{ "objects" : [ { "embark_ID" : 14898, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14898", "Disp_Access_No" : "1984.56", "_AccNumSort1" : "", "Disp_Create_DT" : "17th century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "A Roemer with Grapes, a Pewter Plate, and a Roll", "Alt_Title" : "", "Obj_Title" : "A Roemer with Grapes, a Pewter Plate, and a Roll", "Series_Title" : "", "Disp_Maker_1" : "Abraham van Beyeren", "Sort_Artist" : "Beyeren, Abraham van", "Disp_Dimen" : "92.7 cm x 79.4 cm (36 1/2 in. x 31 1/4 in.)", "Disp_Height" : "92.7 cm", "Disp_Width" : "79.4 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Still-life painting became popular in Europe in the seventeenth century. Lacking the traditional patronage of Church and court, Dutch artists excelled at these banquet table scenes. They were especially popular among the growing merchant class who were interested in commercial goods. These paintings also served as reminders of the transient nature of life. Here, the artist shows plates precariously set near the edge of the table on a rumpled tablecloth and a knife with its handle jutting out towards the spectator, which suggests a sudden departure of people from the scene. The pocket watch with a winding key on a ribbon further emphasizes the effect of fleeting time. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Dutch", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.56.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.56.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.56.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.56.tif", "IsPrimary" : "1", "_SurrogateID" : "1301", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14590, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14590", "Disp_Access_No" : "1991.106", "_AccNumSort1" : "", "Disp_Create_DT" : "17th century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "Still Life of Flowers in a Glass Vase", "Alt_Title" : "", "Obj_Title" : "Still Life of Flowers in a Glass Vase", "Series_Title" : "", "Disp_Maker_1" : "Bartolomé Pérez", "Sort_Artist" : "Pérez, Bartolomé", "Disp_Dimen" : "92.1 cm x 74.9 cm (36 1/4 in. x 29 1/2 in.)", "Disp_Height" : "92.1 cm", "Disp_Width" : "74.9 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Flower painting in Europe has been closely associated with the "vanitas" theme because of the ephemeral nature and the beauty of its subject matter. Delicate flowers in full bloom, droplets of dew that will disappear with sunrise, and bowed stems soon to wilt symbolize the brevity of human life. In this painting, the glass vase adds to the sense of fragility. Bartolomé Pérez was one of the most celebrated flower painters in Spain in his time. Notice how his use of bold colors and brushstrokes enliven every petal and stem of the flowers. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Jack G. Taylor, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Spanish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Possible conservation issue, needs opinion from conservator; condition issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.106.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.106.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.106.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.106.tif", "IsPrimary" : "1", "_SurrogateID" : "3693", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16308, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16308", "Disp_Access_No" : "2017.1034", "_AccNumSort1" : "", "Disp_Create_DT" : "1640s", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1640", "Disp_Title" : "Carnival Procession with a Wagon", "Alt_Title" : "", "Obj_Title" : "Carnival Procession with a Wagon", "Series_Title" : "", "Disp_Maker_1" : "Michelangelo Cerquozzi", "Sort_Artist" : "Cerquozzi, Michelangelo", "Disp_Dimen" : "44.45 cm x 56.52 cm (17 1/2 in. x 22 1/4 in.)", "Disp_Height" : "44.45 cm", "Disp_Width" : "56.52 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on canvas", "Support" : "", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Pair with Passeri (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1034.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1034.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1034.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1034.tif", "IsPrimary" : "1", "_SurrogateID" : "2591", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16359, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16359", "Disp_Access_No" : "2017.1072", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1625 - 1650", "_Disp_Start_Dat" : "1625", "_Disp_End_Date" : "1650", "Disp_Title" : "Portrait of a Man", "Alt_Title" : "", "Obj_Title" : "Portrait of a Man", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Francesco Curradi", "Sort_Artist" : "Curradi, Attributed to Francesco", "Disp_Dimen" : "54.61 cm x 41.28 cm (21 1/2 in. x 16 1/4 in.)", "Disp_Height" : "54.61 cm", "Disp_Width" : "41.28 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Judging from the sitter’s dress—a collar with lace trim and a hairstyle of loose curls—we can date this painting between 1625 and 1650, about when both these styles were in fashion. Flat collars would be replaced by the neckcloth, a strip of lace or muslin twisted around the neck and tied at the throat. In the latter half of the century, natural hair would be traded for wigs. Francesco Curradi, a Florentine draftsman and painter, appears to have reused this sitter’s face for figures in other paintings, including the archangel Michael in the "Vision of Saint Philip Benizi" at the church of Santa Maria dei Servi in Siena. When viewed under ultraviolet light, the painting shows signs of retouching, particularly in the sitter’s original lace collar, which was likely enhanced after losses from age and cleaning. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition, conservation issues: needs to be cleaned. 2+ if cleaned. Could go in portrait gallery (FC:jb 4/14/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1072.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1072.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1072.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1072.tif", "IsPrimary" : "1", "_SurrogateID" : "3443", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16205, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16205", "Disp_Access_No" : "2017.1400", "_AccNumSort1" : "", "Disp_Create_DT" : "mid 1770s", "_Disp_Start_Dat" : "1770", "_Disp_End_Date" : "1770", "Disp_Title" : "The Storyteller", "Alt_Title" : "", "Obj_Title" : "The Storyteller", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Domenico Tiepolo", "Sort_Artist" : "Tiepolo, Giovanni Domenico", "Disp_Dimen" : "33.8 cm x 57.1 cm (13 5/16 in. x 22 1/2 in.)", "Disp_Height" : "33.8 cm", "Disp_Width" : "57.1 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Standing on a chair before a crowd in a piazza, a storyteller points to a portable image that helps illustrate his story. The baroque guitar on his back and the triangle in his female assistant's hand suggest that their performance also involved music. Not everyone is absorbed in his story, however. The young lady in a bright orange dress turns her head to respond to the man in a mask, whose suspicious intentions seem to have been noticed by the wary dog in the foreground. The diverse gestures, facial expressions, and colorful attire of the audience offer a glimpse of a popular carnival activity in eighteenth-century Venice. The low viewpoint and the long horizontal format help the viewer to witness the event at the eye level of the depicted figures, which adds to the sense of reality of the painted scene.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Problematic but keeping in (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1400.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1400.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1400.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1400.tif", "IsPrimary" : "1", "_SurrogateID" : "2661", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16229, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16229", "Disp_Access_No" : "2017.1369", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1516", "_Disp_Start_Dat" : "1511", "_Disp_End_Date" : "1521", "Disp_Title" : "Portrait of a Man", "Alt_Title" : "", "Obj_Title" : "Portrait of a Man", "Series_Title" : "", "Disp_Maker_1" : "Sebastiano del Piombo", "Sort_Artist" : "Sebastiano del Piombo", "Disp_Dimen" : "36.4 cm x 25.9 cm (14 5/16 in. x 10 3/16 in.)", "Disp_Height" : "36.4 cm", "Disp_Width" : "25.9 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Although no information on the sitter exists, the individualized facial features and contemporary dress indicate that this is a portrait. The painting was not, however, originally of this size and format. Examination of the panel shows that it was cut down from a much larger composition and later balanced with the addition of a narrow strip along the right side. It is possible that the original painting represented the sitter in three-quarter length against a dark green background, not unlike the "Portrait of a Humanist" from around 1520 (National Gallery of Art, Washington, D.C.). One of the most celebrated painters of the Italian Renaissance, Sebastiano del Piombo combined the resplendent colors characteristic of Venetian painting with clear modeling of form prized by central Italian artists. Applied to portraiture, this combination resulted in a particularly moving likeness of an individual. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Potentially next to Cambiaso (FC:jb 4/2/15) Potentially in display case on the floor or portrait gallery (FC:jb 4/2/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1369.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1369.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1369.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1369.tif", "IsPrimary" : "1", "_SurrogateID" : "2652", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16410, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16410", "Disp_Access_No" : "2017.1279", "_AccNumSort1" : "", "Disp_Create_DT" : "1640s", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1640", "Disp_Title" : "Musical Party in a Garden", "Alt_Title" : "", "Obj_Title" : "Musical Party in a Garden", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Passeri", "Sort_Artist" : "Passeri, Giovanni Battista", "Disp_Dimen" : "73.7 cm x 99 cm (29 in. x 39 in.)", "Disp_Height" : "73.7 cm", "Disp_Width" : "99 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "With its open courtyard littered with fragments of ancient sculpture and bathed in Mediterranean light, the setting here is typical of a garden on the outskirts of Rome. The gentleman at right in contemporary attire introduces the viewer to the party. The woman in the blue mantle, the man in the orange tunic, and the semiclad piper seem engaged in a musical performance of classical inspiration. The group of women in modern costume accompanies them on a spinet. At left two servants ready a table for dining. The meaning of the scene is ambiguous. It may be an Italian version of popular garden scenes depicting the prodigal son as he squanders “his wealth in wild living” (Luke 15). It may also reflect the ideal of a Roman pleasure garden where the classical past and the fashionable present are harmoniously brought together. This pictorial riddle corresponds to Giovanni Battista Passeri’s intellectual character; he was not only a painter but also a writer who authored a collection of biographies of thirty-six painters that offers a lively account of the Italian art scene of the seventeenth century. The Blanton’s painting is one of the very few surviving paintings by the artist. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Pair with Cerquozzi", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1279.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1279.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1279.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1279.tif", "IsPrimary" : "1", "_SurrogateID" : "2632", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16435, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16435", "Disp_Access_No" : "2017.1202", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1715", "_Disp_Start_Dat" : "1710", "_Disp_End_Date" : "1720", "Disp_Title" : "Portrait of a Man", "Alt_Title" : "", "Obj_Title" : "Portrait of a Man", "Series_Title" : "", "Disp_Maker_1" : "Nicolas de Largillière", "Sort_Artist" : "Largillière, Nicolas de", "Disp_Dimen" : "92.2 cm x 75.4 cm (36 5/16 in. x 29 11/16 in.)", "Disp_Height" : "92.2 cm", "Disp_Width" : "75.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Nicolas de Largillière was one of the most prolific portraitists of his time, with more than 1500 portraits to his credit. He enjoyed the patronage of the royal families and aristocrats in England and France, who frequently had their painted likenesses reproduced as engravings in order to distribute them widely. Portraiture was generally reserved for the nobility as a means to display an individual’s lineage, social status, personal virtues, and fame. With the rise of the middle class in the seventeenth and eighteenth centuries, however, the bourgeoisie increasingly commissioned portraits of themselves, which is also reflected in Largillière’s oeuvre. The sitter’s casual garb and amiable attitude in this portrait may indicate his friendly relationship with the painter. More specifically, the elegantly unkempt dress, similar to that in Largillière’s portrait of the sculptor Nicolas Coustou painted around 1713, which is now in the collection of the Gemäldegalerie in Berlin, may suggest that the sitter is also an artist. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "In play especially for portrait room Pretty good condition but lots of craquelure Many portraits by this artist, not particularly rare (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1202.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1202.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1202.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1202.tif", "IsPrimary" : "1", "_SurrogateID" : "2624", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16369, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16369", "Disp_Access_No" : "2017.1203", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1671", "_Disp_Start_Dat" : "1666", "_Disp_End_Date" : "1676", "Disp_Title" : "Mercury Transforming Chelone into a Turtle", "Alt_Title" : "", "Obj_Title" : "Mercury Transforming Chelone into a Turtle", "Series_Title" : "", "Disp_Maker_1" : "Filippo Lauri", "Sort_Artist" : "Lauri, Filippo", "Disp_Dimen" : "59 cm x 71.2 cm (23 1/4 in. x 28 1/16 in.)", "Disp_Height" : "59 cm", "Disp_Width" : "71.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Mercury, here seen in his winged hat, invited all gods, humans, and animals to his father Jupiter’s wedding to the goddess Juno. Everyone came, except the nymph Chelone, who mocked the union. Enraged by her arrogance, Mercury threw Chelone’s house into the river and turned her into a turtle. This painting diverges from the popular version of the story and presents Juno as the protagonist who condemns Chelone. Mercury occupies a secondary place behind the seated Jupiter. Cupid, the god of love, evokes the nuptial context of the scene, which is also highlighted by the youthful features of Jupiter and Juno. The oval shape of the canvas likely indicates that it was a decorative painting to be placed over a doorway or a window. Filippo Lauri was renowned for depicting landscapes, architecture, flowers, and animals to embellish important palaces in Rome. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Pair with Lauri''s Venus and Adonis (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1203.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1203.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1203.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1203.tif", "IsPrimary" : "1", "_SurrogateID" : "2748", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16370, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16370", "Disp_Access_No" : "2017.1205", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1671", "_Disp_Start_Dat" : "1666", "_Disp_End_Date" : "1676", "Disp_Title" : "Venus and Adonis", "Alt_Title" : "Cupid Shooting Arrows at Lovers; Diana and Actaeon?", "Obj_Title" : "Venus and Adonis", "Series_Title" : "", "Disp_Maker_1" : "Filippo Lauri", "Sort_Artist" : "Lauri, Filippo", "Disp_Dimen" : "59 cm x 71.2 cm (23 1/4 in. x 28 1/16 in.)", "Disp_Height" : "59 cm", "Disp_Width" : "71.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Ovid’s "Metamorphoses" tells the tragic love story of Venus and Adonis. The goddess was so enamored of the handsome hunter that she even dressed herself like a huntress and wandered in the woods with him. But their love affair came to an abrupt end, when a boar killed Adonis. He had disregarded Venus’ warning about ferocious animals. Mourning her lover’s death, the goddess turned his blood into the anemone flower. Filippo Lauri enhances the drama of the moment when Venus falls in love with Adonis. Cupid’s arrow inflames her with passion for Adonis, who is lying under a myrtle tree. (The tree evokes his birth from the myrtle into which his mother Myrrha transformed.) His spear and hunting dogs prefigure the confrontation with the boar, and his reclining pose foreshadows his death. In the background is the swan-drawn chariot that Venus would drive to rush back to the dying youth. By combining these visual clues from different parts of the narrative, the artist reminds the viewer of the entire story.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Pair with Lauri''s Mercury Transforming... (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1205.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1205.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1205.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1205.tif", "IsPrimary" : "1", "_SurrogateID" : "2749", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16374, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16374", "Disp_Access_No" : "2017.1217", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1628-1630", "_Disp_Start_Dat" : "1628", "_Disp_End_Date" : "1630", "Disp_Title" : "Pastoral Landscape", "Alt_Title" : "", "Obj_Title" : "Pastoral Landscape", "Series_Title" : "", "Disp_Maker_1" : "Claude Lorrain", "Sort_Artist" : "Lorrain, Claude", "Disp_Dimen" : "61.4 cm x 88.2 cm (24 3/16 in. x 34 3/4 in.)", "Disp_Height" : "61.4 cm", "Disp_Width" : "88.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting portrays two shepherds in love, their grazing flocks, and a soft light bathing an Italian palace. As an early pastoral by Claude Lorrain, it combines his sketches of the Roman countryside with imagery from ancient art and poetry, which idealized the shepherd’s life as being one of serenity and peace. Claude roamed the hills and pastures surrounding the city and created carefully observed landscapes that demonstrate the harmonious relationships between humans and nature, a theme apparent in this painting: two lovers embrace, a palace emerges from a natural rock formation, and a town rests on a tree-lined ridge.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues (FC:jb 4/2/15) Pair with Poussin landscape (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1217.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1217.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1217.