Henry de Chennevières. Les Tiepolo. Paris, [1898?], p. 118, as the Apotheosis of Francesco Barbaro, Procurator of Saint Mark, by Giovanni Battista Tiepolo; notes that it was formerly in the Camondo collection and has been bought by Manuel de Yturbe for 30,000 francs; adds that it was engraved by Tiepolo's son Domenico.
Heinrich Modern. Giovanni Battista Tiepolo. Vienna, 1902, p. 36, states that it went to Paris in 1873 and that Yturbe bought it at the Camondo sale in 1893; notes that Domenico's etching is called "Valor, Fama, Prudenza, e Nobiltà".
Pompeo Molmenti. G. B. Tiepolo: la sua vita e le sue opere. Milan, , pp. 257–58, identifies a study in the Sartorio collection, Trieste (ill. p. 214).
Eduard Sack. Giambattista und Domenico Tiepolo: Ihr Leben und Ihre Werke. Hamburg, 1910, vol. 1, p. 113, fig. 101; vol. 2, p. 150, no. 6, as in the Yturbe collection, Paris; dates it about 1753; identifies the subject as either Francesco or Marco Barbaro; states that Camondo acquired it in 1874 for 25,000 francs and that M. C. Groult bought it from Camondo in 1893 for 30,000 francs.
H. Mireur. Dictionnaire des ventes d'art. 7, Paris, 1912, pp. 181–82, gives the purchase price at the 1874 sale as 25,000 francs (erroneously listing the year as 1875), and at the 1893 Camondo sale as 30,000 francs.
Ralph Latimer. Letter to Bryson Burroughs. February 12, 1924, provides additional details concerning the provenance.
B[ryson]. B[urroughs]. "A Masterpiece by Tiepolo." Metropolitan Museum of Art Bulletin 19 (January 1924), pp. 14–17, ill. (overall and detail), dates it between 1754 and 1761.
Arthur McComb. The Baroque Painters of Italy: An Introductory Historical Survey. Cambridge, Mass., 1934, pp. 102, 127, fig. 108, dates it immediately after Tiepolo's return to Venice in 1753; calls the subject a glorification of either Francesco or Marco Barbaro.
Max Goering. Letter. April 1938.
Ella S. Siple. "Art in America: Three Exhibitions of Eighteenth-Century Art." Burlington Magazine 72 (May 1938), p. 238.
M[ax]. Goering in Allgemeines Lexikon der bildenden Künstler. 33, Leipzig, 1939, pp. 148, 153.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 282–83, ill.
Preliminary Catalogue of Paintings and Sculpture. Washington, 1941, p. 193, under no. 458, dates the Palazzo Barbaro decoration about 1755.
Giulio Lorenzetti. La pittura italiana del Settecento. Novara, 1942, p. XXVII [German ed., "Das Jahrhundert Tiepolos," Franz Deuticke, Vienna, 1942, p. XXVI], dates it about 1753.
Antonio Morassi. Tiepolo. Bergamo, 1943, p. 26, dates it to the second half of the 1740s.
Giulio Lorenzetti with the assistance of Giovanni Mariacher. Mostra del Tiepolo. Exh. cat., Palazzo d'Italia ai Giardini and Ca' Rezzonico (Museo del Settecento Veneziano). Venice, 1951, p. 85, under no. 63, dates the decoration of the Palazzo Barbaro about 1745–50.
Jean Cailleux. Tiepolo et Guardi. Exh. cat., Galerie Cailleux. Paris, 1952, p. 41, under no. 11, mentions it in connection with a sketch for the composition in a private collection, Paris, which he dates 1744–45.
Antonio Morassi. G. B. Tiepolo: His Life and Work. London, 1955, p. 22, fig. 27.
William E. Suida. Italian Paintings & Northern Sculpture from the Samuel H. Kress Collection. Atlanta, 1958, p. 58.
Harald Olsen. Italian Paintings and Sculpture in Denmark. Copenhagen, 1961, p. 92.
Antonio Morassi. A Complete Catalogue of the Paintings of G. B. Tiepolo. London, 1962, pp. 33, 42, 59, publishes a related sketch in a private collection, Paris.
Klára Garas. "Allegorie und Geschichte in der venezianischen Malerei des 18. Jahrhunderts." Acta Historiae Artium 11, nos. 3–4 (1965), pp. 294, 301 n. 24.
Anna Pallucchini in L'opera completa di Giambattista Tiepolo. Milan, 1968, p. 114, no. 190A, ill., dates it to the years just before Tiepolo's departure for Würzburg in 1750, calling it contemporaneous with the frescoes for the Palazzo Labia, Venice (1747–50).
