References Bernhard Berenson. Venetian Painting, Chiefly Before Titian, at the Exhibition of Venetian Art . London, [1895], p. 41 [reprinted in "The Study and Criticism of Italian Art," London, 1901, p. 145], rejects the attribution to Giorgione, calling it either an early work by Titian or a copy by Polidoro Lanzani after such a work; states that the quality is "exquisite" but the preservation "deplorably bad".Letter to Duveen . January 14, 1912, attributes it with certainty to Giorgione and calls the state "miraculously fine".Letter to Duveen . March 11, 1912, suggests that the sitter may be the poet Ludovico Ariosto (1474–1533).Art in America 1 (October 1913), pp. 226, 229, 232–33, fig. 8, attributes it to Giorgione; believes that the frame, "characteristically Venetian of the period 1505–1510," to be the original and designed by the artist.in Allgemeines Lexikon der bildenden Künstler . 14, Leipzig, 1921, p. 88, lists it among works whose attribution to Giorgione is disputed.Gazette des beaux-arts , 5th ser., 8 (September–October 1923), p. 192, believes it to be a modern pastiche.Vita artistica 2 (November–December 1927), p. 220 n. 2, tentatively calls it an early work by Titian.An Art Student and His Teachers in the Sixties with Other Rigmaroles . London, 1927, pp. 80–81, relates how Fairfax Murray saw this picture in the Landor collection in Florence and concluded it was by Cariani rather than Titian.Vita artistica 2 (July 1927), p. 129, fig. 3, attributes it to Giorgione.Tizian: Die zwei ersten Jahrzehnte seiner künstlerischen Entwicklung . Munich, 1928, pp. 59, 82, lists it among lost works ascribed to Titian, dating it 1510–12.Storia dell'arte italiana . part 3, 9, Milan, 1928, p. 30, fig. 13.Italian Pictures of the Renaissance . Oxford, 1932, p. 233, lists it as by Giorgione and tentatively calls it a portrait of Ariosto.Il mito di Giorgione . Spoleto, 1933, p. 155, ill. p. 149, attributes it to Giorgione, comparing it with an unfinished portrait of a musician in the Palazzo Venezia, Rome (now Galleria Spada, Rome).Tizian . Zürich, 1933, pp. 32, 153, pl. XXXI b, judging from a photograph, attributes it to Titian.Pitture italiane del rinascimento . Milan, 1936, p. 200.Letter to Harry B. Wehle . September 29, 1936, attributes it to Giorgione, or possibly Titian; dates it not earlier than 1510, noting that this does not fit with the identification of the sitter as Ariosto.Letter . 1936 [see Ref. Wehle 1940], prefers to attribute it to Giorgione rather than to Titian and notes a suggestion of Palma Vecchio's style.Letter to Harry B. Wehle . August 22, 1937, hesitates between an attribution to Titian and one to Giorgione, feeling that if it is by Titian it must be earlier than the so-called Ariosto (National Gallery, London) because of the weak painting of the hands.The Leadership of Giorgione . Washington, 1937, p. 69, ill. p. 117, attributes it to Giorgione but suggests that it may have been finished or retouched by Titian; dates it to the same year as the "Concert" (Palazzo Pitti, Florence); rejects the identification of the sitter as Ariosto.Giorgio da Castelfranco, called Giorgione . Chicago, 1937, p. 230, no. 53, tentatively attributes it to Palma Vecchio and dates it 1508–10.Letter . March 24, 1938, attributes it to Giorgione; gives provenance information.Letter to Mrs.[?] Burroughs . June 6, 1939, reconsiders his earlier attribution to Palma Vecchio [see Ref. 1937], stating that he is now convinced that it is an early work by Titian, "possibly painted in Giorgione's studio".Letter to Harry B. Wehle . March 4, 1940, attributes it to Titian and dates it about 1510; states that he has seen a photograph of a painting that seems to depict the same sitter.Cable to Harry B. Wehle . February 12, 1940, calls it an early work by Titian.The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings . New York, 1940, p. 189, ill.Duveen Pictures in Public Collections of America . New York, 1941, unpaginated, no. 151, ill., as by Giorgione, about 1510.Giorgione . Milan, 1942, pp. 133, 180, pl. 152.Connoisseur 124 (September 1949), pp. 4–5, fig. II, attributes it to Giorgione, believing that it was left unfinished at his death and completed by Titian.Letter . April 21, 1952, calls it a copy, and not a work of the sixteenth century.Tiziano: Lezioni tenute alla Facoltà di Lettere dell'Università di Bologna durante l'Anno 1953–54 . Bologna, [1953–54], vol. 1, pp. 55–56, attributes it to Titian and believes it was painted before the so-called Ariosto (National Gallery, London).La Galleria Spada in Roma: catalogo dei dipinti . Florence, [1954], p. 144, attributes it to Titian and dates it about 1515–20.Tutta la pittura di Giorgione . Milan, 1955, p. 67 [English ed., "All the Paintings of Giorgione," New York, 1961, p. 57], lists it among works wrongly attributed to Giorgione, as by Titian; tentatively calls it a portrait of a Grimani.Giorgione . [Milan], 1955, p. 132, attributes it to Titian and calls it "Ritratto Grimani".Italian Pictures of the Renaissance: Venetian School . London, 1957, vol. 1, p. 84; vol. 2, pl. 647.Tutta la pittura di Tiziano . Milan, 1960, vol. 1, p. 49, pl. 32 [English ed., "All the Paintings of Titian," New York, 1960, vol. 1, p. 52, pl. 32], attributes it to Titian.Pantheon 19 (September–October 1961), p. 237, fig. 11, as the so-called portrait of Ariosto, by Titian; calls it the most Giorgionesque of Titian's early portraits.Palma il Vecchio . Milan, 1968, p. 103, includes it among works with incorrect or unverified attributions to Palma, noting that most authorities attribute it to Titian.Tiziano . Florence, 1969, vol. 1, pp. 13, 233; vol. 2, pl. 15, attributes it to Titian and dates it about 1508–10.Giorgione . Venice, [1969], pp. 40, 67, 114, 118, 123, 127, no. A35, pl. 178 [English ed., London, 1971, pp. 40, 68, 115, 120, 125, 130, no. A35, pl. 178], notes that the traditional provenance from the Grimani collection in Venice is unsubstantiated; rejects the identification of the sitter as Ariosto.in L'opera completa di Tiziano . repr., 1978. Milan, 1969, pp. 94–95, no. 37, ill., dates it about 1512.The Paintings of Titian . 2, London, 1971, p. 186, no. X-110, pl. 216, attributes it to a Giorgionesque painter and dates it about 1510.Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections . Cambridge, Mass., 1972, pp. 202, 526, 606.Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School . New York, 1973, pp. 74–75, pl. 90, attribute it to Titian and date it about 1515; suggest that the picture may have been cut down, and may originally have included the entire right hand with a marble parapet below.Memories of Duveen Brothers . London, 1976, pp. 66, 78–79, states that Duveen bought it on Berenson's advice in 1912 and offered it that same year to Altman.Arte veneta 33 (1979), p. 191.Apollo 110 (July 1979), p. 245, fig. 19.Tiziano e Venezia . Vicenza, 1980, p. 498, dates it about 1507.Tiziano e Venezia . Vicenza, 1980, p. 56.Titian . New York, 2001, p. 103, no. 39, ill. (color), attributes it to Titian and dates it about 1513–14.Metropolitan Museum of Art Bulletin 63 (Summer 2005), pp. 9, 11, fig. 7 (color).
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