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1217.tif", "IsPrimary" : "1", "_SurrogateID" : "2592", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16388, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16388", "Disp_Access_No" : "2017.1244", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1670", "_Disp_Start_Dat" : "1665", "_Disp_End_Date" : "1675", "Disp_Title" : "Pan and Daphnis", "Alt_Title" : "", "Obj_Title" : "Pan and Daphnis ", "Series_Title" : "", "Disp_Maker_1" : "Pieter Mulier the younger", "Sort_Artist" : "Mulier the younger, Pieter", "Disp_Dimen" : "65.6 cm x 49.3 cm (25 13/16 in. x 19 7/16 in.)", "Disp_Height" : "65.6 cm", "Disp_Width" : "49.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The beautiful young man holding a panpipe is Daphnis, a Sicilian herdsman and son of Mercury, the god of commerce. It was thought that Daphnis invented pastoral music and that his good looks enchanted many, including Pan, the god of shepherds, flocks, and the wild. Pan wandered the mountains and fields of Arcadia, playing his panpipe, often in lustful chases after nymphs and young men. Here, Pan teaches Daphnis how to play the panpipe as he makes an advance in the guise of instruction. Likely modeled on one of the ancient Roman sculptures discovered in the Renaissance, this painting echoes the ideals of the pastoral lifestyle filled with music and love. Pieter Mulier adds a contemporary touch to the scene through the inclusion of a viol, a string instrument popular in his time.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Dutch", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Would pair well with Lauri works (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1244.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1244.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1244.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1244.tif", "IsPrimary" : "1", "_SurrogateID" : "2658", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16407, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16407", "Disp_Access_No" : "2017.1068", "_AccNumSort1" : "", "Disp_Create_DT" : "1710s", "_Disp_Start_Dat" : "1710", "_Disp_End_Date" : "1710", "Disp_Title" : "The Education of Achilles ", "Alt_Title" : "", "Obj_Title" : "The Education of Achilles", "Series_Title" : "", "Disp_Maker_1" : "Donato Creti", "Sort_Artist" : "Creti, Donato", "Disp_Dimen" : "72.5 cm x 59.8 cm (28 9/16 in. x 23 9/16 in.)", "Disp_Height" : "72.5 cm", "Disp_Width" : "59.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Chiron, a mythological being that is half-human, half-horse, or a centaur, taught the art of medicine, hunting, and music to the young Achilles, who would later become the greatest Greek warrior of the Trojan War. In this painting, they are practicing bow hunting. Chiron’s strict but loving mentoring served as a model for tutoring noblemen in ancient Rome and became a popular subject representing humanist education during the fifteenth through the eighteenth centuries in Europe. Active in Bologna, Donato Creti specialized in paintings of classical and mythological themes that feature idealized figures. This particular work is one of several Creti depicted of the education of Achilles. The most famous is still in Bologna: it is set within a more expansive landscape and depicts a lion as their prey.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Would pair well with Lauri and Mulier (FC:jb 4/2/15) Condition issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1068.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1068.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1068.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1068.tif", "IsPrimary" : "1", "_SurrogateID" : "2598", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16438, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16438", "Disp_Access_No" : "2017.919", "_AccNumSort1" : "", "Disp_Create_DT" : "1620s", "_Disp_Start_Dat" : "1620", "_Disp_End_Date" : "1620", "Disp_Title" : "Danaë", "Alt_Title" : "", "Obj_Title" : "Danaë", "Series_Title" : "", "Disp_Maker_1" : "Jacques Blanchard", "Sort_Artist" : "Blanchard, Jacques", "Disp_Dimen" : "93.4 cm x 128.4 cm (36 3/4 in. x 50 9/16 in.)", "Disp_Height" : "93.4 cm", "Disp_Width" : "128.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation. Candidate for medallion hang. Louis Waldman: better than other Blanchard. (FC:jb 4/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.919.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.919.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.919.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.919.tif", "IsPrimary" : "1", "_SurrogateID" : "2669", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.919-pre.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.919-pre.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.919-pre.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.919-pre.tif", "IsPrimary" : "0", "_SurrogateID" : "10339", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14897, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14897", "Disp_Access_No" : "1984.57", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1650-1655", "_Disp_Start_Dat" : "1650", "_Disp_End_Date" : "1655", "Disp_Title" : "Personification of Astrology", "Alt_Title" : "", "Obj_Title" : "Personification of Astrology", "Series_Title" : "", "Disp_Maker_1" : "Guercino (Giovanni Francesco Barbieri)", "Sort_Artist" : "Guercino (Giovanni Francesco Barbieri)", "Disp_Dimen" : "81 cm x 65.6 cm (31 7/8 in. x 25 13/16 in.)", "Disp_Height" : "81 cm", "Disp_Width" : "65.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Guercino, the leading artist in Bologna during the mid-seventeenth century, simplified Cesare Ripa’s description of Astrology. Ripa describes her as a science “devoted to the contemplation of the celestial bodies,” wearing blue clothing and a starry cap. Guercino gives her these attributes but omits others mentioned in Ripa: her wings, a celestial globe, compass, and scepter. Instead, he paints her looking at a demonstrational armillary sphere with Earth at its center. The sphere consists of metal rings that represent the equator, tropics, arctic, and Antarctic circles, revolving on an axis. It is notable that Guercino spotlights this geocentric device rather than a heliocentric one about two decades after Galileo’s "Dialogue Concerning the Two Great World Systems" (1632) confirmed Copernicus’s theory that the earth revolved around the sun. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Does this have a "twin" somewhere? (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.57.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.57.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.57.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.57.tif", "IsPrimary" : "1", "_SurrogateID" : "1302", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16054, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16054", "Disp_Access_No" : "2017.1074", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1634", "_Disp_Start_Dat" : "1629", "_Disp_End_Date" : "1639", "Disp_Title" : "Personification of Constancy", "Alt_Title" : "", "Obj_Title" : "Personification of Constancy", "Series_Title" : "", "Disp_Maker_1" : "Cesare Dandini", "Sort_Artist" : "Dandini, Cesare", "Disp_Dimen" : "73 cm x 63 cm (28 3/4 in. x 24 13/16 in.)", "Disp_Height" : "73 cm", "Disp_Width" : "63 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "One of the principal painters of the second quarter of the century in Florence, and the favorite of the Medici family, Dandini epitomizes the basic conservatism of the school and its patrons. Although trained by several of the city’s more progressive painters, he developed a style in the 1630s that is characterized by lucid design, exaggerated geometry, impenetrable psychology, and high finish. The Allegory of Constancy, with its subject precisely following the prescription of Cesare Ripa’s famed book of emblems, is an excellent example of this rather abstract, practically anti-naturalistic style. At one level, this style represents a self-conscious return to the art of the Florentine past, early Mannerism, and the works of Andrea del Sarto and Pontormo in particular. At another, it bespeaks the growing insecurities, intellectualism, and hermeticism of a center and court in decline.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Beautiful firelight reflected onto the sword (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/214.1999.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/214.1999.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/214.1999.tif", "IIIF_URL": "http://iiif.gallerysystems.com/214.1999.tif", "IsPrimary" : "0", "_SurrogateID" : "2601", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1074-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1074-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1074-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1074-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18065", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16455, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16455", "Disp_Access_No" : "2017.918", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1634-1635", "_Disp_Start_Dat" : "1634", "_Disp_End_Date" : "1635", "Disp_Title" : "Charity", "Alt_Title" : "", "Obj_Title" : "Charity", "Series_Title" : "", "Disp_Maker_1" : "Jacques Blanchard", "Sort_Artist" : "Blanchard, Jacques", "Disp_Dimen" : "110.5 cm x 142.8 cm (43 1/2 in. x 56 1/4 in.)", "Disp_Height" : "110.5 cm", "Disp_Width" : "142.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Jacques Blanchard represents the personification of Charity as a woman breastfeeding a child and tending to two others around her. According to Cesare Ripa, the three children signify the tripling of Charity’s power when accompanied by Faith and Hope, the other theological virtues. Blanchard makes a creative departure from Ripa’s original text, however, by adding more children to illustrate charity in action: a boy assists a crying girl, and the infant on Charity’s lap reaches compassionately out to her. This scene reinforces a passage in the French edition of "Iconologia" that Charity “usually dwells among innocent and pure souls.” Regarded as a gifted colorist, he worked for King Louis XIV in Paris. The Blanton's painting is one of the few paintings by the artist in the United States.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Medallion (FC:jb 4/2/15) One of two Blanchards (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.918.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.918.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.918.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.918.tif", "IsPrimary" : "1", "_SurrogateID" : "2648", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16470, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16470", "Disp_Access_No" : "2017.1306", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1680", "_Disp_Start_Dat" : "1675", "_Disp_End_Date" : "1685", "Disp_Title" : "An Allegory with Venus and Time", "Alt_Title" : "", "Obj_Title" : "An Allegory with Venus and Time", "Series_Title" : "", "Disp_Maker_1" : "Domenico Piola", "Sort_Artist" : "Piola, Domenico", "Disp_Dimen" : "154.1 cm x 113.6 cm (60 11/16 in. x 44 3/4 in.)", "Disp_Height" : "154.1 cm", "Disp_Width" : "113.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In this allegory, Time, with his hourglass, presents Venus, the goddess of love, with a mature rose, as if to remind her that earthly love is as fleeting as a rose’s bloom. In response, Venus reveals her higher identity as a symbol of enduring spiritual love and divine beauty, a concept that evolved from the rediscovery of the writings of Plato and other ancient philosophers during the Renaissance. Venus here has already disarmed her son Cupid, the god of erotic love, by breaking his bow’s string. He is now unable to enflame uncontrollable desires in people and gods by shooting arrows into them. Domenico Piola, the leading artist in Genoa in the second half of the seventeenth century, painted many ceiling frescoes for churches and palaces. Paintings predating 1684 like this one are especially rare, since French naval bombardments in May of that year destroyed most of Genoa, including Piola’s house and studio. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1306.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1306.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1306.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1306.tif", "IsPrimary" : "0", "_SurrogateID" : "2639", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1306-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1306-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1306-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1306-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18067", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14594, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14594", "Disp_Access_No" : "1991.102", "_AccNumSort1" : "", "Disp_Create_DT" : "1781", "_Disp_Start_Dat" : "1781", "_Disp_End_Date" : "1781", "Disp_Title" : "His Royal Highness, George, Prince of Wales", "Alt_Title" : "", "Obj_Title" : "His Royal Highness, George, Prince of Wales", "Series_Title" : "", "Disp_Maker_1" : "Thomas Gainsborough", "Sort_Artist" : "Gainsborough, Thomas", "Disp_Dimen" : "96.6 cm x 83.9 cm (38 1/16 in. x 33 1/16 in.)", "Disp_Height" : "96.6 cm", "Disp_Width" : "83.9 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "One of King George III’s favorite painters, Thomas Gainsborough portrayed the king’s eldest son, George, Prince of Wales, on numerous occasions. For this portrait, the prince chose to wear a green coat decorated with gold and silver thread, a lace kerchief, and a blue waistcoat. On his chest is a silver eight-pointed star that signified his status as a knight of the Order of the Garter. The London press criticized the prince, known for his vanity and extravagance, as being a fop whose clothing “disgusted the eye and gave an idea of expense without conveying the least sensation of taste or elegance.” Other printed attacks described the prince’s friends as “flatterers . . . gamesters and debauchees.” Gainsborough painted his works with confidence and speed, both of which are exemplified in this portrait. The juxtaposition of the carefully rendered face and the loosely painted background shows how the artist varied his brushwork to emphasize the sitter and at the same time show off his virtuosity.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Jack G. Taylor, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "English", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Conservation: needs oval frame, in good condition (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.102.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.102.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.102.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.102.tif", "IsPrimary" : "1", "_SurrogateID" : "1500", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14589, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14589", "Disp_Access_No" : "1991.107", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1800", "_Disp_Start_Dat" : "1795", "_Disp_End_Date" : "1805", "Disp_Title" : "Admiral Sir William Sidney Smith", "Alt_Title" : "", "Obj_Title" : "Admiral Sir William Sidney Smith", "Series_Title" : "", "Disp_Maker_1" : "Sir Henry Raeburn", "Sort_Artist" : "Raeburn, Sir Henry", "Disp_Dimen" : "72.3 cm x 60.3 cm (28 7/16 in. x 23 3/4 in.)", "Disp_Height" : "72.3 cm", "Disp_Width" : "60.3 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Admiral Sir William Sidney Smith, the British naval officer pictured here, forged a reputation as a war hero who excelled at combining land and sea operations. He is well known for breaking Napoleon’s siege of Acre in what is now Israel during the French Revolutionary Wars. However, the same impulsiveness and energy that perhaps made Smith successful in war later damaged his reputation. His character might have been chivalrous and brave, but his unconventional ways sparked fear and distrust. Sir Henry Raeburn, the painter of this portrait, typically set his canvas beside or behind his subject and then made conversation until he witnessed the desired expression. Raeburn then moved to the canvas and recorded the picture in his mind as quickly as possible.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Jack G. Taylor, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "English", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation issues: needs to be cleaned Once cleaned, would be nice addition to portrait gallery (FC:jb 5/13/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.107.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.107.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.107.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.107.tif", "IsPrimary" : "1", "_SurrogateID" : "1502", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14593, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14593", "Disp_Access_No" : "1991.103", "_AccNumSort1" : "", "Disp_Create_DT" : "1796", "_Disp_Start_Dat" : "1796", "_Disp_End_Date" : "1796", "Disp_Title" : "Lady Charlotte Hornby", "Alt_Title" : "", "Obj_Title" : "Lady Charlotte Hornby", "Series_Title" : "", "Disp_Maker_1" : "Sir Thomas Lawrence", "Sort_Artist" : "Lawrence, Sir Thomas", "Disp_Dimen" : "94.6 cm x 83.2 cm (37 1/4 in. x 32 3/4 in.)", "Disp_Height" : "94.6 cm", "Disp_Width" : "83.2 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Sir Thomas Lawrence painted this portrait around the time of Lady Charlotte Hornby’s marriage on August 22, 1796. The artist captures her turning in her chair to view him. Her hair falls down over her shoulders, her dress is unadorned, and her rosy cheeks and lips suggest a spontaneous moment from everyday life. Lawrence was known for sketching sitters for hours before applying any paint. The interaction between artist and sitter was of fundamental importance to Lawrence, but the implied intimacy at the heart of Lawrence’s successful depictions of women also gave the painter a reputation for being “morally dubious.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Jack G. Taylor, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "English", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Stands up next to the Romney (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.103.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.103.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.103.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.103.tif", "IsPrimary" : "1", "_SurrogateID" : "1501", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14588, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14588", "Disp_Access_No" : "1991.108", "_AccNumSort1" : "", "Disp_Create_DT" : "1791", "_Disp_Start_Dat" : "1791", "_Disp_End_Date" : "1791", "Disp_Title" : "Lady Hamilton", "Alt_Title" : "", "Obj_Title" : "Lady Hamilton", "Series_Title" : "", "Disp_Maker_1" : "George Romney", "Sort_Artist" : "Romney, George", "Disp_Dimen" : "159.1 cm x 133.1 cm (62 5/8 in. x 52 3/8 in.)", "Disp_Height" : "159.1 cm", "Disp_Width" : "133.1 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The daughter of a blacksmith, Emma Hart sat for this portrait on September 6, 1791, the day of her wedding to Sir William Hamilton, George III’s envoy to Naples. She was twenty-six, and Sir William was sixty years old. Behind Emma in her white dress is an erupting Mount Vesuvius that references her husband’s publication on the volcano. The painting also marks the end of Emma’s ten-year association with George Romney, one of the leading portrait painters of the day. Emma had captivated him with her beauty from the time she had first visited his London studio as a model in 1781. During her rise in society as a gentleman’s mistress, Romney had painted as many as fifty-seven portraits of Emma in various guises and attitudes. This portrait was to be his last depiction of her.