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アレッサンドロ・ファルネーゼ枢機卿の肖像は、ティツィアーノによる1545～46年頃の油彩キャンバス画で、アレッサンドロ・ファルネーゼ（子）（1520～1589）の3/4身像である。ナポリのカポディモンテ美術館に所蔵されている。 [ 1 ]
この作品の主題は、緑のカーテンの前に立ち、枢機卿のローブを身に着け、右手に手袋を持っている（手袋は聖職者よりも紳士や貴族の肖像画でよく見られる小道具である）。[ 2 ] [ 1 ]ここでの彼の描写は、『教皇パウルス3世とその孫たち』の描写と似ており、この2つの作品は制作時期が近い。[ 1 ]
現存する資料には、この作品がどのように、いつ、誰によって依頼されたかについては記されていない。[ 1 ]この作品の主題は、芸術の主要な後援者であり、ティツィアーノとファルネーゼ家との間の主要な仲介者であった。彼はまず、アレッサンドロの弟を描いたラヌッチョ・ファルネーゼの肖像をティツィアーノに依頼し、次に教皇パウルス3世の肖像、そして最後に自身の私室のためにダナエを依頼した。 [ 1 ]その後、ティツィアーノはローマの教皇庁に召喚され、そこで恐らくアレッサンドロの肖像画の依頼を受け、完成させたと思われる。アレッサンドロは1534年に教皇パウルス3世によってわずか14歳でサンタンジェロ・イン・フォロ・ピスキウムの枢機卿に任命されていた。[ 1 ]作品の裏面には、ファルネーゼ家のユリ、オリジナルの在庫番号「66」、そして主題が枢機卿に任命された際に与えられた称号を示す「CSANGLO」という銘文が記された灰色の蝋印がある。[ 1 ]
The 1641 and 1644 inventories of the Palazzo Farnese in Rome mentions the work, which from 1663 went with all the other Titians in the Farnese collection to the Duchy of Parma and Piacenza.[3] Whilst in Emilio it was mentioned in a catalogue as a 'three-quarter length portrait on canvas of the cardinal of Sant'Angelo', attributed to Titian and given the catalogue number 66.[3] Like all the other Titians in the Farnese collection, it was then mentioned in the inventories of the Palazzo del Giardino in Parma in 1680 before being selected as one of the works "worthy" of being moved to the new galleries at the palazzo della Pilotta, also in Parma.[3] A copy by an artist in Titian's circle was recorded at the Palazzo Farnese in Rome (inv. n. 33) before following a similar trajectory to the original work, being recorded at the Palazzo del Giardino in Parma (inv. n. 228), then at the Palazzo della Pilotta in Parma (inv. n. 290), then in Naples and finally in the Reggia di Caserta, where it now hangs.
In 1734 the original work and the rest of the Farnese Collection were inherited by the family's last heir Elisabetta Farnese, who then passed it to her son Charles – it was thus moved with much of the collection in Emilio to Naples.[3] It was looted by French troops in 1799 during their establishment of the Parthenopean Republic. Ferdinand IV sent Domenico Venuti to search for works of art taken from Naples as well as new additions to his collections. Venuti found the portrait in Rome in 1800 awaiting shipment to France and reclaimed it, though on its return to Naples it was hung not at Capodimonte but the palazzo di Francavilla.[3] This meant that it stayed in Naples for the ten years of French rule from 1805 onwards, unlike the other Titians from his collection which Ferdinand took with him on fleeing to Palermo.[3]
It was then recorded as hanging in Naples' Palazzo Reale until 1831, when it returned to the new Real Museo Borbonico in the Palazzo degli Studi (which now houses the National Archaeological Museum, Naples), where it was referred to as a "portrait of Cardinal Santangelo holding gloves, by Tiziano Vecellio".[3] At the end of the 19th century some critics doubted it was an autograph work by Titian due to the poor state of preservation into which it had fallen, but conservation work in the 1990s has restored the original pigments, including the green curtain and the glow on the left of the work, showing them to be completely in harmony with works definitely produced during Titian's brief stay in Rome.[1]