
Portrait of Lorenzo di Credi
Pietro Perugino·1488
Historical Context
Portrait of Lorenzo di Credi, painted in 1488, depicts Perugino's fellow artist who trained with him in Verrocchio's Florence workshop. This portrait of one artist by another provides a rare document of professional relationships in the Renaissance art world. Both Perugino and Lorenzo di Credi were among Verrocchio's most talented students, along with Leonardo da Vinci, making this portrait a link to one of history's most remarkable artistic workshops.
Technical Analysis
Perugino's portrait technique combines precise drawing with smooth, luminous modeling characteristic of the Umbrian school. The face is rendered with naturalistic detail that suggests a specific likeness, while the overall treatment maintains the idealized, harmonious quality typical of Perugino's work.
Provenance
Probably private collections, Florence, until at least the mid-eighteenth century. Possibly anonymous collection, Rome, before 1895.[1] William Beattie, Glasgow, Scotland, by 1901.[2] (Arthur J. Sulley & Co., London); sold 16 January 1911 to Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[3] inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, Pennsylvania; gift 1942 to NGA. [1] A red wax customs seal still on the back of the panel reads "DIREZ DELLA R. DOGANA DI FIRENZE"; the "R." which stands for "Reale" ("Royal"), suggests that the painting was cleared for export under the Hapsburg-Lorraine regents. The possibility of a Roman provenance is mentioned in Widener curator Edith Standen's notes (in NGA curatorial files). Though it was preserved and attached to the stretcher of the present canvas, the inscribed section of the panel unfortunately disappeared sometime after it was re-examined in connection with the Gallery's summary catalogue of 1965. To judge from a photograph made at that time, the inscription, partly in Roman capitals and partly in cursive script, does not appear to have been contemporary with the painting; it probably dated from the sixteenth century. Written over the inscription was the inventory number 6A. [2] He lent the painting to a 1901 exhibition in London. [3] According to Widener collection cards, in NGA curatorial files.
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