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Jack G. Taylor, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "English", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "In great condition Will hold up anywhere, one of the jewels in our crown (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.108_Steph.mov", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.108_Steph.mov", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.108_Steph.mov", "IIIF_URL": "http://iiif.gallerysystems.com/1991.108_Steph.mov", "IsPrimary" : "0", "_SurrogateID" : "6917", "Image_Type" : "Video", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.108.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.108.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.108.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.108.tif", "IsPrimary" : "1", "_SurrogateID" : "1503", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16096, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16096", "Disp_Access_No" : "2017.894", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1577", "_Disp_Start_Dat" : "1572", "_Disp_End_Date" : "1582", "Disp_Title" : "Sacrifice of Isaac", "Alt_Title" : "", "Obj_Title" : "Sacrifice of Isaac", "Series_Title" : "", "Disp_Maker_1" : "Jacopo Bassano (Jacopo da Ponte)", "Sort_Artist" : "Bassano (Jacopo da Ponte), Jacopo", "Disp_Dimen" : "26.2 cm x 33.6 cm (10 5/16 in. x 13 1/4 in.)", "Disp_Height" : "26.2 cm", "Disp_Width" : "33.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "On the grassy knoll of a mountain, Abraham prepares to carry out a divine order to sacrifice his son, Isaac, who kneels with his hands bound behind his back. Suddenly, an angel appears to stay Abraham’s knife-wielding hand, saying that God is satisfied by the proof of Abraham’s fear and reverence. Jacopo Bassano’s mastery of dynamic contours appears in the lively, varied lines of Abraham’s outstretched arm and the clouds and dark mountains echoing it. His expressive brushstrokes and his playful use of perspective, animated by the figures’ diverse postures, also demonstrate his confidence as a painter. This work is probably a copy of a background scene from Bassano’s popular series depicting the four seasons. To meet popular demand, the artist and his workshop created numerous versions of the series. In fact, previous scholarship suggested that this might be a fragment from a lost painting in the series. Close examination of the painting disproved this theory, however; the painting’s edges are mostly untouched and not cut from a larger canvas.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.894.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.894.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.894.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.894.tif", "IsPrimary" : "1", "_SurrogateID" : "2744", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16179, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16179", "Disp_Access_No" : "2017.1168", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1616-1617", "_Disp_Start_Dat" : "1616", "_Disp_End_Date" : "1617", "Disp_Title" : "Landscape with Tobias and the Angel", "Alt_Title" : "", "Obj_Title" : "Landscape with Tobias and the Angel", "Series_Title" : "", "Disp_Maker_1" : "Guercino (Giovanni Francesco Barbieri)", "Sort_Artist" : "Guercino (Giovanni Francesco Barbieri)", "Disp_Dimen" : "31 cm x 40.5 cm (12 3/16 in. x 15 15/16 in.)", "Disp_Height" : "31 cm", "Disp_Width" : "40.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Archangel Raphael points to a great fish located at the painting’s bottom edge and instructs a surprised, bathing Tobias to seize it. Tobias, the son of the title character in the Book of Tobit, would later use the fish’s entrails to cure the blindness of his father and to dispel a demon tormenting his future wife, Sara. Guercino was a leading painter in the Bolognese school of the seventeenth century. He was known for his ability to communicate emotion through human gesture and expression. His talent for depicting contrasts in light also appears in the painting’s dark landscape lit by a setting sun, which echoes Tobias’ story of faith and revelation. This rare work is likely Guercino’s only landscape painting on copper to incorporate a religious narrative. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1168.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1168.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1168.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1168.tif", "IsPrimary" : "1", "_SurrogateID" : "2618", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16254, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16254", "Disp_Access_No" : "2017.1024", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1640", "_Disp_Start_Dat" : "1635", "_Disp_End_Date" : "1645", "Disp_Title" : "Noah Leading the Animals into the Ark", "Alt_Title" : "", "Obj_Title" : "Noah Leading the Animals into the Ark", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Benedetto Castiglione", "Sort_Artist" : "Castiglione, Giovanni Benedetto", "Disp_Dimen" : "39.5 cm x 57.3 cm (15 9/16 in. x 22 9/16 in.)", "Disp_Height" : "39.5 cm", "Disp_Width" : "57.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Oil on antique laid paper mounted on cradled wood panel", "Support" : "", "Disp_Medium" : "Oil on antique laid paper mounted on cradled wood panel", "Info_Page_Comm" : "This oil sketch reveals two fundamental debts to Netherlandish art. The technique, especially employed in such a loose and summary manner, derives from the frequent preparatory studies of the great Flemish painters, Rubens and Van Dyck, who were active at Genoa early in the century. And the subject responds to the Genoese taste for animal paintings that was acquired from 17th-century Holland. Castiglione rarely essayed animals as such, but many of his habitual historical subjects are pretexts for featuring them. The constancy of his interest and the continuity in these subjects are made clear by the comparison of this study with his large etching from more than a decade later. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Should be on display with conservator''s approval. (FC:jp 4/22/2015)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1024.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1024.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1024.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1024.tif", "IsPrimary" : "1", "_SurrogateID" : "2763", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16466, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16466", "Disp_Access_No" : "2017.1424", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1620-1623", "_Disp_Start_Dat" : "1620", "_Disp_End_Date" : "1623", "Disp_Title" : "David with the Head of Goliath", "Alt_Title" : "", "Obj_Title" : "David with the Head of Goliath", "Series_Title" : "", "Disp_Maker_1" : "Claude Vignon", "Sort_Artist" : "Vignon, Claude", "Disp_Dimen" : "133.7 cm x 98 cm (52 5/8 in. x 38 9/16 in.)", "Disp_Height" : "133.7 cm", "Disp_Width" : "98 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting represents the victorious David with the severed head of Goliath, the giant Philistine warrior that he defeated with a sling. In David’s right hand is Goliath’s sword, which he used to cut off the giant’s head. The shepherd boy’s sumptuous headdress and clothes originally belonged to Jonathan, the son of King Saul, who took off his princely robes and gave them to the courageous young man as a token of affection. David is depicted as androgynous, which reflects an ideal of beauty for young men in the sixteenth and seventeenth centuries. Painted during Claude Vignon’s final years in Rome before his return to Paris, the work shows the French artist’s masterful interpretation of Caravaggio’s work. The strong shaft of light coming from the upper left increases the sense of drama in a seemingly calm scene by contrasting the beauty of the protagonist with the horror of the preceding event. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1424.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1424.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1424.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1424.tif", "IsPrimary" : "1", "_SurrogateID" : "2670", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16421, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16421", "Disp_Access_No" : "2017.1017", "_AccNumSort1" : "", "Disp_Create_DT" : "late 17th century", "_Disp_Start_Dat" : "1667", "_Disp_End_Date" : "1699", "Disp_Title" : "Jacob Asking for Laban", "Alt_Title" : "", "Obj_Title" : "Jacob Asking for Laban", "Series_Title" : "", "Disp_Maker_1" : "Francesco Castiglione", "Sort_Artist" : "Castiglione, Francesco", "Disp_Dimen" : "78 cm x 84 cm (30 11/16 in. x 33 1/16 in.)", "Disp_Height" : "78 cm", "Disp_Width" : "84 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Fleeing for his life, Jacob seeks refuge with his uncle, Laban, living in “the land of the people of the east.” While Jacob discusses Laban’s whereabouts with shepherds, all the animals in the foreground gaze intently at the viewer. They take center stage, not the humans. Francesco Castiglione follows after his father, Giovanni Benedetto Castiglione, who showcased animals within biblical narratives. In fact, the goat and cattle in the foreground are likely copied from one of his father’s paintings. The work also represents the Genoese fondness for animals in artwork, a taste stimulated by Northern European genre painting and depictions of keenly observed animals. During the early seventeenth century, Dutch and Flemish artists, along with others throughout Europe, moved to Genoa to meet its large demand for art, especially decoration of palaces owned by the city’s wealthy families.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1017.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1017.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1017.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1017.tif", "IsPrimary" : "1", "_SurrogateID" : "2586", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15019, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15019", "Disp_Access_No" : "1982.182", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1605-1608", "_Disp_Start_Dat" : "1605", "_Disp_End_Date" : "1608", "Disp_Title" : "Diana and Callisto", "Alt_Title" : "", "Obj_Title" : "Diana and Callisto", "Series_Title" : "", "Disp_Maker_1" : "Jan Brueghel the Elder and Hendrick van Balen", "Sort_Artist" : "Brueghel the Elder and Hendrick van Balen, Jan", "Disp_Dimen" : "26.4 cm x 37.9 cm (10 3/8 in. x 14 15/16 in.)", "Disp_Height" : "26.4 cm", "Disp_Width" : "37.9 cm", "Dimen_Extent" : "panel", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "The goddess Diana and her chaste nymphs have returned from hunting to bathe in their sacred stream, but Callisto is reluctant. Sensing she is hiding something, Diana orders her entourage to forcibly remove Callisto’s garments, revealing her pregnancy. According to Ovid’s "Metamorphoses," Jupiter had disguised himself as Diana and lured Callisto into his embrace. No longer virginal and pure, Callisto was banished from Diana’s sacred waters. Depicting the climactic moment of the myth, this painting alludes to the immediate and eternal punishment of Callisto. Diana leans forward in the same direction as Callisto’s movement backwards, emphasizing their roles as punisher and punished. A bearded iris near Diana represents the goddess Iris, Juno’s messenger of bad tidings. The collection of shells, corals, and accessories for grooming after the bath are abandoned at the bottom right, which signals the final outcome for Callisto. Collaborations between artists of different specialties were fashionable in early seventeenth-century Flanders. Here, as in many pieces by this pair, Hendrick van Balen’s ability to render the female nude and Jan Brueghel’s skills as a landscape painter work in tandem. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1982", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Flemish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Display case to show copper on back (FC:jb 4/2/15) Could potentially go with Sprangers, northern European gallery (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.182.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.182.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.182.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.182.tif", "IsPrimary" : "1", "_SurrogateID" : "1233", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16049, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16049", "Disp_Access_No" : "2017.1108", "_AccNumSort1" : "", "Disp_Create_DT" : "1590s", "_Disp_Start_Dat" : "1590", "_Disp_End_Date" : "1590", "Disp_Title" : "Saint Catherine of Alexandria", "Alt_Title" : "", "Obj_Title" : "Saint Catherine of Alexandria", "Series_Title" : "", "Disp_Maker_1" : "Paolo Farinati", "Sort_Artist" : "Farinati, Paolo", "Disp_Dimen" : "23.2 cm x 20.2 cm (9 1/8 in. x 7 15/16 in.)", "Disp_Height" : "23.2 cm", "Disp_Width" : "20.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Conservation, condition issues: needs to be cleaned. Not in great condition. Could be 2+ if cleaned. On copper, display case. (FC:jb 4/15/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1108.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1108.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1108.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1108.tif", "IsPrimary" : "1", "_SurrogateID" : "3429", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16057, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16057", "Disp_Access_No" : "2017.1426", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1630", "_Disp_Start_Dat" : "1625", "_Disp_End_Date" : "1635", "Disp_Title" : "Madonna and Child with Saints Cecilia, Valerian, and Tibertius", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with Saints Cecilia, Valerian, and Tibertius", "Series_Title" : "", "Disp_Maker_1" : "Claude Vignon", "Sort_Artist" : "Vignon, Claude", "Disp_Dimen" : "23.5 cm x 30.16 cm (9 1/4 in. x 11 7/8 in.)", "Disp_Height" : "23.5 cm", "Disp_Width" : "30.16 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "As the patron saint of music, Cecilia is typically depicted with an instrument; here a small pipe organ. To indicate her purity and devotion, Claude Vignon placed Cecilia at the feet of Mary, who appears as royalty, illuminating the scene with a golden crown. Saints Valerian and Tiburtius hold palms of martyrdom as Cecilia gazes upon baby Jesus. A devout Christian from youth, Cecilia took a vow of chastity before being betrothed to Valerian, a Roman nobleman. She lamented the match, invoking the saints to protect her virginity. Before consummation, she informed Valerian of her vow, claiming that she was protected by an angel whom he could see only if baptized. Valerian was baptized and returned to see the angel crowning Cecilia with a chaplet of rose and lily. Cecilia, Valerian, and his brother Tiburtius were all martyred by order of the Roman governor Almachius.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Copper, display case. Condition issues, conservation: needs to be cleaned. (FC:jb 4/15/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1426.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1426.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1426.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1426.tif", "IsPrimary" : "1", "_SurrogateID" : "2671", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16250, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16250", "Disp_Access_No" : "2017.1162", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1640-1645", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1645", "Disp_Title" : "Saints Mary Magdalene, Catherine of Alexandria, Catherine of Siena, Lucy, and Dorothy", "Alt_Title" : "", "Obj_Title" : "Saints Mary Magdalene, Catherine of Alexandria, Catherine of Siena, Lucy, and Dorothy", "Series_Title" : "", "Disp_Maker_1" : "Francesco Guarino", "Sort_Artist" : "Guarino, Francesco", "Disp_Dimen" : "39.2 cm x 26.6 cm (15 7/16 in. x 10 1/2 in.)", "Disp_Height" : "39.2 cm", "Disp_Width" : "26.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Could be shown in display case in middle of the room to show copper (FC:jb 4/6/15) Figures awkwardly proportioned but still in play (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1162.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1162.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1162.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1162.tif", "IsPrimary" : "1", "_SurrogateID" : "2616", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16027, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16027", "Disp_Access_No" : "2017.1182", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1590", "_Disp_Start_Dat" : "1591", "_Disp_End_Date" : "1600", "Disp_Title" : "Saint Jerome in the Wilderness", "Alt_Title" : "", "Obj_Title" : "Saint Jerome in the Wilderness", "Series_Title" : "", "Disp_Maker_1" : "Jacopo Palma il Giovane", "Sort_Artist" : "Jacopo Palma il Giovane", "Disp_Dimen" : "22.1 cm x 16.8 cm (8 11/16 in. x 6 5/8 in.)", "Disp_Height" : "22.1 cm", "Disp_Width" : "16.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on copper, attached to wood panel", "Support" : "", "Disp_Medium" : "Oil on copper, attached to wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation: needs to be cleaned. Could get higher ranking if conserved. Top conservation list. Could go in display case. See what it looks like without the frame. (FC:jb 4/24/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1182.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1182.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1182.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1182.TIF", "IsPrimary" : "1", "_SurrogateID" : "10663", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15923, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15923", "Disp_Access_No" : "2017.1064", "_AccNumSort1" : "", "Disp_Create_DT" : "1698", "_Disp_Start_Dat" : "1698", "_Disp_End_Date" : "1698", "Disp_Title" : "Woman Surprised by a Boy (Spring)", "Alt_Title" : "", "Obj_Title" : "Woman Surprised by a Boy (Spring)", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Maria Crespi", "Sort_Artist" : "Crespi, Giuseppe Maria", "Disp_Dimen" : "15.9 cm x 22.9 cm (6 1/4 in. x 9 in.)", "Disp_Height" : "15.9 cm", "Disp_Width" : "22.9 cm", "Dimen_Extent" : "panel", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Giuseppe Maria Crespi’s paintings are characterized by the masterful treatment of light achieved by free brushwork and sophisticated use of colors, which he learned from Venetian art. This luminous quality is most apparent in his small paintings on copper executed for private patrons. On the smooth surface, the painter’s virtuoso strokes create intimate and charming images that glisten against dark backgrounds. The depiction of contemporary life was a passion for Crespi throughout his career. These three small paintings of shepherdesses represent bucolic reveries, without specific literary sources attached to them. The works are meant to evoke a poetic mood rather than to communicate a message.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "For Woman Surprised and Sleeping Shepherdess: Keep in play (there is one more in storage that is very good) Pair with other two potentially Fantastic lighting, charming Could be in display case with chairs surrounding so that they don''t take up a wall (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1064.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1064.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1064.