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Amico Aspertini

Saint Sebastian, c. 1505

West Building, Main Floor — Gallery 19

Medium

oil on panel

Dimensions

overall: 114.9 x 66 cm (45 1/4 x 26 in.)

framed: 139.2 x 89.2 x 10.8 cm (54 13/16 x 35 1/8 x 4 1/4 in.)

Credit Line

Samuel H. Kress Collection

Accession Number

1961.9.1

Artists / Makers

Amico Aspertini (artist) Ferrarese-Bolognese, 1474/1475 - 1552

Image Use

This image is in the public domain.
Read our full Open Access policy for images .

Provenance

Probably Samuel Woodburn, London; (probably Woodburn estate sale, Christie Manson & Woods, London, 9-11 June 1860, no. 68, as Perugino); purchased by Sir John William Ramsden [1831-1914], 5th Bart.[1] Anonymous collection, Milan, by 1931. (Count Alessandro Contini Bonacossi, Florence and Rome); sold 1938 to the Samuel H. Kress Foundation, New York;[2] gift 1961 to NGA.

[1] Not included in Ramsdem sale held at Christie's, London, 11 July 1930.

[2] See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1902.

Associated Names

Christie, Manson & Woods, Ltd.
Contini Bonacossi, Alessandro, Count
Kress Foundation, Samuel H.
Ramsden, 5th Bart., John William, Sir
Woodburn, Samuel

Exhibition History

2008: Amico Aspertini 1475-1552, artista bizzarro nell'età di Dürer e Raffaello, Pinacoteca Nazionale di Bologna, 2008-2009, no. 3, repro.

Bibliography

1915: Ricci, Corrado. “Gli Aspertini.” L’Arte 28 (1915): 86, 109, 113.

1923: Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 14(1933):381, as by Perugino.

1934: Longhi, Roberto. Officina Ferrarese. Rome, 1934: 102, figs. 139, 140.

1939: Filippini, Francesco. “L’inventario dei quadri esistenti nella libreria di Giovanni Sforza a Pesaro nel 1500.” Urbinum 13 (1939): 31 n.

1941: Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 9-10, no. 414.

1942: National Gallery of Art. Book of Illustrations. 2nd ed. Washington, 1942: 414, repro. 59, 248.

1945: Grassi, Luigi. “Museo Nazionale di Washington.” Arti figurative 1, nos. 1-2 (1945): 234.

1945: Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 71, repro.

1956: Longhi, Roberto. Officina ferrarese (1934), seguíta dagli Ampliamenti (1940) e dai Nuovi ampliamenti (1940-1955). Florence, 1956: 61.

1957: Bober, Phyllis Pray. Drawings after the Antique by Amico Aspertini: Sketchbooks in the British Museum. London, 1957:33-34.

1959: Camesasca, Ettore. Tutta le pittura del Perugino. Milan, 1959: 168-169.

1959: Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 101, repro.

1960: Volpe, Carlo. “Alcune schede per l’Aspertini.” Arte Antica e Moderna 10 (1960): 167-168.

1964: Grassi, Luigi. “Considerazioni e novità su Amico Aspertini e Jacopo Ripanda.” Arte Antica e Moderna 25 (1964): 51.

1965: Summary Catalogue of European Paintings and Sculpture..National Gallery of Art, Washington, 1965: 9.

1967: Scaglietti, Daniela. “La Cappella di Santa Cecilia.” In Carlo Volpe, ed. Il tempio di San Giacomo Maggiore. Bologna, 1967: 140-141.

1968: Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:23.

1968: National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 2, repro.

1968: Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century. London, 1968: 70, fig. 175.

1969: Venturoli, Pietro. “Amico Aspertini a Gradara.” Storia dell’Arte 4 (1969): 427-428.

1972: Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 13, 646.

1973: Kropfinger-von Kügelen, Helga. "Amico Aspertinis Malerisches Werk: Ein Betrag zur Bologneser Malerei der ersten Hälfte des Cinquecento." 2 vols. Ph.D. diss. Kriedrich-Wilhelms-Universität, Hamburg 1973: 1:236-241, cat. 9; 2:fig.12.

1975: European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 14, repro.

1978: Brown, Clifford M., and Anna Maria Lorenzoni. “The Grotta of Elisabetta d’Este (part 2).” Gazette des Beaux-Arts 19 (1978): 78.

1979: Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:19-21; 2:pl. 12.

1984: Agosti, Giovanni, and Vincenzo Farinella. “Calore del marmo. Pratica e tipologia delle deduzioni iconografiche.” In Salvatore Settis, ed. Memoria dell’antica nell’arte italiana. 1. L’uso dei classici. Turin, 1984: 388.

1984: Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 172, no. 196, color repro.

1985: European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 33, repro.

1986: Schweikhart, Gunter. Der Wolfegg Codex. Zeichnungen nach der Antike von Amico Apsertini. London, 1986: 53-54.

1988: Agosti, Giovanni, and Vincenzo Farinella. “Nuove ricerche sulla Colonna Traiana nel Rinascimento.” In Salvatore Settis, ed. La Colonna Traiana. Turin, 1988: 558.

1988: Faietti, Marzia. “Attorno a Marcantonio: figure della sua giovinezza e prima maturità.” In Marzia Faietti and Konrad Oberhuber, eds. Bologna e l’Umanesimo 1490-1510. Exh. cat. Pinacoteca Nazionale, Bologna, 1988: 146-149, 158.

1991: Faietti, Marzia. “New drawings by Amico Aspertini.” Master Drawings 29 (1991): 158, 170 n. 47, fig. 7.

1994: Ballarin, Alessandro. Dosso Dossi: La Pittura a Ferrara negli anni del Ducato di Alfonso I. 2 vols. Cittadella, 1994-1995: 1(1994):fig. 193.

1994: Faietti, Marzia. “1490-1530: influssi nordici in alcuni artisti emiliani e romagnoli.” In Vera Fortunati, ed. La pittura in Emilia e in Romagna. Il Cinquecento. Un’avventura artistica tra natura e idea. Milan, 1994: 18, 19, 36.

1994: Faietti, Marzia. “L’influsso della cultura fiorentina nell’evoluzione stilistica del disegno bolognese tra la fine del Quattrocento e gli Inizi del Cinquecento.” In Elizabeth Cropper, ed. Florentine Drawing at the Time of Lorenzo the Magnificent: Papers from a Colloquium held at the Villa Spellman, Florence, 1992. Bologna, 1994: 206.

1995: Faietti, Marzia. “‘Bizar più che reverso di medaglia’: un codex avec grotesques, monstres et ornements du jeune Amico Aspertini.” Revue de l’Art 107 (1995): 81.

1995: Faietti, Marzia, Daniela Scaglietti Kelescian, and Manuela Iodice. Amico Aspertini. Modena, 1995: 107-109, cat. 5.

2005: Costanzi, Costanza, ed. Le Marche disperse: repertorio di opere d’arte dalle Marche al mondo. Cinisello Balsamo (Milan), 2005: 224, cat. 344.

2013: Danieli, Michele. "Un peruginesco in incognito: Amico Aspertini." Saggi e memorie di storia dell'arte 37 (2013): 15, 17-19, 31, 34, fig. 15.

2023: Calogero, Giacomo Alberto. "Perugino nella valle del Po: incroci e interferenze col protoclassicismo padano." In Marco Pierini and Veruska Picchiarelli, eds. Il meglio maestro d’Italia. Perugino e il suo tempo. Exh. cat., Galleria Nazionale dell’Umbria, Perugia, 2023: 475, fig. 2.