lorenzo il Magnifico e gli spazi dell’arte. Florence, 1991: 168.

1991: Vertova, Luisa. “Botticelli tra falsificazione e reinvenzioni.” Antichità Viva 30, no. 6 (1991): 24, 29 n. 2.

1992: Reiss, Sheryl E. “Cardinal Giulio de’ Medici as a Patron of Art, 1513-1523.” 2 vols. Ph.D. diss., Princeton University, 1992: 1:106.

1992: Stapleford, Richard. The Age of Lorenzo de' Medici: Patronage and the Arts in Renaissance Florence. A Walking Tour of Italian Painting and Sculpture in the National Gallery of Art. Washington, 1992: no. 6, repro.

1993: Deimling, Barbara. Sandro Botticelli, 1444/5-1510. Cologne, 1993: 24.

1993: Gagliardi, Jacques. La conquête de la peinture: L’Europe des ateliers du XIIIe au XVe siècle. Paris, 1993: 616, fig. 776.

1993: Grimm, Claus. “Die Frage nach der Eigenhändigkeit und die Praxis der Zuschreibung.” In Thomas W. Gaehtgens, ed. Künstlerischer Austausch = Artistic Exchange. Akten des XXVIII. Internationalen Kongresses für Kunstgeschichte, Berlin, 15.-20. Juli 1992. Berlin, 1993: 2:631, 647.

1994: Costamagna, Philippe. Pontormo. Milan, 1994: 87, 224.

1996: Ciardi Dupré Dal Poggetto, Maria Grazia. “I dipinti di Palazzo Medici nell’inventario di Simone di Stagio delle Pozzo: Problemi di committenza e di arredo.” In Toscana al tempo di Lorenzo il Magnifico: Politica, economia, cultura, arte. Convegno di studi promosso dalle Università di Firenze, Pisa e Siena, 5-8 novembre 1992. 3 vols. Pisa, 1996: 160-161.

1997: Goldfarb, Hilliard T. “Sandro Botticelli as Artist and Witness: An Overview.” In Laurence Kanter, Hilliard T. Goldfarb, and James Hankins. Botticelli’s Witness: Changing Style in a Changing Florence. Exh. cat. Isabella Stewart Gardner Museum, Boston, 1997: 9.

1997: Kathke, Petra. Porträt und Accessoire: Eine Bildnisforme im 16. Jahrhundert. Berlin, 1997: 140, 227, fig. 96.

1998: Capretti, Elena. Botticelli. Florence, 1998: 14-15, repro.

1999: Dempsey, Charles. "Portraits and Masks in the Art of Lorenzo de' Medici, Botticelli, and Politian's Stanze per la Giostra." Renaissance Quarterly 52:1 (Spring 1999): 24-25, fig. 15.

1999: Dempsey, Charles. The Portrayal of Love: Botticelli’s Primavera and Humanist Culture at the Time of Lorenzo the Magnificent. Princeton, 1999: 24, fig. 15.

2000: Bredekamp, Horst. “Die Medici, Sixtus IV und Savonarola: Botticelli’s Konflikte.” In Horst Bredekamp, ed. Sandro Botticelli: Der Bilderzyklus zu Dantes Göttlicher Komödie. Exh. cat. Austellungshallen am KulturForum, Berlin, 2000: 293-294, 377 n. 12.

2000: Sandro Botticelli: pittore della Divina Commedia. 2 vols. Exh. cat. Scuderie papali al Quirinale, Rome, 2000: 1:108-109.

2001: Blumenthal, Arthur, ed. Cosimo Rosselli: Painter of the Sistine Chapel. Exh. cat. Cornell Fine Arts Museum, Winter Park, FL, 2001: 150-151, fig. 68.

2003: Boskovits, Miklós, and David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, D.C., 2003: 170-175, color repro.

2004: Hiller von Gaertringen, Rudolf. Italienische Gemälde im Städel 1300-1550: Toskana und Umbrien. Kataloge der Gemälde im Städelschen Kunstinstitut Frankfurt am Main. Mainz, 2004: 337 n. 72, 338.