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1064.tif", "IsPrimary" : "1", "_SurrogateID" : "2596", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15922, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15922", "Disp_Access_No" : "2017.1063", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1695-1700", "_Disp_Start_Dat" : "1695", "_Disp_End_Date" : "1700", "Disp_Title" : "Sleeping Shepherdess Teased by a Boy", "Alt_Title" : "", "Obj_Title" : "Sleeping Shepherdess Teased by a Boy", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Maria Crespi", "Sort_Artist" : "Crespi, Giuseppe Maria", "Disp_Dimen" : "15.88 cm x 22.86 cm (6 1/4 in. x 9 in.)", "Disp_Height" : "15.88 cm", "Disp_Width" : "22.86 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Giuseppe Maria Crespi’s paintings are characterized by the masterful treatment of light achieved by free brushwork and sophisticated use of colors, which he learned from Venetian art. This luminous quality is most apparent in his small paintings on copper executed for private patrons. On the smooth surface, the painter’s virtuoso strokes create intimate and charming images that glisten against dark backgrounds. The depiction of contemporary life was a passion for Crespi throughout his career. These three small paintings of shepherdesses represent bucolic reveries, without specific literary sources attached to them. The works are meant to evoke a poetic mood rather than to communicate a message.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Could pair with other Crespi(s). Louis Waldman thinks this is charming. (FC:jb 5/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1063.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1063.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1063.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1063.tif", "IsPrimary" : "1", "_SurrogateID" : "2595", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15921, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15921", "Disp_Access_No" : "2017.1062", "_AccNumSort1" : "", "Disp_Create_DT" : "1698", "_Disp_Start_Dat" : "1698", "_Disp_End_Date" : "1698", "Disp_Title" : "Sleeping Shepherdess (Fall)", "Alt_Title" : "", "Obj_Title" : "Sleeping Shepherdess (Fall)", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Maria Crespi", "Sort_Artist" : "Crespi, Giuseppe Maria", "Disp_Dimen" : "15.9 cm x 22.9 cm (6 1/4 in. x 9 in.)", "Disp_Height" : "15.9 cm", "Disp_Width" : "22.9 cm", "Dimen_Extent" : "panel", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Giuseppe Maria Crespi’s paintings are characterized by the masterful treatment of light achieved by free brushwork and sophisticated use of colors, which he learned from Venetian art. This luminous quality is most apparent in his small paintings on copper executed for private patrons. On the smooth surface, the painter’s virtuoso strokes create intimate and charming images that glisten against dark backgrounds. The depiction of contemporary life was a passion for Crespi throughout his career. These three small paintings of shepherdesses represent bucolic reveries, without specific literary sources attached to them. The works are meant to evoke a poetic mood rather than to communicate a message. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "For Woman Surprised and Sleeping Shepherdess: Keep in play (there is one more in storage that is very good) Pair with other two potentially Fantastic lighting, charming Could be in display case with chairs surrounding so that they don''t take up a wall (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1062.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1062.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1062.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1062.tif", "IsPrimary" : "1", "_SurrogateID" : "2594", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17161, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17161", "Disp_Access_No" : "2004.114", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1618-1619", "_Disp_Start_Dat" : "1618", "_Disp_End_Date" : "1619", "Disp_Title" : "Saint Agnes", "Alt_Title" : "", "Obj_Title" : "Saint Agnes", "Series_Title" : "", "Disp_Maker_1" : "Simon Vouet", "Sort_Artist" : "Vouet, Simon", "Disp_Dimen" : "55.9 cm x 46.4 cm (22 in. x 18 1/4 in.)", "Disp_Height" : "55.9 cm", "Disp_Width" : "46.4 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Julia and Richard Rush in memory of Dr. William E. Suida and Bertina and Robert Manning, 2004", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15) Medallion corner room (FC:jb 4/2/15) Potentially pair with Saint Cecilia (Vouet) (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.114.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.114.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.114.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.114.tif", "IsPrimary" : "1", "_SurrogateID" : "4502", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16384, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16384", "Disp_Access_No" : "2017.1030", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1645-1650", "_Disp_Start_Dat" : "1645", "_Disp_End_Date" : "1650", "Disp_Title" : "Saint Christina", "Alt_Title" : "", "Obj_Title" : "Saint Christina", "Series_Title" : "", "Disp_Maker_1" : "Bernardo Cavallino", "Sort_Artist" : "Cavallino, Bernardo", "Disp_Dimen" : "63.5 cm x 50.8 cm (25 in. x 20 in.)", "Disp_Height" : "63.5 cm", "Disp_Width" : "50.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : ""The Golden Legend" relates that Christina was a beautiful young woman of noble birth in ancient Rome, who was persecuted for her Christian faith. She refused to worship pagan idols, which led her father and the judges of the town to torture her in various ways. They had asps and serpents attack her, threw her into a furnace, and cut out her tongue. She endured all of them but was eventually martyred with two arrows that pierced her heart and her side. For this reason the saint is often represented with an arrow and a palm branch, the symbol of martyrdom. Bernardo Cavallino, one of the leading painters in seventeenth-century Naples, renders Christina’s beauty with feathery brushwork in the depiction of her face, which is emphasized against the dark neutral background. Her parted lips, tilted head, and delicate hand gesture add to the sensuality with which the artist depicted his imagined portraits of female saints.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Needs more light May have been cropped Good frame Conservation issues, canvas coming apart at the bottom left (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1030.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1030.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1030.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1030.tif", "IsPrimary" : "1", "_SurrogateID" : "2734", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16386, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16386", "Disp_Access_No" : "2017.1352", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Saint Agatha", "Alt_Title" : "", "Obj_Title" : "Saint Agatha", "Series_Title" : "", "Disp_Maker_1" : "Pacecco de Rosa (Francesco de Rosa)", "Sort_Artist" : "Rosa (Francesco de Rosa), Pacecco de", "Disp_Dimen" : "63.4 cm x 53 cm (24 15/16 in. x 20 7/8 in.)", "Disp_Height" : "63.4 cm", "Disp_Width" : "53 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Bottom of a medallion hang. (FC:jb 4/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1352.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1352.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1352.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1352.tif", "IsPrimary" : "1", "_SurrogateID" : "4849", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16257, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16257", "Disp_Access_No" : "2017.1126", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1608-1613", "_Disp_Start_Dat" : "1608", "_Disp_End_Date" : "1613", "Disp_Title" : "Martyrdom of Saint Cecilia", "Alt_Title" : "", "Obj_Title" : "Martyrdom of Saint Cecilia", "Series_Title" : "", "Disp_Maker_1" : "Guy François", "Sort_Artist" : "François, Guy", "Disp_Dimen" : "126.4 cm x 97.2 cm (49 3/4 in. x 38 1/4 in.)", "Disp_Height" : "126.4 cm", "Disp_Width" : "97.2 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This picture is an early and almost programmatic response to Caravaggio’s lessons. It has long been attributed to Carlo Saraceni, a Venetian painter active in Rome, one of the earliest to espouse the new naturalistic language. It is better seen as a capital work of François, who was also in Rome from 1608 until 1613, then the very first to bring Caravaggism to France. Although extremely similar and usually confused with Saraceni’s, the works of the Frenchman can be distinguished by their slightly more regular shapes and exact contours, which result in compositions of more pronounced pattern than atmospheric space. Precisely this difference is clear in comparing the present composition with a nearly identical version by Saraceni that was recently identified and acquired by Los Angeles. The identity of these pictures also answers any question about the fact and intimate nature of the two painters’ collaboration.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Among FC''s top twenty. Copy. (FC:jb 5/22/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1126.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1126.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1126.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1126.tif", "IsPrimary" : "1", "_SurrogateID" : "2650", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16458, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16458", "Disp_Access_No" : "2017.1170", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1624-1625", "_Disp_Start_Dat" : "1624", "_Disp_End_Date" : "1625", "Disp_Title" : "Saint Mary Magdalene", "Alt_Title" : "", "Obj_Title" : "Saint Mary Magdalene", "Series_Title" : "", "Disp_Maker_1" : "Guercino (Giovanni Francesco Barbieri)", "Sort_Artist" : "Guercino (Giovanni Francesco Barbieri)", "Disp_Dimen" : "114.94 cm x 94.3 cm (45 1/4 in. x 37 1/8 in.)", "Disp_Height" : "114.94 cm", "Disp_Width" : "94.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Guercino's style, its optical intensity and sensory appeal, offered an alternative to the more schematic naturalism of Caravaggio and the early classicism of Annibale Carracci. Guercino, however, was reciprocally affected by those prevailing currents, as well as by the weight of the city’s earlier artistic traditions. Just as other painters like Giovanni Lanfranco and Pietro da Cortona began to explore and extend the possibilities of Guercino’s style, he tempered them. This painting is an excellent example of Guercino’s shift toward a less intuitive style in the aftermath of his sojourn in Rome. Transcending her contemplation of death and repentance of sins, the Magdalene looks heavenward in a rapture that is echoed by the shaft of light from the upper left. Because her figure derives from a painting of around 1619, a Raising of Lazarus in the Louvre, Guercino’s development is all the more apparent. The composition is more deliberate, its forms more constructed, his touch more measured. What painting may have lost in restless vitality, it has gained in solemn power. Later, however, these tendencies would lead to an ever more self-conscious, and nonetheless beautiful, approximation of Baroque classicism. When Guercino went to Rome in 1621-23, he brought with him the style of the Suida-Manning Collection’s exquisite Landscape, to the left. That style, its optical intensity and sensory appeal, offered an alternative to the more schematic naturalism of Caravaggio and the early classicism of Annibale Carracci. Guercino, however, was reciprocally affected by those prevailing currents, as well as by the weight of the city’s earlier artistic traditions. Just as other painters like Giovanni Lanfranco and Pietro da Cortona began to explore and extend the possibilities of Guercino’s style, he tempered them.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15) Medallion (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1170.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1170.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1170.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1170.tif", "IsPrimary" : "1", "_SurrogateID" : "2619", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16467, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16467", "Disp_Access_No" : "2017.1434", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1626", "_Disp_Start_Dat" : "1621", "_Disp_End_Date" : "1631", "Disp_Title" : "Saint Cecilia", "Alt_Title" : "", "Obj_Title" : "Saint Cecilia", "Series_Title" : "", "Disp_Maker_1" : "Simon Vouet", "Sort_Artist" : "Vouet, Simon", "Disp_Dimen" : "134.1 cm x 98.2 cm (52 13/16 in. x 38 11/16 in.)", "Disp_Height" : "134.1 cm", "Disp_Width" : "98.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Cecilia, the patron saint of music and musicians, sits in front of a small organ. Clothed in a lush silk dress and a brocaded mantle, she gracefully turns to the two cherubs that appear to her. Soft golden light bathes the figure and the background, infusing the scene with heavenly atmosphere. Cecilia was a Christian martyr who lived in third-century Rome. She took a vow of virginity, and on her wedding night, she converted her groom Valerian, who in turn guided his brother Tiburtius to the Christian faith. Their beliefs were soon discovered by the authorities, which led to their martyrdom. Cecilia has been represented with a musical instrument since the fourteenth century, although her connection to music is tenuous at best. According to "The Golden Legend," the saint heard celestial music when she was praying to God to preserve her virginity. She sang, “Let my heart and my body be undefiled, O Lord, that I may not be confounded.” Depictions of female saints in rapture were popular in Rome in the 1620s. It is possible that Simon Vouet used his wife, the painter Virginia da Vezzo, as the model for the saint figure. They married in Rome in 1626, just before they left for France to serve King Louis XIII.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1434.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1434.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1434.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1434.tif", "IsPrimary" : "1", "_SurrogateID" : "2672", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16416, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16416", "Disp_Access_No" : "2017.1212", "_AccNumSort1" : "", "Disp_Create_DT" : "1638-1644", "_Disp_Start_Dat" : "1638", "_Disp_End_Date" : "1644", "Disp_Title" : "Saint Agatha", "Alt_Title" : "", "Obj_Title" : "Saint Agatha", "Series_Title" : "", "Disp_Maker_1" : "Lorenzo Lippi", "Sort_Artist" : "Lippi, Lorenzo", "Disp_Dimen" : "75.7 cm x 64.1 cm (29 13/16 in. x 25 1/4 in.)", "Disp_Height" : "75.7 cm", "Disp_Width" : "64.1 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Until recently this painting was attributed to Orazio Riminaldi, an early follower of Caravaggio working out of Pisa. After careful examination and comparisons to other works by Lorenzo Lippi, The Blanton has once again identified it as by the hand of the Florentine master––an attribution made by William Suida when the painting first entered his collection. Lippi shied away from the highly decorative grandeur typical of the time and adopted a clear, pure style resulting in a subtle, dramatic aesthetic. Vague in substance and dreamy in mood, the subject holds a mild erotic charge and suggests the decadence of the city’s culture. This extraordinary painting exhibits Lippi’s unusual palette, his typical facial types––articulated with careful, compact modeling––and his soft, thinly veiled drapery. He renders the early Christian martyr in a traditional manner, accompanied by the instrument of her torture and its result, her severed breasts. Transfixing the viewer with a glance that is at once vulnerable and provocative, she challenges the viewer to sort out devout sympathy from prurient curiosity. Her attributes are so vivid that the usual boundary between the symbolic and the actual breaks down. In this context, with the inherently beautiful handling of the medium, the image is a memorable combination of pungent realism and subtle transgression. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1212.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1212.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1212.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1212.tif", "IsPrimary" : "1", "_SurrogateID" : "2750", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16461, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16461", "Disp_Access_No" : "2017.1060", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1621", "_Disp_Start_Dat" : "1616", "_Disp_End_Date" : "1626", "Disp_Title" : "The Conversion of Saint Paul", "Alt_Title" : "", "Obj_Title" : "The Conversion of Saint Paul", "Series_Title" : "", "Disp_Maker_1" : "Daniele Crespi", "Sort_Artist" : "Crespi, Daniele", "Disp_Dimen" : "118.7 cm x 84.5 cm (46 3/4 in. x 33 1/4 in.)", "Disp_Height" : "118.7 cm", "Disp_Width" : "84.5 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Had Daniele Crespi enjoyed a longer career, and were his works not largely confined to Lombardy, he would be widely known as a master of the first order. He was without doubt the finest painter of the second generation of Baroque painting in Milan. In his paintings the willful deformation and troubling intensity of the school’s first generation have been subjected to a more disciplined sense of design and a more predictable language of expression, reflecting the lessons of recent Florentine painting as well as the emerging Bolognese academy. The resulting style is original in its staging but legible in its action and noble in its feeling. This is one of Crespi’s most important early pictures. The general composition and its compression of space into a single plane derive from a low-relief sculpture designed by Cerano for the façade of the church of San Paolo Converso in Milan. The intricate rhythms and the palette depend more on Giulio Cesare Procaccini, another major figure of the first generation who was Crespi’s principal inspiration if not actual teacher. But the incisive drawing of Saint Paul, the exact modeling of his forms, and the memorable enunciation of the drama announce the fact and direction of a distinctive language. The Suida-Manning Collection includes a second outstanding picture by Crespi, "Ecce Homo" of about two years later.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1060.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1060.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1060.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1060.tif", "IsPrimary" : "1", "_SurrogateID" : "2593", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16464, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16464", "Disp_Access_No" : "2017.1059", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1623", "_Disp_Start_Dat" : "1618", "_Disp_End_Date" : "1628", "Disp_Title" : "Ecce Homo", "Alt_Title" : "", "Obj_Title" : "Ecce Homo", "Series_Title" : "", "Disp_Maker_1" : "Daniele Crespi", "Sort_Artist" : "Crespi, Daniele", "Disp_Dimen" : "127 cm x 97.8 cm (50 in. x 38 1/2 in.)", "Disp_Height" : "127 cm", "Disp_Width" : "97.