George Knox and Christel Thiem. Tiepolo: Zeichnungen von Giambattista, Domenico und Lorenzo Tiepolo . . . . Exh. cat., Graphische Sammlung Staatsgalerie Stuttgart. 1970, p. 77, under no. 72, p. 180, under no. 205, publish a study (Staatsgalerie Stuttgart; inv. no. 1460) for a ceiling painting formerly in the Palazzo Morosini depicting the Glorification of Francesco Morosini, noting a similarity to the MMA ceiling; publish a drawing (Martin von Wagner Museum, Würzburg; inv. no. 7942-7952) from the third Würzburg sketchbook after the head of the figure at lower left (Nobility), attributing the drawing to Domenico and Lorenzo Tiepolo and dating it about 1750–53.
Aldo Rizzi. Le acqueforti dei Tiepolo. Exh. cat., Loggia del Lionello, Udine. Milan, 1970, unpaginated, under no. 109, publishes the etching by Domenico after this painting.
Aldo Rizzi. "Dipinti." Mostra del Tiepolo. Exh. cat., Villa Manin di Passariano. , [Milan], , pp. 85, 94, fig. 56, publishes a study for this painting in the collection of E. Speelman, London.
Aldo Rizzi. The Etchings of the Tiepolos. London, 1971, p. 252.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 196, 509, 606.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 56–57, pl. 61 (overall and detail), date it about 1745–50.
Fern Rusk Shapley. "Italian Schools: XVI–XVIII Century." Paintings from the Samuel H. Kress Collection. 3, London, 1973, pp. 147–48 nn. 3, 8.
Fern Rusk Shapley. Catalogue of the Italian Paintings. Washington, 1979, vol. 1, pp. 443–44 nn. 2, 7.
Adriano Mariuz in L'opera completa del Piazzetta. Milan, 1982, p. 105, under no. 125.
Eric M. Zafran. European Art in the High Museum. Atlanta, 1984, p. 67.
Bernard J. K. Aikema. "Le decorazioni di Palazzo Barbaro-Curtis a Venezia fino alla metà del Settecento." Arte veneta 41 (1987), pp. 148, 150, fig. 6, rejects the identification of the subject as the Glorification of Francesco Barbaro, linking it instead to the election of Almorò Barbaro as Procurator of San Marco in 1750 and, following the description on the etching by Domenico, describes it as depicting Valor, Prudence, and Nobility, in conformity with Cesare Ripa's "Iconologia".
Daniel O. Bell. "Tiepolo's 'Betrothal': A Virtue in the History of Women." Arte veneta 41 (1987), p. 159.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 280, colorpl. 278.
Beverly Louise Brown. Giambattista Tiepolo: Master of the Oil Sketch. Exh. cat., Kimbell Art Museum, Fort Worth. Milan, 1993, pp. 242, 244–45 nn. 1–2, fig. 109, argues that studies usually associated with this picture are instead related to a project depicting the apotheosis of Francesco Morosini [see Notes].
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 379, no. A487, ill. p. 379.
Massimo Gemin and Filippo Pedrocco. Giambattista Tiepolo: i dipinti, opera completa. Venice, 1993, pp. 136, 138, 408–9, no. 388, ill.
Rodolfo Pallucchini. La pittura nel Veneto: il Settecento. 1, Milan, 1995, p. 430.
Andrea Bayer et al. in Giambattista Tiepolo, 1696–1770. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 32, 111, 157–59, 164, 166 n. 18, no. 21a, ill. (color, overall and detail) [Italian ed., "Giambattista Tiepolo, 1696–1996," Milan, 1996, pp. 32, 111, 157–59, 164, 166 n. 17, no. 21a, ill. (color, overall and detail)], states that this painting was installed in a different room from the one with the four overdoors [see Notes]; notes that several oil sketches formerly thought to be associated with this painting should instead be connected to a commission for the Morosini family [see Ref. Brown 1993].
Rosella Mamoli Zorzi. "Tiepolo e gli scrittori angloamericani nell'Ottocento." Giambattista Tiepolo nel terzo centenario della nascita. Padua, 1998, vol. 1, p. 344 n. 30; vol. 2, p. 121, fig. 1, identifies a copy of this painting as the one mentioned by Henry James as "a pompous Tiepolo ceiling" in a preface to the 1908 New York edition of his work.
Rosella Mamoli Zorzi. "Tiepolo, Henry James, and Edith Wharton." Metropolitan Museum Journal 33 (1998), pp. 215–16, fig. 4.
Keith Christiansen. "The Ca' Dolfin Tiepolos." Metropolitan Museum of Art Bulletin 55 (Spring 1998), p. 17, fig. 14 (color), states that it was purchased by the architect Stanford White, who then installed it in the home of Colonel Oliver Payne.
Stéphane Loire in Giambattista Tiepolo, 1696–1770. Exh. cat., Petit Palais. Paris, 1998, pp. 58, 63 n. 64, fig. 31 (color).