2004: Nuttall, Paula. From Flanders to Florence: The Impact of Netherlandish Painting, 1400-1500. New Haven and London, 2004: 217-218, fig. 236.

2005: Buonocore, Vincenzo M. Il marchese Alfonso Tacoli-Canacci: “onesto gentiluomo smaniante per la Pittura”. Reggio Emilia, 2005: 104, 218, fig. 80.

2005: Cecchi, Alessandro. Botticelli. Milan, 2005: 164, repro.

2005: Zöllner, Frank. Botticelli. Munich, London, and New York, 2005: 200-201, cat. 26.

2006: Fahy, Everett. "Early Italian paintings in Washington and Philadelphia." The Burlington Magazine 148, no. 1241 (August 2006): 540.

2006: Körner, Hans. Botticelli. Cologne, 2006: 91-93, fig. 94.

2008: Simons, Patricia. “Disegno and desire in Pontormo’s Alessandro de’ Medici.” Renaissance Studies 22, no. 3 (2008): 658.

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2010: Dumbrowski, Damian. Die religiösen Gemälde Sandro Botticellis: Malerei als pia philosophia. Berlin and Munich, 2010: 124 n. 251.

2011: Johnson, Ken. “Getting Personal.” New York Times 161, no. 55,628 (December 23, 2011): C30, repro.

2011: Rubin, Patricia. "Understanding Renaissance Portraits." In Keith Christiansen and Stefan Weppelmann, eds. The Renaissance Portrait from Donatello to Bellini Keith Christiansen and Stefan Weppelmann. Exh. cat. Metropolitan Museum of Art, New York; Bode Museum, Berlin 2011: 10.

2012: Luchs, Alison. "Verrocchio and the Bust of Albiera degli Albizzi: Portraits, Poetry and Commemoration." Artibus et historiae 33, no. 66 (2012): 84, 95 n. 40, repro.

2014: Chiodo, Sonia, and Serena Padovani, eds. The Alana Collection, Newark, Delaware, USA. Vol. III: Italian Paintings from the 14th to 16th Century. Florence, 2014: 13.

2015: Rodeschini, Maria Cristina. “I Botticelli dell’Accademia Carrara di Bergamo: i risultati dei recenti restauri e nuovi esiti di studio.” In Gert Jan van der Sman and Irene Mariani, eds. Sandro Botticelli (1445-1510): Artist and Entrepreneur in Renaissance Florence. Florence, 2015: 64

2016: Bacchi, Andrea, and Andrea De Marchi. “Vittorio Cini collezionista di pittura antica. Una splendida avventura, dal Castello di Monselico alla dimora veneziana, da Nino Barbantini a Federico Zeri.” In Andrea Bacchi and Andrea De Marchi, eds. La Galleria di Palazzo Cini. Dipinti, sculture, oggetti d'arte. Venice, 2016: 389, fig. 2.

2016: Madersbach, Lukas. "'fatto alla spera'? Das Porträt des Leon Battista Alberti aus den Orti Oricellari." Mitteilungen des Kunsthistorischen Institutes in Florenz 58, no. 3 (2016, published February 2017): 319-347, esp. 340, 341 fig. 22, 342.

2018: Valagussa, Giovanni, ed. Accademia Carrara, Bergamo. Dipinti italiani del Trecento e del Quattrocento: Catalogo completo. Milan, 2018: 69-70, 72, fig. 1.

2019: Strehlke, Carl Brandon. Botticelli Portrait Painter. Marullo Adventurer Poet. London, 2019: 23, fig. 12.

2019: Walmsley, Elizabeth, Alexander J. Noelle, with Babette Hartwieg. "The Portraits of Giuliano de' Medici by Sandro Botticelli." Facture: conservation, science, art history 4 (2019): 2-33, 3 unnumbered fig. (detail), figs. 1, 12, 13, details: fig. 6a, 7, 8a, 9, 11, 14.

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2023: Frosinini, Cecilia. “The Under-Line: Revealing Drawing and Modeling Beneath Botticelli’s Paintings.” In Furio Rinaldi, ed. Botticelli Drawings. Exh. cat. Legion of Honor, Fine Arts Museum of San Francisco, 2023: 53-54, fig. 7a.