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Had Crespi enjoyed a longer career, and were his works not largely confined to Lombardy, he would be widely known as a master of the first order. He was without doubt the finest painter of the second generation of Baroque painting in Milan. In his paintings the willful deformation and neurotic intensity of the first generation are subjected to a more disciplined design and a more rhetorical expression, which he gathered from contemporary Florentine painters as well as from the emerging school of Bologna. The resulting style is highly original in its staging, admirable in its action, and convincing in its feeling. This picture demonstrates Crespi’s rapid development toward a style of absolute coherence and exceptional theatricality. The composition is related to Caravaggio’s painting of the same subject, and the dramatic chiaroscuro generally reflects Crespi’s intensifying naturalism. The design, with bold rhythms and strong drawing, is conditioned by Florentine interpretations of early Baroque style. And both the palette and striking differentiation of paint handling—compare the rendering of Christ’s tremulous flesh with that of Pilate’s splendid sleeve—are freshly informed by Rubens’s example. But by now these elements have been thoroughly synthesized and reconciled with a persistently Milanese subjectivity. This, Crespi’s mature style, is at once rich in narration, declamatory in form, and charged in expression. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1059.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1059.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1059.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1059.tif", "IsPrimary" : "1", "_SurrogateID" : "2739", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16468, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16468", "Disp_Access_No" : "2017.1015", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1648-1649", "_Disp_Start_Dat" : "1648", "_Disp_End_Date" : "1649", "Disp_Title" : "The Angelic Consolation of Saint Francis", "Alt_Title" : "", "Obj_Title" : "The Angelic Consolation of Saint Francis", "Series_Title" : "", "Disp_Maker_1" : "Valerio Castello", "Sort_Artist" : "Castello, Valerio", "Disp_Dimen" : "136 cm x 101.3 cm (53 9/16 in. x 39 7/8 in.)", "Disp_Height" : "136 cm", "Disp_Width" : "101.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1015.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1015.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1015.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1015.tif", "IsPrimary" : "1", "_SurrogateID" : "2730", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16446, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16446", "Disp_Access_No" : "2017.1363", "_AccNumSort1" : "", "Disp_Create_DT" : "17th century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "Saint James the Greater at the Battle of Clavijo", "Alt_Title" : "", "Obj_Title" : "Saint James the Greater at the Battle of Clavijo", "Series_Title" : "", "Disp_Maker_1" : "Johann Heinrich Schönfeld", "Sort_Artist" : "Schönfeld, Johann Heinrich", "Disp_Dimen" : "99 cm x 127.8 cm (39 in. x 50 5/16 in.)", "Disp_Height" : "99 cm", "Disp_Width" : "127.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Mounted on a white stallion and clad in armor, James the Greater charges toward fleeing enemies. According to legend, James miraculously appeared at the fictional ninth-century Battle of Clavijo, where he helped the outnumbered Spaniards vanquish the Moors. For this reason, Saint James the Greater, or Santiago in Spanish, was venerated as the patron saint of Spain. The legend of the battle had a particular resonance in the sixteenth and seventeenth centuries, as the political and military conflict with the Ottoman Turks in the Mediterranean stoked European fear of Muslims. The red cross on the knight-saint’s breastplate is the insignia of the Order of Santiago, founded in the twelfth century to protect pilgrims to Santiago de Compostela, Spain, and to defend Christendom.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "German", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Title here needs to be changed. Likely Saint James. Shoul be Saint James Vanquishing the Moores? (FC:jb 5/13/15) Could be upstairs in a Northen European section, could be paired Needs a frame Quality, rarity make this 1 (FC:jb 5/13/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1363.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1363.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1363.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1363.tif", "IsPrimary" : "1", "_SurrogateID" : "4850", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16447, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16447", "Disp_Access_No" : "2017.1327", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1657-1659", "_Disp_Start_Dat" : "1657", "_Disp_End_Date" : "1659", "Disp_Title" : "The Martyrdom of Saint Catherine of Alexandria", "Alt_Title" : "", "Obj_Title" : "Martyrdom of Saint Catherine of Alexandria", "Series_Title" : "", "Disp_Maker_1" : "Mattia Preti", "Sort_Artist" : "Preti, Mattia", "Disp_Dimen" : "100.5 cm x 75 cm (39 9/16 in. x 29 1/2 in.)", "Disp_Height" : "100.5 cm", "Disp_Width" : "75 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting represents the moment just before Saint Catherine’s beheading. After the spiked wheels broke into pieces and failed to kill her, the executioner’s sword swings to end her life. As she looks up and prays, an angel descends to crown her with laurel and to give her the palm of martyrdom. The angle of foreshortening suggests that the image was to be viewed from below. This work served as an oil sketch for a painting of the same subject in the ceiling of the church of San Pietro a Maiella in Naples. Between mid-1657 and early 1659 Mattia Preti executed a series of five paintings that represent scenes from the life of Saint Catherine and another five from the life of Saint Peter Celestine, to whom the church is dedicated. For the final version in Naples, the artist departed from the composition in the Blanton’s painting: figures are added on the left, right, and bottom center, and the architectural background is minimized. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up but only raised about a foot, if too high we could lose details; should be raised with caution (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1327.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1327.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1327.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1327.tif", "IsPrimary" : "1", "_SurrogateID" : "2642", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16316, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16316", "Disp_Access_No" : "2017.901", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1680", "_Disp_Start_Dat" : "1675", "_Disp_End_Date" : "1685", "Disp_Title" : "The Annunciation", "Alt_Title" : "", "Obj_Title" : "The Annunciation", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Beinaschi", "Sort_Artist" : "Beinaschi, Giovanni Battista", "Disp_Dimen" : "46.6 cm x 35.6 cm (18 3/8 in. x 14 in.)", "Disp_Height" : "46.6 cm", "Disp_Width" : "35.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Conservation, condition issues: needs to be cleaned 2+ if cleaned. (FC:jb 4/14/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.901.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.901.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.901.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.901.tif", "IsPrimary" : "1", "_SurrogateID" : "3430", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16324, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16324", "Disp_Access_No" : "2017.838", "_AccNumSort1" : "", "Disp_Create_DT" : "18th century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1799", "Disp_Title" : "The Assumption of the Virgin", "Alt_Title" : "", "Obj_Title" : "The Assumption of the Virgin", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "47.5 cm x 40.2 cm (18 11/16 in. x 15 13/16 in.)", "Disp_Height" : "47.5 cm", "Disp_Width" : "40.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Spanish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation. Needs work. 2 for condition, 2+ composition. Would be nice in oil sketch room. Also requires more research. (FC:jb 4/24/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.838.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.838.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.838.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2017.838.TIF", "IsPrimary" : "1", "_SurrogateID" : "10638", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16352, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16352", "Disp_Access_No" : "2017.1409", "_AccNumSort1" : "", "Disp_Create_DT" : "early 1730s", "_Disp_Start_Dat" : "1730", "_Disp_End_Date" : "1730", "Disp_Title" : "The Annunciation", "Alt_Title" : "", "Obj_Title" : "The Annunciation", "Series_Title" : "", "Disp_Maker_1" : "Domenico Antonio Vaccaro", "Sort_Artist" : "Vaccaro, Domenico Antonio", "Disp_Dimen" : "52.1 cm x 41.5 cm (20 1/2 in. x 16 5/16 in.)", "Disp_Height" : "52.1 cm", "Disp_Width" : "41.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The current date of the painting (after circa 1720) is credited to Nicola Spinosa, director of the Museo Nazionale di Capodimonte in Naples, through correspondence with Jonathan Bober 2 April 2009. Should be in play at the lower level. Falling out of its frame, not a good fit. Conservation issues, condition issues: needs to be cleaned, especially the putti and cloud (FC:jb 4/9/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1409.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1409.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1409.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1409.tif", "IsPrimary" : "1", "_SurrogateID" : "2665", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16363, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16363", "Disp_Access_No" : "2017.1321", "_AccNumSort1" : "", "Disp_Create_DT" : "18th century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1799", "Disp_Title" : "The Immaculate Conception", "Alt_Title" : "", "Obj_Title" : "The Immaculate Conception", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Francesco Polazzo", "Sort_Artist" : "Polazzo, Attributed to Francesco", "Disp_Dimen" : "56.52 cm x 34.29 cm (22 1/4 in. x 13 1/2 in.)", "Disp_Height" : "56.52 cm", "Disp_Width" : "34.29 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation issues: needs cleaning. 2+ when cleaned (FC:jb 5/13/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1321.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1321.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1321.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1321.tif", "IsPrimary" : "1", "_SurrogateID" : "10570", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16452, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16452", "Disp_Access_No" : "2017.890", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1703-1704", "_Disp_Start_Dat" : "1703", "_Disp_End_Date" : "1704", "Disp_Title" : "Madonna and Child with Saint Anne Appearing to Pope Paul V", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with Saint Anne Appearing to Pope Paul V", "Series_Title" : "", "Disp_Maker_1" : "Antonio Balestra", "Sort_Artist" : "Balestra, Antonio", "Disp_Dimen" : "109.22 cm x 102.24 cm (43 in. x 40 1/4 in.)", "Disp_Height" : "109.22 cm", "Disp_Width" : "102.24 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is a capital example of Balestra’s style in its first moments of full synthesis. The diagonal armature and regular construction of its compositions are clichés of late-century Roman altarpieces, and passages like the figure of Pope Paul are so controlled that they suggest an actually Roman hand. But the complication of certain tones and the personality of other passages, like the figure of Saint Zeno, betray Venetian authorship. Featuring Zeno, the patron saint of Verona, and Paul V, the early 17th-century pope who asserted eccelesiastical authority against a defiant Venice, this picture along with its pair was surely conceived as a pendant for an orthodox setting, perhaps a cleric’s private residence, in Balestra’s native city.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation issues: needs to be cleaned. Pair with 25.1999. Medallion hang or on either side of a door. (FC:jb 4/14/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.890.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.890.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.890.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.890.tif", "IsPrimary" : "1", "_SurrogateID" : "2604", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16453, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16453", "Disp_Access_No" : "2017.891", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1703-1704", "_Disp_Start_Dat" : "1703", "_Disp_End_Date" : "1704", "Disp_Title" : "Saint Zeno Healing a Possessed Woman", "Alt_Title" : "", "Obj_Title" : "Saint Zeno Healing a Possessed Woman", "Series_Title" : "", "Disp_Maker_1" : "Antonio Balestra", "Sort_Artist" : "Balestra, Antonio", "Disp_Dimen" : "109.22 cm x 102.24 cm (43 in. x 40 1/4 in.)", "Disp_Height" : "109.22 cm", "Disp_Width" : "102.24 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is a capital example of Balestra’s style in its first moments of full synthesis. The diagonal armature and regular construction of its compositions are clichés of late-century Roman altarpieces, and passages like the figure of Pope Paul are so controlled that they suggest an actually Roman hand. But the complication of certain tones and the personality of other passages, like the figure of Saint Zeno, betray Venetian authorship. Featuring Zeno, the patron saint of Verona, and Paul V, the early 17th-century pope who asserted eccelesiastical authority against a defiant Venice, this picture along with its pair was surely conceived as a pendant for an orthodox setting, perhaps a cleric’s private residence, in Balestra’s native city.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation issues: needs to be cleaned. Pair with 24.1999. Medallion hang or on either side of a door (FC:jb 4/14/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.891.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.891.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.891.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.891.tif", "IsPrimary" : "1", "_SurrogateID" : "2606", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16465, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16465", "Disp_Access_No" : "2017.1384", "_AccNumSort1" : "", "Disp_Create_DT" : "1630s", "_Disp_Start_Dat" : "1630", "_Disp_End_Date" : "1630", "Disp_Title" : "The Assumption of Mary Magdalene", "Alt_Title" : "", "Obj_Title" : "The Assumption of Mary Magdalene", "Series_Title" : "", "Disp_Maker_1" : "Riccardo Taurini", "Sort_Artist" : "Taurini, Riccardo", "Disp_Dimen" : "127.7 cm x 105.3 cm (50 1/4 in. x 41 7/16 in.)", "Disp_Height" : "127.7 cm", "Disp_Width" : "105.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "According to "The Golden Legend," Mary Magdalene spent her last thirty years as a hermit in a cave in Sainte-Baume, a mountain ridge in southern France. Seven times a day angels carried her aloft to heaven, where she glimpsed her coming reward. The representation of this ecstatic scene emerged during the Counter-Reformation and became common in Baroque art as a way to encourage the veneration of saints in the Catholic Church. The pronounced foreshortening of the saint’s left foot and the angel figures indicates the painting was originally placed high above the viewer’s eye level, probably over an altar.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15) Condition / conservation issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1384.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1384.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1384.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1384.tif", "IsPrimary" : "1", "_SurrogateID" : "2735", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16268, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16268", "Disp_Access_No" : "2017.1362", "_AccNumSort1" : "", "Disp_Create_DT" : "1540s", "_Disp_Start_Dat" : "1540", "_Disp_End_Date" : "1540", "Disp_Title" : "Diana and Callisto", "Alt_Title" : "", "Obj_Title" : "Diana and Callisto", "Series_Title" : "", "Disp_Maker_1" : "Andrea Schiavone (Andrea Meldolla)", "Sort_Artist" : "Schiavone (Andrea Meldolla), Andrea", "Disp_Dimen" : "40 cm x 132.5 cm (15 3/4 in. x 52 3/16 in.)", "Disp_Height" : "40 cm", "Disp_Width" : "132.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "This lovely panel appears to render the passage from Ovid’s Metamorphoses in which Diana and her nymphs discover that one of their companions, Callisto, has been made pregnant by Jupiter. The exaggerated horizontal format and size indicate that it originally served as part of an interior ensemble or piece of furniture, perhaps a cassone (storage chest) or spalliera (chair back). Especially considering this function, the panel is in excellent condition. Bonifazio was perhaps the first painter in Venice to explore ways of reconciling the school’s traditional insistence upon more naturalistic representation with Central Italian concerns of the moment: complex design, complicated linear rhythm, and self-conscious elegance. In this exploration of a distinctively Venetian Mannerism, his work anticipated and helped prepare the brilliant researches of Tintoretto and Veronese. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional. Could go above a doorway or in a medallion hang. Should be in galleries. Needs to be unframed, picture might go beyond frame (FC:jb 4/14/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1362.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1362.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1362.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1362.tif", "IsPrimary" : "1", "_SurrogateID" : "9155", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16276, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16276", "Disp_Access_No" : "2017.1416", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1563", "_Disp_Start_Dat" : "1558", "_Disp_End_Date" : "1568", "Disp_Title" : "Head of Saint Michael", "Alt_Title" : "", "Obj_Title" : "Head of Saint Michael", "Series_Title" : "", "Disp_Maker_1" : "Paolo Veronese", "Sort_Artist" : "Veronese, Paolo", "Disp_Dimen" : "41 cm x 32.1 cm (16 1/8 in. x 12 5/8 in.)", "Disp_Height" : "41 cm", "Disp_Width" : "32.1 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is a fragment of a fifteen-foot-tall altarpiece painted for the church of San Francesco at Lendinara, a small town near Padua, Italy. Commissioned by the cousins Antonio and Girolamo Petrobelli, the painting was one of the major projects of Paolo Veronese’s career. By 1785 the church was abandoned and demolished, and the altarpiece was cut and sold in pieces in 1788 to maximize profits. Four fragments have been identified to date. The original canvas had the body of Jesus supported by angels in the upper register and the two donors with their respective patrons—Saint Anthony Abbot and Saint Jerome—in the lower register. Saint Michael stood in the center, holding in his right hand a spear pointed at the demon and in his left scales to weigh souls on Judgment Day. The upright form of the archangel figure connects the upper and lower sections of the composition, while also reflecting the intermediary role of the much-venerated saint.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Needs illustration of the larger image from which it was cut (FC:jb 4/2/15) Possibly higher up (FC:jb 4/2/15) Medallion (FC:jb 4/2/15) Possible pair with other Veroneses, distinct palette (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1416-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1416-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1416-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1416-2.tif", "IsPrimary" : "1", "_SurrogateID" : "2761", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1416-recon1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1416-recon1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1416-recon1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1416-recon1.tif", "IsPrimary" : "0", "_SurrogateID" : "7902", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1416-install.