Floor plan

Time and place17th-century Italy

17th-century Italy

Large painting of cupid being whipped, a woman tries to hold back the a man in red dress.
Saint John the Baptist Preaching, by Mattia Preti (Il Cavalier Calabrese), ca. 1650
Drawing of god, radiating light, reaching down from clouds, touching male figure.
The image shows a drawing of three figures. The central figure is seated, leaning slightly forward with one arm outstretched towards the standing figures. They have short, slightly messy hair, traditional clothing, and muscular limbs. The standing figures on the right are partially obscured but appear to interact with the seated figure. One of them is extending their arm towards the seated figure. The individuals wear layered clothing, with one wearing a head covering. The background is simple, emphasizing the interaction between the figures. The drawing style is classical or historical, using ink and wash for texture and depth.
A work made of pen and brown ink and brush and brown wash, over graphite, on cream laid paper laid down on off-white laid paper.
Sketch for "The Four Prophets of Israel" (for Il Gesù, Rome), by Giovanni Battista Gaulli, c. 1675–1677
Judith with the Head of Holofernes, by Massimo Stanzione, ca. 1640

The works in this room are listed below.

Works in this room

Works made in Italy in the 17th century.

First room, north wall

  1. Large painting of cupid being whipped, a woman tries to hold back the a man in red dress.
    Cupid ChastisedBartolomeo Manfredi, 1613Courtesy of the Art Institute of Chicago
  2. Saint John the Baptist Preaching, by Mattia Preti (Il Cavalier Calabrese), ca. 1650
    Saint John the Baptist PreachingMattia Preti (Il Cavalier Calabrese), ca. 1650Courtesy of The Metropolitan Museum of Art
  3. Drawing of god, radiating light, reaching down from clouds, touching male figure.
    The Creation of AdamGiovanni Benedetto Castiglione, c. 1645/50Courtesy of the Art Institute of Chicago

First room, south wall

  1. The image shows a drawing of three figures. The central figure is seated, leaning slightly forward with one arm outstretched towards the standing figures. They have short, slightly messy hair, traditional clothing, and muscular limbs. The standing figures on the right are partially obscured but appear to interact with the seated figure. One of them is extending their arm towards the seated figure. The individuals wear layered clothing, with one wearing a head covering. The background is simple, emphasizing the interaction between the figures. The drawing style is classical or historical, using ink and wash for texture and depth.
    Youth Sitting on a Wall in Conversation with Two MenSalvator Rosa, c. 1656/1657Courtesy National Gallery of Art, Washington
  2. A work made of pen and brown ink and brush and brown wash, over graphite, on cream laid paper laid down on off-white laid paper.
    Antique Carved Marble Candelabra BaseAndrea di Lione, 1642/44 or 1647/51Courtesy of the Art Institute of Chicago
  3. Sketch for "The Four Prophets of Israel" (for Il Gesù, Rome), by Giovanni Battista Gaulli, c. 1675–1677
    Sketch for "The Four Prophets of Israel" (for Il Gesù, Rome)Giovanni Battista Gaulli, c. 1675–1677Courtesy of the Cleveland Museum of Art
  4. Judith with the Head of Holofernes, by Massimo Stanzione, ca. 1640
    Judith with the Head of HolofernesMassimo Stanzione, ca. 1640Courtesy of The Metropolitan Museum of Art

Second room, south wall

  1. Youth Playing a Pipe for a Satyr, by Giovanni Benedetto Castiglione, 1645–50
    Youth Playing a Pipe for a SatyrGiovanni Benedetto Castiglione, 1645–50Courtesy of The Metropolitan Museum of Art
  2. A work made of oil on canvas.
    Jacopo ButeraFrancesco Solimena, c. 1695Courtesy of the Art Institute of Chicago
  3. A work made of pen and brown ink and brush and brown wash, over black and red chalk, heightened with white opaque watercolor, on joined sheets of laid paper, mounted to paperboard.
    Allegory of the Elevation of Cardinal Deacon Oddone Colonna to the Papal Chair as Pope Martin VBenedetto Luti, 1700Courtesy of the Art Institute of Chicago
  4. A work made of etching on ivory laid paper.
    Equestrian Ballet in the Amphitheater of the Boboli GardensStefano della Bella, 1661Courtesy of the Art Institute of Chicago

Second room, north wall

  1. A work made of pen and brown ink, brown and gray wash, and white opaque watercolor (recto) and pen and brown-black ink (verso) on laid paper.
    The Virgin and Saint Joseph with Saint Anthony of Padua Seated in the Heavens Interceding for the Souls in Purgatory, While an Angel Pours Fluid from a Vase onto the Crowd Below (recto and verso)Pietro Antonio di Pietri, 1690/1710Courtesy of the Art Institute of Chicago
  2. The Vocation of Saint Aloysius (Luigi) Gonzaga, by Guercino (Giovanni Francesco Barbieri), ca. 1650
    The Vocation of Saint Aloysius (Luigi) GonzagaGuercino (Giovanni Francesco Barbieri), ca. 1650Courtesy of The Metropolitan Museum of Art
  3. The artwork depicts four human figures, two males and two females, seated. One woman holds a baby, while one man holds a young child. The figures have different hairstyles and clothing, sitting in a natural setting with trees and hills in the background. The scene is drawn in a sketch-like style, focusing on lines and expressions.
    The Holy FamilySimone CantariniCourtesy National Gallery of Art, Washington

Third room, north wall

  1. A work made of black chalk with pen and brown ink on cream laid paper.
    Putto Holding StaffGuido Reni, n.d.Courtesy of the Art Institute of Chicago
  2. The Crucifixion of Saint Andrew, by Caravaggio, 1606–7
    The Crucifixion of Saint AndrewCaravaggio, 1606–7Courtesy of the Cleveland Museum of Art