Portrait of the Artist's Son, Antonio Carracci

Prints and Drawings

1592/95

Agostino Carracci
Italian, 1557-1602

Agostino Carracci’s training as an engraver and his careful study of the human form are evident in the execution of this portrait of his son Antonio, both in the vigorous strokes of the background and in the structure of the face. Antonio was probably twelve or thirteen years old when his father made this portrait of him.

Status: Currently Off View
Department: Prints and Drawings

Artist: Agostino Carracci
Title: Portrait of the Artist's Son, Antonio Carracci
Place: Italy (Artist's nationality)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1592–1595
Medium: Red chalk on cream laid paper, laid down on cream wove paper
Inscriptions: Inscribed recto, lower left, in pen and brown ink: "Ritrato di Antonio Caraggi da Agostino"; inscribed verso, lower left, in pen and brown ink (visible through mount): "Ritratto da Antonio Caracci, del. par Agostino"
Dimensions: 36.1 × 25.6 cm (14 1/4 × 10 1/8 in.)
Credit Line: Clarence Buckingham Collection
Reference Number: 1973.152
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/44259/manifest.json

Charles-Gilbert Viscount Morel de Vindé and Benard, Cabinet de M. Paignon Dijonval: état Détaillé et Raisonné des Dessins et Estampes dont il est Composé (Paris, 1810), p. 33, no. 56.
The Art Institute of Chicago Annual Report (1973), pp. 15 (ill.) and 33.
Harold Joachim, Italian Drawings of the 15th, 16th, and 17th Centuries (Chicago, 1979), p. 112, no. 4A8.
Diane DeGrazia Bohlin, Prints and Related Drawings by the Carracci Family (Washington, 1979), pp. 47 and 66, fig. P.
Roberto Zapperi, “I ritratti di Antonio Carracci,” Paragone, 38 (1987), pp. 17-22, pl. 1.
Shelley Perlove and George S. Keyes (editors).
Seventeenth-Century European Drawings in Midwestern Collections (University of Notre Dame Press, 2014), pp. 20

London, The Lawrence Gallery, “6th Exhibition, One Hundred Original Drawings by Lodovico, Agostino, and Annibale Carracci, collected by Sir Thomas Lawrence,” 1836, p. 17, cat. 45.
Catalogue of the Ellesmere Collection of Drawings at Bridgewater House (London, 1898), cat. 84.
Leicester Museums and Art Gallery, “The Ellesmere Collection of Old Master Drawings,” 1954, p. 16, cat. 31, pl. X.
London, P. & D. Colnaghi & Co., “A Loan Exhibition of Drawings by the Carracci and Other Masters,” January 25-February 22, 1955, n.p., cat. 35.
Newcastle upon Tyne, The Hatton Gallery, “The Carracci, Drawings and Paintings,” November-December 1961, n.p., cat. 40.
The Art Institute of Chicago, “European Portraits 1600-1900 in The Art Institute of Chicago,” July 8-September 11, 1978, pp. 96-8, cat. 23 (ill.).
The Art Institute of Chicago, “Italian Drawings in The Art Institute of Chicago,” 1979-1980, pp. 45-6, cat. 46, pl. 55, cat. by Harold Joachim and Suzanne Folds McCullagh; traveled to Washington, D.C., National Gallery of Art.
The Art Institute of Chicago, “The Broad Spectrum: Color on Paper, Past and Present,” September 12–October 31, 1999, hors. cat.
The Art Institute of Chicago, “Strokes of Genius: Italian Drawings from the Goldman Collection,” November 1, 2014-February 1, 2015.

M. Paignon Dijonval (1708–1792) [see Lugt 2520]; by descent to his son, Charles-Gilbert Viscount Morel de Vindé (1759–1842), Paris [see Lugt 2520; Viscount Morel de Vindé and Benard 1810]. Thomas Dimsdale (1758–1823) London [his stamp (Lugt 2426), verso, lower left, in black (now illegible)]. Sir Thomas Lawrence (1769–1830), London [London 1836]; sold by Samuel Woodburn (1786–1853), London, to Lord Francis Egerton (1800–1857), 1st Earl of Ellesmere and 1st Duke of Sutherland, London [his stamp (Lugt suppl. 2710b), recto, lower right in black]; by descent; sold, Sotheby’s, London, July 11, 1972, Ellesmere sale, lot 30, to Walter Feilchenfeldt [Chicago 1978]; sold by Marianne Feilchenfeldt, Zurich, to the Art Institute, 1973.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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