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1416-install.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1416-install.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1416-install.tif", "IsPrimary" : "0", "_SurrogateID" : "7903", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16449, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16449", "Disp_Access_No" : "2017.1419", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1585", "_Disp_Start_Dat" : "1580", "_Disp_End_Date" : "1590", "Disp_Title" : "The Annunciation", "Alt_Title" : "", "Obj_Title" : "The Annunciation", "Series_Title" : "", "Disp_Maker_1" : "Workshop of Paolo Veronese", "Sort_Artist" : "Veronese, Workshop of Paolo", "Disp_Dimen" : "104.5 cm x 82.9 cm (41 1/8 in. x 32 5/8 in.)", "Disp_Height" : "104.5 cm", "Disp_Width" : "82.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Of the great Venetian painters of the sixteenth century, Paolo Veronese was the most systematic and subtle in exploring the action, formal implications, and even expressive meanings of light upon color. Early in his development, the forms had been quite arbitrary and the result stylish but implausible. Steadily, his design was regularized according to classical models, his palette reached an unprecedented optical range, and his light became naturalistically descriptive. A small altarpiece probably for private devotion, this picture sets the Virgin and the archangel Gabriel in a handsome loggia, like that of an actual villa by Palladio, with whom the artist often collaborated. It is one of numerous late versions of the subject, with no sign of the workshop participation that had become frequent by then. The highlights have lost little of their energy, coursing across the surfaces and infusing the work with a metaphoric vitality. The figures, however, have been simplified in shape, their cadence slowed and their gesture subdued. And the palette is relatively restricted and uniform in value. In such paintings, the heroic splendor of the artist’s mature style yields to something less calculated and more reflective. The Suida-Manning Collection includes two other paintings from the same period, each a fragment from a larger composition. The composition depends upon a painting by Tintoretto. Infrared examination by Stephen Gritt (Feb. 2010) revealed no variation between underdrawing and execution. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1419.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1419.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1419.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1419.tif", "IsPrimary" : "1", "_SurrogateID" : "2668", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16450, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16450", "Disp_Access_No" : "2017.1417", "_AccNumSort1" : "", "Disp_Create_DT" : "1570s (?)", "_Disp_Start_Dat" : "1570", "_Disp_End_Date" : "1570", "Disp_Title" : "Three Cherubim", "Alt_Title" : "", "Obj_Title" : "Three Cherubim", "Series_Title" : "", "Disp_Maker_1" : "Paolo Veronese", "Sort_Artist" : "Veronese, Paolo", "Disp_Dimen" : "105.41 cm x 81.92 cm (41 1/2 in. x 32 1/4 in.)", "Disp_Height" : "105.41 cm", "Disp_Width" : "81.92 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is a fragment from a much larger composition. Cherubim along with seraphim form the highest order of angels in the Christian celestial hierarchy. In Byzantine and medieval art they were represented as heads surrounded by six wings. Varied and humanized in the Renaissance, they evolved into the sweet-faced, two-winged creatures seen here, and further into the baby angels, or putti, that populate many paintings. Veronese used groups of cherubim, first in the background of the upper reaches of altarpieces, then more prominently at the boundary between heavenly and earthly zones in various religious works. The group just above Saint Michael in the Petrobelli Altarpiece is typical. Judging by the size of these heads, the heavy weave of canvas, and the broad handling of paint, this fragment must come from a comparably large work, probably an altarpiece. While the type and function of these cherubim are evident, their realization is problematic. The arrangement of the three heads seems awkward, with their foreshortening uncoordinated and the upper two badly crowded. The individual heads lack volume, tending to flatten into simple shapes with no connection to their wings. Even allowing for condition––moderate abrasion and scattered paint losses throughout––the brushwork seems coarse, the accents in heavy pigment––the curls of the cherub on the right––superficial, and the surface inert. The habits are those of Veronese, but the hand shows little understanding of structure or sensitivity. Whatever the source of this fragment, an assistant was responsible for its execution. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "Three Cherubim", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition, conservation issues: needs to be cleaned. Whites are yellow. 2+ with cleaning. Could go in medallion hang. (FC:jb 4/14/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1417.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1417.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1417.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1417.tif", "IsPrimary" : "1", "_SurrogateID" : "2762", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16454, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16454", "Disp_Access_No" : "2017.895", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1542 - 1545", "_Disp_Start_Dat" : "1542", "_Disp_End_Date" : "1545", "Disp_Title" : "Saint John the Baptist", "Alt_Title" : "", "Obj_Title" : "Saint John the Baptist", "Series_Title" : "", "Disp_Maker_1" : "Jacopo Bassano (Jacopo da Ponte)", "Sort_Artist" : "Bassano (Jacopo da Ponte), Jacopo", "Disp_Dimen" : "109.22 cm x 71.76 cm (43 in. x 28 1/4 in.)", "Disp_Height" : "109.22 cm", "Disp_Width" : "71.76 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Cut out from a larger canvas, this painting represents John the Baptist turning his gaze toward the spectator. The saint’s truncated forearm and the direction of his pose, among other elements, suggest that this fragment once formed the right part of a composition, which likely featured the Madonna and Child in the center; there would have been another saint on the left. The farmhouses with thatched roofs in the background demonstrate the painter’s well-known tendency to incorporate rustic elements in religious paintings. The figure’s right eye, left knee, and left foot are reconstructions completed in 2009.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.895-post-Res.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.895-post-Res.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.895-post-Res.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.895-post-Res.tif", "IsPrimary" : "1", "_SurrogateID" : "6465", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16425, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16425", "Disp_Access_No" : "2017.995", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Death of Rachel", "Alt_Title" : "", "Obj_Title" : "The Death of Rachel", "Series_Title" : "", "Disp_Maker_1" : "Antonio Carneo", "Sort_Artist" : "Carneo, Antonio", "Disp_Dimen" : "81.3 cm x 106.7 cm (32 in. x 42 in.)", "Disp_Height" : "81.3 cm", "Disp_Width" : "106.7 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "See how it looks next to green Madonna. (FC:jb 4/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.995.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.995.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.995.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.995.tif", "IsPrimary" : "1", "_SurrogateID" : "9132", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14852, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14852", "Disp_Access_No" : "1985.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1740s", "_Disp_Start_Dat" : "1740", "_Disp_End_Date" : "1740", "Disp_Title" : "The Adoration of the Magi", "Alt_Title" : "", "Obj_Title" : "The Adoration of the Magi", "Series_Title" : "", "Disp_Maker_1" : "Francesco Fontebasso", "Sort_Artist" : "Fontebasso, Francesco", "Disp_Dimen" : "63.5 cm x 76.2 cm (25 in. x 30 in.)", "Disp_Height" : "63.5 cm", "Disp_Width" : "76.2 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Frost Brothers Benefit and Archer M. Huntington Museum Fund, 1985", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Not in play Could be next to Anton Kern because it uses the same pigments and color values; in great condition (FC:jb 4/6/15) Ranking changed, in play (FC: jp 7/3/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.18.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.18.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.18.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.18.tif", "IsPrimary" : "1", "_SurrogateID" : "1319", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16332, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16332", "Disp_Access_No" : "2017.1393", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1732", "_Disp_Start_Dat" : "1727", "_Disp_End_Date" : "1737", "Disp_Title" : "Madonna and Child", "Alt_Title" : "", "Obj_Title" : "Madonna and Child", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Tiepolo", "Sort_Artist" : "Tiepolo, Giovanni Battista", "Disp_Dimen" : "48.3 cm x 40.5 cm (19 in. x 15 15/16 in.)", "Disp_Height" : "48.3 cm", "Disp_Width" : "40.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Revealed by conservation treatment in 1999, this is a very fine and particularly moving work of Tiepolo’s early maturity. Its strong chiaroscuro, pronounced plasticity, palette dominated by an fiery red, as well as an earnest psychology, still echo his earliest style and the formative influence of Piazzetta (compare the picture to the right). These characteristics are, however, tempered, with the contrasts no longer stark, the plasticity no longer caricatural, the palette more balanced, and the expression transformed from the histrionic toward a lofty ethos and in this case subdued pathos. Most significantly, the density and busyness of earlier compositions has given way to simpler organization and subtler rhythms. Even on this small scale the development is evident in an interweaving of shapes and interpenetration of volumes. Especially striking and appropriately expressive is the combination of the Child rendered from low viewpoint, therefore practically convex and heroic, and the Virgin oppositely, therefore concave and sorrowful. In this tempering of Tiepolo’s first manner and growing sophistication, this picture is properly related to the grand series of canvases of Roman history for the Ca’ Dolfin in Venice (circa 1726-28).", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Requires more research and strong argument to keep Condition issues, pigment may have shifted, creating color imbalance; possibly cut from larger canvas; could this be saved by a conservator? (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1393.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1393.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1393.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1393.tif", "IsPrimary" : "1", "_SurrogateID" : "2660", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16365, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16365", "Disp_Access_No" : "2017.1340", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1720", "_Disp_Start_Dat" : "1715", "_Disp_End_Date" : "1725", "Disp_Title" : "Return of the Prodigal Son", "Alt_Title" : "", "Obj_Title" : "Return of the Prodigal Son", "Series_Title" : "", "Disp_Maker_1" : "Sebastiano Ricci", "Sort_Artist" : "Ricci, Sebastiano", "Disp_Dimen" : "57 cm x 50.8 cm (22 7/16 in. x 20 in.)", "Disp_Height" : "57 cm", "Disp_Width" : "50.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In a parable (Luke 15:11-32) Christ told of the younger son of a rich man who demanded his share of the patrimony, squandered it, and found himself in misery. Repenting, he returned to his father, who welcomed him back, telling the older brother, “to celebrate and rejoice, because this brother of yours was dead and has come to life; he was lost and has been found." Combining a critique of attachment to material well-being, with an affirmation of forgiveness and an allusion to eternal life, the culminating scene was a frequent subject of Baroque painting. This interpretation is a splendid example of Ricci’s mature style. The returning son kneels upon the threshold while the father extends open arms. While its small scale and rich touch might suggest a preparatory study, its compositional equilibration and regular finish indicate a completed work. Newly evident and impressive following conservation in 2001 are the clear tonality revived from Veronese, the pronounced chiaroscuro inspired by contemporary Bolognese painters, and the dramatic sweep despite its size. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition is very good Some aspects could be painted better (knee and right leg not very successful) Back of woman holding baby looks flat Architectural details are nice The way the figures are rendered is a problem Strong greens (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1340.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1340.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1340.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1340.tif", "IsPrimary" : "1", "_SurrogateID" : "2646", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16376, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16376", "Disp_Access_No" : "2017.1285", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Venus and Cupid", "Alt_Title" : "", "Obj_Title" : "Venus and Cupid", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Antonio Pellegrini", "Sort_Artist" : "Pellegrini, Giovanni Antonio", "Disp_Dimen" : "71.12 cm x 61.6 cm (28 in. x 24 1/4 in.)", "Disp_Height" : "71.12 cm", "Disp_Width" : "61.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15) Medallion (FC:jb 4/2/15) Potentially pair with Bellona, need to see them together (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1285.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1285.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1285.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1285.tif", "IsPrimary" : "1", "_SurrogateID" : "7756", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16404, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16404", "Disp_Access_No" : "2017.883", "_AccNumSort1" : "", "Disp_Create_DT" : "1740s", "_Disp_Start_Dat" : "1740", "_Disp_End_Date" : "1740", "Disp_Title" : "The Toilet of Bathsheba", "Alt_Title" : "", "Obj_Title" : "The Toilet of Bathsheba", "Series_Title" : "", "Disp_Maker_1" : "Jacopo Amigoni", "Sort_Artist" : "Amigoni, Jacopo", "Disp_Dimen" : "72.4 cm x 61.6 cm (28 1/2 in. x 24 1/4 in.)", "Disp_Height" : "72.4 cm", "Disp_Width" : "61.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil on canvas", "Support" : "", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up Oval shape very 18th C., could present it for historical nature Venetian medallion hang, could be at top left (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.883.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.883.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.883.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.883.tif", "IsPrimary" : "1", "_SurrogateID" : "3444", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16209, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16209", "Disp_Access_No" : "2017.1297", "_AccNumSort1" : "", "Disp_Create_DT" : "1740s", "_Disp_Start_Dat" : "1740", "_Disp_End_Date" : "1740", "Disp_Title" : "Young Girl with a Basket of Apples", "Alt_Title" : "", "Obj_Title" : "Young Girl with a Basket of Apples", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piazzetta", "Sort_Artist" : "Piazzetta, Giovanni Battista", "Disp_Dimen" : "34.29 cm x 28.58 cm (13 1/2 in. x 11 1/4 in.)", "Disp_Height" : "34.29 cm", "Disp_Width" : "28.58 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Like the art of Ricci, Piazzetta’s represents an alternative to the formulae of the Late Baroque and a source of 18th-century Venetian painting. It is, however, opposite in temper and direction. Trained in Bologna, Piazzetta brought back to Venice a naturalism based upon systematic drawing, featuring an intense chiaroscuro, and concerned with dramatic expression. He then reconciling this approach with the mobile light and personalized brushwork of his native tradition, while resisting its bright color and decorative values. He would never undertake the monumental decorative projects that were the staple of the age, and unlike his compatriots who mastered that genre, he never worked outside of Venice. But his religious works possess an optical intensity and a visionary power that are equal to the greatest works the early Baroque. Two of Piazzetta’s special researches are reflected in this delightful picture. First, it relates in subject to the pastoral and genre scenes, which, when essayed on a large scale, possess a startling theatricality and an ambiguous psychology (opposite to that of Ceruti’s Peasant Girl, to the right). Second, the picture relates to Piazzetta’s lifelong study of plastic form and personality through “character studies”—black chalk drawings of bust-length types as well as individuals. (The Suida-Manning Collection includes one of the earliest and finest of these studies, among three drawings by the artist.) On this modest scale, with an unencumbered pursuit of momentary response, the picture approaches the vivaciousness and charm of a contemporary like Fragonard. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Apples and orange very well painted Red ribbon has disintegrated (lead white has taken over pigment) Could incorporate Piazetta drawings, although it doesn''t work well unless it''s a colored drawing; could put Venetian drawings on the short walls (FC:jb 4/6/15) Status provisional based on conversation with FC. Need to confirm. (JP 4/30/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1297.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1297.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1297.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1297.tif", "IsPrimary" : "1", "_SurrogateID" : "2757", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16210, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16210", "Disp_Access_No" : "2017.1283", "_AccNumSort1" : "", "Disp_Create_DT" : "1717", "_Disp_Start_Dat" : "1717", "_Disp_End_Date" : "1717", "Disp_Title" : "Justice Fulminating the Vices", "Alt_Title" : "", "Obj_Title" : "Justice Fulminating the Vices", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Antonio Pellegrini", "Sort_Artist" : "Pellegrini, Giovanni Antonio", "Disp_Dimen" : "34.6 cm x 32.3 cm (13 5/8 in. x 12 11/16 in.)", "Disp_Height" : "34.6 cm", "Disp_Width" : "32.