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| Guido Cagnacci Penitent Magdalen before 1663 oil on canvas private collection |
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| Guido Cagnacci Penitent Magdalen (detail of angel) ca. 1660 oil on canvas Norton Simon Museum, Pasadena |
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| Guido Cagnacci Penitent Magdalen ca. 1626-28 oil on canvas private collection |
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| Guido Cagnacci Allegory of Human Life ca. 1650 oil on canvas Collezione Cavallini Sgarbi, Ferrara |
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| Guido Cagnacci Allegory of Human Life before 1663 oil on canvas Musée de Picardie |
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| Guido Cagnacci Allegory of Painting before 1663 oil on canvas Collezione Venceslao di Persio, Pescara |
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| Guido Cagnacci Death of Cleopatra ca. 1645-55 oil on canvas Metropolitan Museum of Art, New York |
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| Guido Cagnacci Lucretia ca. 1660 oil on canvas Musée des Beaux-Arts de Lyon |
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| Guido Cagnacci St Jerome ca. 1659 oil on canvas Kunsthistorisches Museum, Vienna |
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| Guido Cagnacci Judith with the Head of Holofernes ca. 1640-45 oil on canvas Pinacoteca Nazionale di Bologna |
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| Guido Cagnacci Reclining Nude ca. 1630-40 oil on canvas private collection |
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| attributed to Guido Cagnacci Samson slaying the Philistines before 1663 etching British Museum |
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| Guido Cagnacci Head of a Monk before 1663 drawing Musée du Louvre |
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| Guido Cagnacci Figure Study before 1663 drawing Museo Nacional de Bellas Artes, Santiago, Chile |
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| Guido Cagnacci Figure Study ca. 1620-30 drawing Metropolitan Museum of Art, New York |
"Guido Cagnacci was born in Santarcangelo, Romagna, seventy miles southeast of Bologna. He perhaps trained there with a local artist, but by 1618 he was in Bologna, where he may have studied briefly with Ludovico Carracci. Cagnacci made two visits to Rome between 1618 and 1621, and on Easter Day 1622 he was documented there in the house of fellow artist, Guercino. . . . Around 1640 Cagnacci was again in Bologna, where he began to paint the seductive half-length female figures for which he is best known. These painting are indebted to Bolognese artist Guido Reni, but Cagnacci went further than Reni in the overt sensuality of his figures. From 1649 Cagnacci was resident in Venice, working entirely for private patrons, amongst whom these sensual half-lengths were very popular. . . . Dying in Vienna in 1663, Cagnacci was largely forgotten until the 1960s, when the rehabilitation of his reputation began in earnest. He is now recognised as one of the most accomplished and unconventional artists of the Italian Baroque."
– from curatorial notes at the National Gallery, Washington DC