Giovanni Michele Silos, Pinacotheca, sive, romana pictura et sculptura (1673), (Treviso: Canova, 1979).
","citation":"Giovanni Michele Silos, Pinacotheca, sive, romana pictura et sculptura (1673), (Treviso: Canova, 1979).
, Vol. 1: p. 105-106;\r\nVol. 2: p. 101, 248","date":1979,"id":4874,"uri":"https://search.worldcat.org/title/8154327"},{"boilertext":"Luigi Salerno, \"The picture gallery of Vincenzo Giustiniani: III\", Burlington magazine 102, no. 685 (Apr., 1960): p. 135-148+159.","citation":"Luigi Salerno, \"The picture gallery of Vincenzo Giustiniani: III\", Burlington magazine 102, no. 685 (Apr., 1960): p. 135-148+159., p. 137, no. 59","date":1960,"id":4875,"uri":"https://www.jstor.org/stable/872935"},{"boilertext":"Italian paintings, 1550-1780: [catalogue of an exhibition held at] P. & D. Colnaghi & Co. Ltd ..., 26th May to 2nd July 1976, (London: P. & D. Colnaghi & Co., 1976).","citation":"Italian paintings, 1550-1780: [catalogue of an exhibition held at] P. & D. Colnaghi & Co. Ltd ..., 26th May to 2nd July 1976, (London: P. & D. Colnaghi & Co., 1976)., cat. no. 2 (color illus.); pl. 11","date":1976,"id":4876,"uri":"https://search.worldcat.org/title/2646966"},{"boilertext":"Silvia Danesi Squarzina, \"The collections of Cardinal Benedetto Giustiniani: part I\", Burlington magazine 139, no. 1136 (Nov., 1997): pp. 766-791.","citation":"Silvia Danesi Squarzina, \"The collections of Cardinal Benedetto Giustiniani: part I\", Burlington magazine 139, no. 1136 (Nov., 1997): pp. 766-791., p. 787, no. 134","date":1997,"id":4877,"uri":"https://www.jstor.org/stable/887781"},{"boilertext":"Jennifer Schubert, \"Un Nosadella nella Collezione Giustiniani\", in Francesca Cappelletti, ed., Decorazione e collezionismo a Roma nel Seicento: vicende di artisti, committenti e mercanti, (Roma: Gangemi, 2003).","citation":"Jennifer Schubert, \"Un Nosadella nella Collezione Giustiniani\", in Francesca Cappelletti, ed., Decorazione e collezionismo a Roma nel Seicento: vicende di artisti, committenti e mercanti, (Roma: Gangemi, 2003)., p. 81-86; p. 81, fig. 1","date":2003,"id":4878,"uri":"https://search.worldcat.org/title/886850581"},{"boilertext":"Giovanni Francesco Bezzi and Norman E. Muller, The making of a masterpiece: Nosadella's Annunciation, (Princeton, NJ: Princeton University Art Museum, 2010).","citation":"Giovanni Francesco Bezzi and Norman E. Muller, The making of a masterpiece: Nosadella's Annunciation, (Princeton, NJ: Princeton University Art Museum, 2010).","date":2010,"id":4879,"uri":"https://search.worldcat.org/title/798152632"},{"boilertext":"Elizabeth Llewellyn and Cristiana Romalli, Drawing in Bologna, 1500-1600: Sotheby Courtauld exhibition: University of London, Courtauld Institute Galleries, 18th June-31st August 1992, (London: Courtauld Institute, 1992).","citation":"Elizabeth Llewellyn and Cristiana Romalli, Drawing in Bologna, 1500-1600: Sotheby Courtauld exhibition: University of London, Courtauld Institute Galleries, 18th June-31st August 1992, (London: Courtauld Institute, 1992)., cat. no. 37","date":1992,"id":4880,"uri":"https://search.worldcat.org/title/29256086"},{"boilertext":"Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013)","citation":"Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013), p. 188","date":2013,"id":1994,"uri":"https://search.worldcat.org/title/865020505"},{"boilertext":"Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986)","citation":"Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986), p. 80 (illus.)","date":1986,"id":1899,"uri":"https://search.worldcat.org/title/14244748"},{"boilertext":"\"Acquisitions of the Art Museum 1976,\" Record of the Art Museum, Princeton University 36, no. 1 (1977): p. 28-40.","citation":"\"Acquisitions of the Art Museum 1976,\" Record of the Art Museum, Princeton University 36, no. 1 (1977): p. 28-40., p. 29; p. 28 (illus.)","date":1977,"id":3365,"uri":"https://www.jstor.org/stable/3774447"}],"nowebuse":"False","periods":[],"department":"European Painting and Sculpture ","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"},{"id":2199338,"term":"Nazi-era gaps","termtype":"Provenance & Cultural Heritage"}],"daterange":"A.D. 1500-1600","dateend":1569,"depicted":[],"titles":[{"title":"The Annunciation","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"","objectnumber":"y1976-25","inscribed":null,"texts":[{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\nOnce considered a work of the Bolognese master Pellegrino Tibaldi, this Annunciation has now been attributed to Giovanni Francesco Bezzi (called Nosadella), also active in Bologna. A drawing in a private collection helps reconstruct its genesis: the angel originally approached the Virgin Mary from the left, but the artist then flipped the drawing and showed him approaching from the right, as in the painting. Evidence in the painting also helps document the painter’s earlier intentions. Gabriel’s head was once positioned higher, and the placement of the dove was moved up; the alterations can be seen through x-radiographs and in pentimenti. The changes might have been made to accord better with the original setting, which is still unknown, as is the patron. \r\nEspecially striking in this composition is the attention to believable anatomical rendering and to the Virgin Mary’s pivoting movement to look over her shoulder at the angel. In Italian Annunciation scenes, the angel usually approaches the Virgin Mary from the left. Michelangelo had experimented with an Annunciation from the right, however, in drawings made about 1549 to be executed in paintings by his friend Marcello Venusti; a Michelangelo drawing in the British Museum is especially close to the work shown here, as is the painting based on it, in the Palazzo Barberini, Rome. Since Michelangelo died in 1564, it may be that Nosadella wished to honor the master in this Annunciation, in which muscular, acrobatic cherubs recall the spirit of some of Michelangelo’s Herculean babies. ","remarks":null},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Cardinal Benedetto Giustiniani, Rome (after around 1610–1621; no. 134 in inventory of 1621; by descent to Cardinal Vincenzo); Cardinal Vincenzo Giustiniani, Rome (no. 59 in inventory of 1638; by descent to Giustiniani family); Giustiniani family, Rome (in 1673); art market, Vaduz, Liechtenstein (in 1975; sold to Colnaghi); Colnaghi, London (1975–76); Richard Feigen, New York (in 1976; sold to Princeton University Art Museum).","remarks":"Migrated from 9.35 12/2013"},{"texttype":"Online","textpurpose":"Multivocal Label","textentryhtml":"\n\tFor Princeton University classes visiting the Museum, Nosadella’s Annunciation continues to spark lively conversations about the artist’s process and use of the oil medium to alter details of the painting. Examining the panel closely, students are amazed to find a ghostlike outline to the right of Mary that reveals the former placement of the archangel Gabriel’s head, and a faint form in the center of the golden light showing the artist’s initial positioning of the dove symbolizing the Holy Spirit. Referred to as pentimenti (from the Italian word pentimento, meaning repentance), such traces of the earlier layers of the painting speak to Nosadella’s practice of revision and correction and remind students of their own iterative methods of studying and learning.\n
\n\n\tVeronica Maria White, Curator of Teaching and Learning, Princeton University Art Museum\n
","remarks":"EUR2_02-05_WLA-Day 1 Cataloguing "}],"datebegin":1560,"sortnumber":"1976 25y","published_date":"2026-02-11 10:24:53.938076","objectid":31507,"dimensions":"107.3 × 78.8 cm (42 1/4 × 31 in.)\r\nframe: 132.7 × 104.5 × 8.9 cm (52 1/4 × 41 1/8 × 3 1/2 in.)","on_view":true}