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Giovanni Antonio Pellegrini represents eighteenth-century Venetian painting at its most exuberant. He was first trained in Milan with the idiosyncratic Paolo Pagani, but his style depends more on the sensuous and decorative aspects of Sebastiano Ricci. Pellegrini’s drawing is broad and soft, his palette warm and pastel, and his paint handling dense and fluid. Defying gravity, bordering on the caricatural, this painterly virtuosity was a tremendous success across Europe, with the artist called to execute significant fresco cycles and numerous canvases in England, France, and Germany. During a year-long sojourn in Antwerp, Pellegrini carried out three major decorative projects. This painting is an unpublished oil sketch for one of these, a much-admired canvas for the ceiling of the Salle du Petit Collège in the city’s town hall. Appropriate to that setting, it represents the figures of Justice and Prudence crushing two male figures identifiable as Avarice and Deceit. Phosphorescent in color, practically sculpted in paint, this sketch dramatizes the material properties for which Pellegrini was so highly regarded. These properties are conspicuous in the wake of a recent cleaning and relining of the canvas. The Suida-Manning Collection includes two other paintings by Pellegrini: a comparably rich, half-length figure of Bellona from around 1713–1714, and a more summary Venus and Cupid, which may have come from a decorative ensemble. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Frame takes away from object Impressive brushwork Strong contrast between light and dark (FC:jb 4/6/15) Possible medallion hang with two Pellegrinis in middle, with this lower (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1283.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1283.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1283.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1283.tif", "IsPrimary" : "1", "_SurrogateID" : "2634", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16462, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16462", "Disp_Access_No" : "2017.1339", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1712-1716", "_Disp_Start_Dat" : "1712", "_Disp_End_Date" : "1716", "Disp_Title" : "Flora", "Alt_Title" : "", "Obj_Title" : "Flora", "Series_Title" : "", "Disp_Maker_1" : "Sebastiano Ricci", "Sort_Artist" : "Ricci, Sebastiano", "Disp_Dimen" : "125.3 cm x 153.7 cm (49 5/16 in. x 60 1/2 in.)", "Disp_Height" : "125.3 cm", "Disp_Width" : "153.7 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Flora was the goddess of flowers who had previously been a nymph by the name of Chloris, known for her sensuous beauty. Ovid’s "Fasti" (8 CE) describes how she was seduced by Zephyrus, the Greek god of the west wind and harbinger of spring, and became his wife. This work captures the moment just before their encounter. Unnoticed by Flora, Zephyrus approaches her from behind, pointing at his future wife and cautioning silence to another putto. At the right, an urn spills over with flowers that celebrate their namesake, Flora. The pose of the goddess makes reference to that of the Crouching Venus, a Hellenistic sculpture type that was repeated in ancient Roman statuary and in Renaissance prints. In addition to the classical theme and composition, Sebastiano Ricci makes full use of the rich colors and free brushwork typical of Venetian painting to render the lush beauty of blossoms and youthful figures. Ricci likely painted this work for a private patron when he was active in London and Paris.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, with support from The Cain Foundation in memory of Effie Marie Cain, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Saved by incredible floral display and size Size and flowers charming; subject matter problematic (particularly the flowers, see Douglas''s research) Condition issues because you can see the ghost of the figure, muddy cloud at top, possibly cut at the top If we do a medallion hang in corner gallery, visitor should see this from much higher up, consider as the centerpiece of medallion (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1339.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1339.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1339.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1339.tif", "IsPrimary" : "1", "_SurrogateID" : "2645", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16433, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16433", "Disp_Access_No" : "2017.1282", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1713-1714", "_Disp_Start_Dat" : "1713", "_Disp_End_Date" : "1714", "Disp_Title" : "Bellona", "Alt_Title" : "", "Obj_Title" : "Bellona", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Antonio Pellegrini", "Sort_Artist" : "Pellegrini, Giovanni Antonio", "Disp_Dimen" : "90.17 cm x 73.66 cm (35 1/2 in. x 29 in.)", "Disp_Height" : "90.17 cm", "Disp_Width" : "73.66 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Pellegrini represents 18th-century Venetian painting at its most exuberant. He was initially trained in Milan with the idiosyncratic Paolo Pagani, but his style is really an exaggeration of the sensuous and decorative aspects of Sebastiano Ricci. In Pellegrini’s works, the drawing is broad and soft, the palette is fiery and luminous, and the paint itself is dense and fluid. Defying gravity, bordering on the caricatural, this painterly virtuosity was a tremendous success across Europe, with Pellegrini called to execute significant fresco cycles and numerous canvases in England, France, and Germany. Bellona is a typically glorious if basically hollow exercise in this purest kind of painting. Already freed from Ricci’s more differentiated handling, but not yet fully dissolved in its drawing and atmospheric in its color, the picture probably dates from the time of Pellegrini’s collaboration with Antonio Bellucci, a Venetian of comparable inclination but lesser brilliance, on a decorative ensemble for the Schloss Bensberg, near Cologne. This is one of three major paintings by Pellegrini in the Collection. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Potentially pair with Venus and Cupid, need to see them together (FC:jb 4/2/15) Don''t need both Pellegrinis unless they are both in medallion or in an upper register (left and right). This one is more engaging because she is looking at us, helmet reflects the light nicely. (FC:jb 4/6/15) Rare to have Pellegrini in American collections (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1282.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1282.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1282.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1282.tif", "IsPrimary" : "1", "_SurrogateID" : "2633", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16451, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16451", "Disp_Access_No" : "2017.963", "_AccNumSort1" : "", "Disp_Create_DT" : "early 1570s", "_Disp_Start_Dat" : "1570", "_Disp_End_Date" : "1570", "Disp_Title" : "Ecce Homo", "Alt_Title" : "", "Obj_Title" : "Ecce Homo", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "108 cm x 98 cm (42 1/2 in. x 38 9/16 in.)", "Disp_Height" : "108 cm", "Disp_Width" : "98 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : ""Ecce Homo," a Latin phrase meaning “behold the man,” represents a scene from the Passion. Pontius Pilate presents Jesus, bound and crowned with thorns, before a crowd demanding his crucifixion. Here the tumult of the scene is replaced with a quiet, almost meditative atmosphere. The simplicity of narrative closely reflects the religious and artistic environment in which Luca Cambiaso worked. Faced with the rise of Protestantism in the sixteenth century, the Catholic Church carried out a series of reforms, now referred to as the Counter-Reformation. During this period, the Catholic Church encouraged artists to make decorous images with minimal distractions, like this painting, to communicate the Catholic doctrines effectively. Through its simplified composition, Cambiaso’s "Ecce Homo" invites the viewer to focus on the suffering of Jesus. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.963.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.963.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.963.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.963.tif", "IsPrimary" : "1", "_SurrogateID" : "2727", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16471, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16471", "Disp_Access_No" : "2017.974", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1565", "_Disp_Start_Dat" : "1560", "_Disp_End_Date" : "1570", "Disp_Title" : "Suicide of Lucretia", "Alt_Title" : "", "Obj_Title" : "Suicide of Lucretia", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "166.4 cm x 90.2 cm (65 1/2 in. x 35 1/2 in.)", "Disp_Height" : "166.4 cm", "Disp_Width" : "90.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : " ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Medallion, would help hold in middle (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.974.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.974.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.974.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.974.tif", "IsPrimary" : "1", "_SurrogateID" : "2580", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16443, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16443", "Disp_Access_No" : "2017.964", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1569", "_Disp_Start_Dat" : "1564", "_Disp_End_Date" : "1574", "Disp_Title" : "Esther and Ahasuerus", "Alt_Title" : "", "Obj_Title" : "Esther and Ahasuerus", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "98.4 cm x 88.5 cm (38 3/4 in. x 34 13/16 in.)", "Disp_Height" : "98.4 cm", "Disp_Width" : "88.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Before the mid 16th century, Genoese patrons generally satisfied their artistic needs by importing works or artists themselves from elsewhere in Italy or even the North. The activity of Luca Cambiaso represents the foundation of a native and highly progressive school of painting. First trained locally by his father, Cambiaso then went to Rome, where he assimilated the current style based on Michelangelo’s painting. Returning to Genoa, he cultivated the geometry and ideality that underpin that style. This led to the development of what is perhaps the most abstract and intellectualized style of the entire Italian Renaissance. Its characteristics are an extreme simplification of form, opacity of expression, broadness of execution, and modality according to the subject and function of the painting. Rendering the Jewish queen’s courageous intercession with the Persian king to save her people, this painting is an outstanding example of Cambiaso’s most conventionally beautiful mode. Expressing the powerful conjunction of physical allure and moral force, the subject was a favorite from around this time through the 18th century. Typical of Cambiaso’s art, the composition is spare, schematic, and still. True to this mode, and appropriate to the subject, the description is relatively generous, the touch, especially in the ornament, delicate, and the tenor gentle. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Higher up (FC:jb 4/2/15) Ranking adjusted (JP 5/19/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.964.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.964.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.964.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.964.tif", "IsPrimary" : "1", "_SurrogateID" : "2578", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14904, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14904", "Disp_Access_No" : "1984.50", "_AccNumSort1" : "", "Disp_Create_DT" : "1680s", "_Disp_Start_Dat" : "1680", "_Disp_End_Date" : "1680", "Disp_Title" : "The Presentation of the Virgin in the Temple", "Alt_Title" : "", "Obj_Title" : "The Presentation of the Virgin in the Temple", "Series_Title" : "", "Disp_Maker_1" : "Luca Giordano", "Sort_Artist" : "Giordano, Luca", "Disp_Dimen" : "105.5 cm x 135.9 cm (41 9/16 in. x 53 1/2 in.)", "Disp_Height" : "105.5 cm", "Disp_Width" : "135.9 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.50.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.50.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.50.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.50.tif", "IsPrimary" : "1", "_SurrogateID" : "1295", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17378, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17378", "Disp_Access_No" : "2005.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1595-1596", "_Disp_Start_Dat" : "1595", "_Disp_End_Date" : "1596", "Disp_Title" : "Visitation", "Alt_Title" : "", "Obj_Title" : "Visitation", "Series_Title" : "", "Disp_Maker_1" : "Camillo Procaccini", "Sort_Artist" : "Procaccini, Camillo", "Disp_Dimen" : "213 cm x 146 cm (83 7/8 in. x 57 1/2 in.)", "Disp_Height" : "213 cm", "Disp_Width" : "146 cm", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Mary glides into the scene as the sunlight before dusk enriches the palette with a golden vibrancy. With Jesus in her womb, she will spend the next three months with her cousin, Elizabeth, who is six months pregnant. At the sound of Mary’s voice, Elizabeth is filled with the Holy Spirit as the child in her womb leaps for joy. While Mary’s husband Joseph is not present in the scripture, he appears to the right of the Virgin as a narrative device to evidence Zacharias’s muteness. Because Zacharias doubted his wife’s ability to conceive, the angel Gabriel punished his lack of faith by rendering him mute until the birth of his son, John the Baptist. Here, Zacharias gestures his salutations to Joseph, whose furrowed gaze is troubled by his lack of speech. The Visitation is a popular scene from the life of the Virgin, having been depicted by Camillo Procaccini numerous times. A preparatory drawing for the present piece is kept at the Biblioteca Ambrosiana in Milan. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Suzan and Julius Glickman, M.K. Hage, Jr., Derek Johns, Lawrence Lawver, Susan Thomas, Julia Wilkinson, and Jimmy and Jessica Younger, 2005", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.33.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.33.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.33.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.33.tif", "IsPrimary" : "1", "_SurrogateID" : "2952", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16406, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16406", "Disp_Access_No" : "2017.1177", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1680-1685", "_Disp_Start_Dat" : "1680", "_Disp_End_Date" : "1685", "Disp_Title" : "Holy Family with the Young Saint John the Baptist", "Alt_Title" : "", "Obj_Title" : "Holy Family with the Young Saint John the Baptist", "Series_Title" : "", "Disp_Maker_1" : "Bartolomeo Guidobono", "Sort_Artist" : "Guidobono, Bartolomeo", "Disp_Dimen" : "72.3 cm x 58.2 cm (28 7/16 in. x 22 15/16 in.)", "Disp_Height" : "72.3 cm", "Disp_Width" : "58.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Lovely in description, sweet in disposition, and careful in craft, Bartolomeo Guidobono’s work is a distinctive variation upon the grand manner of late seventeenth-century Genoese painting. His style arose from his first training and lifelong collaboration in the family business of fine porcelain painting. Its larger context is the Genoese taste for Netherlandish painting that goes back to the fifteenth century. After a series of trips to Emilia, Guidobono shifted this already delicate style toward the soft contour, luminous color, and gentleness of Correggio. Later he would reconcile it with the large rhythms and efficient manufacture of Domenico Piola. This "Holy Family" is a beautiful compendium of Guidobono’s early style. Its matrix is surely Genoese, with the figural group suggested by Piola and the pure hues reminiscent of Baciccio. Instead, the grain of light, amplitude of the figures, and tenderness reveal the recent debt to Correggio. Most impressive, however, are the refined drawing and meticulous finish, practically those of a miniature painting. In few other works of Guidobono is the craft more sustained or the reflection of his first activity more apparent. This unorthodox petite manière also anticipates the prettiness of the Rococo and the developing relation of the Genoese school to the French. In fact, the painting was at one time attributed to the eighteenth-century French painter Jean-Baptiste Le Prince.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1177.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1177.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1177.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1177.tif", "IsPrimary" : "1", "_SurrogateID" : "2620", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16412, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16412", "Disp_Access_No" : "2017.1326", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1653", "_Disp_Start_Dat" : "1648", "_Disp_End_Date" : "1658", "Disp_Title" : "Holy Family", "Alt_Title" : "", "Obj_Title" : "Holy Family", "Series_Title" : "", "Disp_Maker_1" : "Mattia Preti", "Sort_Artist" : "Preti, Mattia", "Disp_Dimen" : "74.3 cm x 63.5 cm (29 1/4 in. x 25 in.)", "Disp_Height" : "74.3 cm", "Disp_Width" : "63.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "With a close-up view of the three figures against an austere background, the painting focuses on the intimate moment shared by Mary, Joseph, and the infant Jesus. Light comes from the top left, illuminating Mary’s graceful young face and elegant hands. At the same time it accentuates the weathered and wrinkled features of Joseph. This contrast between the two figures reflects the tradition that emphasizes Mary’s virginity by stressing Joseph’s advanced age and improbability of fathering a child. The foreshortening of Jesus’ body and the cropping of the Mary and Joseph figures imply the extension of the pictorial space beyond the canvas, which has the effect of including the viewer in the scene as a participant. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1326.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1326.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1326.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1326.tif", "IsPrimary" : "1", "_SurrogateID" : "2643", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14595, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14595", "Disp_Access_No" : "1991.101", "_AccNumSort1" : "", "Disp_Create_DT" : "1410s", "_Disp_Start_Dat" : "1410", "_Disp_End_Date" : "1410", "Disp_Title" : "Madonna and Child with Angels", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with Angels", "Series_Title" : "", "Disp_Maker_1" : "Giovanni dal Ponte", "Sort_Artist" : "Giovanni dal Ponte", "Disp_Dimen" : "89.2 cm x 61.6 cm (35 1/8 in. x 24 1/4 in.)", "Disp_Height" : "89.2 cm", "Disp_Width" : "61.6 cm", "Dimen_Extent" : "panel", "Medium" : "Tempera and tooled gold leaf", "Support" : "wood panel", "Disp_Medium" : "Tempera and tooled gold leaf on wood panel", "Info_Page_Comm" : "The devout Catholics for whom this painting was intended would have recognized this presentation of Mary as the Queen of Heaven. She wears an elaborate crown, in addition to the disc-like halo, and hovering angels honor Mary and the baby Jesus by holding an ornate cloth behind them. Jesus looks out at the viewer and raises his right hand in a gesture of blessing. In his left hand, he holds a finch, a foreshadowing of the Crucifixion that refers to a legend that this bird removed a thorn from Jesus’s crown and was marked by a drop of blood. Based on the scale and the subject matter, it is likely that this was the central panel in an altarpiece. The unworked upper corners and sides indicate that at some point in its history an elaborate gilded frame was removed, so that the fragment preserving the central figures could be sold as a satisfying whole. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Jack G. Taylor, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.101-frame-2017.