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| Cesare Dandini Annotated Study of the Head of a Deer before 1657 drawing British Museum |
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| Cesare Dandini Two Ducks ca. 1635-45 oil on canvas Galleria degli Uffizi, Florence |
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| attributed to Cesare Dandini after Michelangelo Statue of Night from Tomb of Giuliano de' Medici, Basilica di San Lorenzo, Florence before 1657 drawing Minneapolis Institute of Art |
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| Cesare Dandini Moses defending the Daughters of Jethro ca. 1635 oil on canvas National Gallery of Ireland, Dublin |
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| Cesare Dandini Juno ca. 1635-45 oil on canvas Palazzo Pretorio, Prato |
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| Cesare Dandini Apollo ca. 1635-45 oil on canvas Palazzo Pretorio, Prato |
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| Cesare Dandini Allegory of Constancy ca. 1634 oil on panel Blanton Museum of Art, Austin, Texas |
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| Cesare Dandini Allegory of Intelligence before 1657 oil on canvas private collection |
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| Cesare Dandini Allegorical Figure before 1657 oil on canvas (formerly owned by Maria Callas) private collection |
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| Cesare Dandini Allegory of Christian Charity ca. 1630 oil on canvas Metropolitan Museum of Art, New York |
"Dandini's Allegory of Christian Charity follows the iconography of Cesare Ripa (Iconologia, 1603) in showing Charity as a woman feeding a child whom she holds in her left arm. Here, however, the flames described by Ripa as a crown on Charity's head or coming from a heart held in her hand rise from a richly decorated urn, which includes among its ornaments a putto holding a flame, another allusion to the same theme. This urn symbolizes the love of God, while a child at the left with a silver ewer and another holding up a silver shell symbolize the love of one's neighbor. Judging from its style this painting clearly belongs to Dandini's middle period, and such a dating is confirmed by the facial type of Charity as well as by the color, with its brilliant reds and blues. According to Filippo Baldinucci, Cesare Dandini painted a Charity with three putti for Cardinal Carlo de' Medici, and made two other representations of the same subject that were left unfinished at his death and were completed by his brother Vincenzo. The Medici Charity was later set into the vaulted ceiling of a room in the Casino Medici near San Marco in Florence, and as Baldinucci notes, it was painted with a perspective di soto in sù, that is, to be seen from below, just as ours is."
– Federico Zeri, Italian Paintings: a catalogue of the collection of the Metropolitan Museum of Art: Florentine School (New York: Metropolitan Museum, 1971)
Cesare Dandini – After studying for three years under Francesco Curradi, Cesare Dandini became a pupil of Cristofano Allori. He eventually completed his apprenticeship in the studio of Domenico Creti, called Passignano. . . . Dandini's strongly individualized paintings show the influence of Allori, especially in technique and in the female faces. Some of his earlier compositions and his range of color reflect the influence of Passignano, who had studied the great Venetian artists of the sixteenth century.
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| Cesare Dandini Portrait of a Lady ca. 1640-45 oil on canvas Palazzo Pretorio, Prato |
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| Cesare Dandini Archangel Michael before 1657 oil on canvas private collection |
Cesare Dandini – After studying for three years under Francesco Curradi, Cesare Dandini became a pupil of Cristofano Allori. He eventually completed his apprenticeship in the studio of Domenico Creti, called Passignano. . . . Dandini's strongly individualized paintings show the influence of Allori, especially in technique and in the female faces. Some of his earlier compositions and his range of color reflect the influence of Passignano, who had studied the great Venetian artists of the sixteenth century.
– Federico Zeri, Italian Paintings: a catalogue of the collection of the Metropolitan Museum of Art: Florentine School (New York: Metropolitan Museum, 1971)