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.101-frame-2017.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.101-frame-2017.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.101-frame-2017.tif", "IsPrimary" : "1", "_SurrogateID" : "14668", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17580, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17580", "Disp_Access_No" : "2005.151", "_AccNumSort1" : "", "Disp_Create_DT" : "early 1550s", "_Disp_Start_Dat" : "1550", "_Disp_End_Date" : "1550", "Disp_Title" : "Madonna and Child with the Young Saint John the Baptist", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with the Young Saint John the Baptist", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "92 cm x 80.5 cm (36 1/4 in. x 31 11/16 in.)", "Disp_Height" : "92 cm", "Disp_Width" : "80.5 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "This is an early work by Luca Cambiaso, the first great master of sixteenth-century Genoa and the virtual founder of its distinctive school of painting. The monumentality of the Virgin, the thrust of the Child, and the bold plasticity of every form suggest study with the followers of Michelangelo in mid-century Rome. At the same time, this powerful description has been circumscribed by Cambiaso’s exaggerated regularity of shapes, as in the figures’ heads, and embellished with the unnatural grace of their extremities, which recalls the works that Raphael’s follower Perino del Vaga had created for Genoa. Throughout, from the luscious frosting of the Virgin’s white sleeve to the exquisite filaments about the eyes, there is evident delight in the sheer matter of paint and possibilities of the brush. This virtuosity is conspicuous because of the work’s execution on panel and the excellent preservation of most of its surface. The painting demonstrates the young artist’s startling ambition, explains his first synthesis of influences, and predicts his place among the major figures of Mannerism. The Suida-Manning Collection includes six paintings and at least two dozen autograph drawings by Cambiaso. These represent the most significant holdings of his work outside Genoa. Preceding the earliest Suida-Manning picture by some fifteen years, and the only example on panel, this painting is the cornerstone of the entire group.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase as a gift of the Cain Foundation in honor of Charmaine Hooper Denius, 2005", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Important moment in early Cambiaso (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.151.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.151.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.151.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.151.tif", "IsPrimary" : "1", "_SurrogateID" : "3061", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.151_frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.151_frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.151_frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.151_frame.tif", "IsPrimary" : "0", "_SurrogateID" : "3063", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16375, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16375", "Disp_Access_No" : "2017.855", "_AccNumSort1" : "", "Disp_Create_DT" : "late 14th century", "_Disp_Start_Dat" : "1367", "_Disp_End_Date" : "1399", "Disp_Title" : "Saint Catherine of Alexandria", "Alt_Title" : "", "Obj_Title" : "Saint Catherine of Alexandria", "Series_Title" : "", "Disp_Maker_1" : "Anonymous Venetian", "Sort_Artist" : "Anonymous Venetian", "Disp_Dimen" : "62.2 cm x 33.02 cm (24 1/2 in. x 13 in.)", "Disp_Height" : "62.2 cm", "Disp_Width" : "33.02 cm", "Dimen_Extent" : "panel", "Medium" : "Tempera with gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.855.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.855.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.855.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.855.tif", "IsPrimary" : "1", "_SurrogateID" : "2666", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16076, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16076", "Disp_Access_No" : "2017.1274", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1525-1527", "_Disp_Start_Dat" : "1525", "_Disp_End_Date" : "1527", "Disp_Title" : "The Entombment of Christ", "Alt_Title" : "", "Obj_Title" : "The Entombment of Christ", "Series_Title" : "", "Disp_Maker_1" : "Parmigianino (Francesco Mazzola)", "Sort_Artist" : "Parmigianino (Francesco Mazzola)", "Disp_Dimen" : "24.4 cm x 18.8 cm (9 5/8 in. x 7 3/8 in.)", "Disp_Height" : "24.4 cm", "Disp_Width" : "18.8 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Parmigianino was the most elegant and refined of all sixteenth-century Italian artists. Provincial but inspired by his visionary compatriot Correggio, he tended from the outset toward eccentric form and idiosyncratic expression. Affected by Raphael during a sojourn in Rome, his style became more self-conscious and rigorous. Increasingly abstracted and impossibly beautiful, Parmigianino’s late works determined the course of Mannerism and remained the measure of high artifice through the eighteenth century. His etchings were the first to essay the technique’s conceptual relation with drawing and potential for original expression. This small panel is the most important surviving link between Parmigianino’s painting and printmaking. It was once regarded as a copy after his most developed and famous etching. The two compositions, however, differ in numerous details, and the elaboration of the panel departs from a loose underdrawing in dark pigment—indicative of an evolving rather than a derivative conception. The quality of the painting is confirmed by the soundness of its figures, the modulation of light, and the incisiveness of touch. Still close to Raphael’s designs, the painting was probably executed in Rome. Later, in Bologna, it would have served as the model for the etching. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "11065", "Rel_Obj_Title" : "The Entombment of Christ" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1274.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1274.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1274.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1274.tif", "IsPrimary" : "1", "_SurrogateID" : "3360", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16082, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16082", "Disp_Access_No" : "2017.940", "_AccNumSort1" : "", "Disp_Create_DT" : "1490s", "_Disp_Start_Dat" : "1490", "_Disp_End_Date" : "1490", "Disp_Title" : "Supper at Bethany", "Alt_Title" : "", "Obj_Title" : "Supper at Bethany", "Series_Title" : "", "Disp_Maker_1" : "Bernardino Butinone", "Sort_Artist" : "Butinone, Bernardino", "Disp_Dimen" : "25.4 cm x 20.5 cm (10 in. x 8 1/16 in.)", "Disp_Height" : "25.4 cm", "Disp_Width" : "20.5 cm", "Dimen_Extent" : "panel", "Medium" : "Tempera", "Support" : "wood panel", "Disp_Medium" : "Tempera on wood panel", "Info_Page_Comm" : "Coming to the town of Bethany, Jesus and his disciples were invited to a supper in the house of Lazarus. When they sat down at the table, Mary Magdalene, sister of Lazarus, anointed Jesus' feet with costly perfume and wiped it with her hair. Considered to be a prefiguration of Jesus' death and burial, this story was one of the popular subjects in Christian art. The Blanton's painting belongs to a series of fifteen panels that illustrate important moments from the life of Jesus. As a whole, they would have formed a part of a large altarpiece and functioned as the Bible for those who could not read. In order to enhance the illusion of space, Bernardino Butinone constructs the scene using linear perspective that was developed earlier in the century. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15) Ranking adjusted from B to B+ (FC:jp 7/10/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.940.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.940.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.940.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.940.tif", "IsPrimary" : "1", "_SurrogateID" : "2764", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16285, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16285", "Disp_Access_No" : "2017.853", "_AccNumSort1" : "", "Disp_Create_DT" : "1490s", "_Disp_Start_Dat" : "1490", "_Disp_End_Date" : "1490", "Disp_Title" : "Ecce Homo", "Alt_Title" : "", "Obj_Title" : "Ecce Homo", "Series_Title" : "", "Disp_Maker_1" : "Anonymous Milanese", "Sort_Artist" : "Anonymous Milanese", "Disp_Dimen" : "41.9 cm x 32.4 cm (16 1/2 in. x 12 3/4 in.)", "Disp_Height" : "41.9 cm", "Disp_Width" : "32.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Need to know if his has been repainted or touched up, FC would like to do infrared. If it''s been touched up too much, shouldn''t go up. Could be unframed and put in gallery in display case. (FC:jb 5/13/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.853.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.853.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.853.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.853.tif", "IsPrimary" : "0", "_SurrogateID" : "2754", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.853-2017-frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.853-2017-frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.853-2017-frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.853-2017-frame.tif", "IsPrimary" : "1", "_SurrogateID" : "19533", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16297, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16297", "Disp_Access_No" : "2017.934", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1500", "_Disp_Start_Dat" : "1495", "_Disp_End_Date" : "1505", "Disp_Title" : "Madonna and Child", "Alt_Title" : "", "Obj_Title" : "Madonna and Child", "Series_Title" : "", "Disp_Maker_1" : "Follower of Bramantino (Bartolomeo Suardi)", "Sort_Artist" : "Bramantino (Bartolomeo Suardi), Follower of", "Disp_Dimen" : "43 cm x 35.5 cm (16 15/16 in. x 14 in.)", "Disp_Height" : "43 cm", "Disp_Width" : "35.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "This panel is a fine example of late 15th-century Milanese painting. While grounded in the ornamental style that had dominated the school before the arrival of Leonardo, and conditioned by early Netherlandish painting, it incorporates the geometric order that the most ambitious local painters were deducing from his art. In a major study, William Suida described it as an early work by Bramantino, the most cerebral and rigorous exponent of this kind of synthesis. It is much more likely by a master who also absorbed the charming, anecdotal style of another local, Ambrogio Bergognone, and anticipated the greatest native painter of the next generation, Bernardino Luini.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Possible condition issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.934.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.934.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.934.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.934.tif", "IsPrimary" : "1", "_SurrogateID" : "2679", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16307, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16307", "Disp_Access_No" : "2017.914", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1500", "_Disp_Start_Dat" : "1495", "_Disp_End_Date" : "1505", "Disp_Title" : "Christ on the Road to Calvary", "Alt_Title" : "", "Obj_Title" : "Christ on the Road to Calvary", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Giovanni Ambrogio Bevilacqua", "Sort_Artist" : "Bevilacqua, Attributed to Giovanni Ambrogio", "Disp_Dimen" : "44.5 cm x 21.6 cm (17 1/2 in. x 8 1/2 in.)", "Disp_Height" : "44.5 cm", "Disp_Width" : "21.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Tempera on wood panel", "Support" : "", "Disp_Medium" : "Tempera on wood panel", "Info_Page_Comm" : "If not a significant agent in the development of Milanese painting, Bevilacqua does epitomize the complicated situation of that school at the close of the 15th century. On the one hand, through appropriations from more innovative compatriots like Foppa and Bergognone, his style reflects a wide range of progressive elements, from the leading painter in North Italy, Mantegna, to early Netherlandish painting. On the other, these appropriations are subsumed by the school’s traditional concerns with rich decoration and material splendor, and there is no sign of the influence of long-time resident Leonardo da Vinci. Praised by the early chroniclers of Milanese painting, Bevilacqua was nearly forgotten until his rediscovery as a coherent personality in recent decades. This panel confirms a painter of conservative cast but narrative gift and considerable refinement. The only example of his work in this country, it must have been served as part of a portable altarpiece for private devotion. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Needs more prominence (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.914.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.914.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.914.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.914.tif", "IsPrimary" : "1", "_SurrogateID" : "6462", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16475, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16475", "Disp_Access_No" : "2017.1372", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1390-1395", "_Disp_Start_Dat" : "1390", "_Disp_End_Date" : "1395", "Disp_Title" : "Triptych", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with Christ in the Sepulchre (center panel); Saint Peter and the Archangel Gabriel (left panel); Saint Paul and the Virgin Annunciate (right panel)", "Series_Title" : "", "Disp_Maker_1" : "Simone dei Crocifissi (Simone da Bologna)", "Sort_Artist" : "Simone dei Crocifissi (Simone da Bologna)", "Disp_Dimen" : "60.2 cm x 47.3 cm (23 11/16 in. x 18 5/8 in.)", "Disp_Height" : "60.2 cm", "Disp_Width" : "47.3 cm", "Dimen_Extent" : "overall", "Medium" : "Tempera with gold leaf", "Support" : "wood panel", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "Normalizing the style of his brilliant teacher, Vitale da Bologna, Simone became the leading painter in Bologna in the second half of the 14th century. His appellation owes to his execution of several monumental depictions of the Crucifixion for major churches in that city. By the 1360s, having built his reputation, he added small-scale polyptychs for private devotion as another specialty. This painting offers a particularly efficient synopsis of the principal mysteries and foundation of the Christian church. The dark underpainting, which heightens contrasts and modeling in the flesh tones, the delicate drawing, and the relatively loose application of paint are characteristic of the Bolognese school of the period. And the prosaic charm and accessibility of the personalities is typical of Simone’s style. Exceptional, however, is the condition of this work, with the paint surface practically undisturbed, the gold leaf revealing its original patterns of application, and even the complex finials of the frame unrestored. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Could be out on the floor in display case to showcase back (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1372.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1372.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1372.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1372.tif", "IsPrimary" : "1", "_SurrogateID" : "2653", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/526.1999_black_bkgnd.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/526.1999_black_bkgnd.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/526.1999_black_bkgnd.tif", "IIIF_URL": "http://iiif.gallerysystems.com/526.1999_black_bkgnd.tif", "IsPrimary" : "0", "_SurrogateID" : "3938", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1372-back.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1372-back.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1372-back.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1372-back.tif", "IsPrimary" : "0", "_SurrogateID" : "9186", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16418, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16418", "Disp_Access_No" : "2017.915.a", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1495-1500", "_Disp_Start_Dat" : "1495", "_Disp_End_Date" : "1500", "Disp_Title" : "Saint Jerome", "Alt_Title" : "", "Obj_Title" : "Saint Jerome", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Ambrogio Bevilacqua", "Sort_Artist" : "Bevilacqua, Giovanni Ambrogio", "Disp_Dimen" : "76 cm x 52.5 cm (29 15/16 in. x 20 11/16 in.)", "Disp_Height" : "76 cm", "Disp_Width" : "52.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Tempera with gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "Saints Augustine and Jerome are two of the fathers of the Western church who are venerated especially for their scholarly roles in laying the foundation of Christian thought. Jerome translated the Bible into Latin, and Augustine authored "Confessions" and "City of God." Emphasizing the two saints’ literary contributions, these paintings represent them engaged in writing. Their identification is reinforced by their attributes: Saint Augustine is wearing the habit of the Augustinian Order, while Saint Jerome is in his red cardinal’s robe and hat alongside a lion. The curvilinear form of the edges and the low viewpoint indicate that the paintings were most likely the upper corners of an altarpiece composed of multiple panels. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Farther away and higher up (FC:jb 4/2/15) Stays in, important and rare (FC 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.915.a.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.915.a.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.915.a.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.915.a.tif", "IsPrimary" : "1", "_SurrogateID" : "4814", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16419, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16419", "Disp_Access_No" : "2017.915.b", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1495-1500", "_Disp_Start_Dat" : "1495", "_Disp_End_Date" : "1500", "Disp_Title" : "Saint Augustine", "Alt_Title" : "Previously called "Saint Gregory"", "Obj_Title" : "Saint Augustine", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Ambrogio Bevilacqua", "Sort_Artist" : "Bevilacqua, Giovanni Ambrogio", "Disp_Dimen" : "76.2 cm x 57 cm (30 in. x 22 7/16 in.)", "Disp_Height" : "76.2 cm", "Disp_Width" : "57 cm", "Dimen_Extent" : "canvas", "Medium" : "Tempera with gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "Saints Augustine and Jerome are two of the fathers of the Western church who are venerated especially for their scholarly roles in laying the foundation of Christian thought. Jerome translated the Bible into Latin, and Augustine authored "Confessions" and "City of God." Emphasizing the two saints’ literary contributions, these paintings represent them engaged in writing. Their identification is reinforced by their attributes: Saint Augustine is wearing the habit of the Augustinian Order, while Saint Jerome is in his red cardinal’s robe and hat alongside a lion. The curvilinear form of the edges and the low viewpoint indicate that the paintings were most likely the upper corners of an altarpiece composed of multiple panels.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Farther away and higher up (FC:jb 4/2/15) Stays in, important and rare (FC 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.915.b.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.915.b.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.915.b.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.915.b.tif", "IsPrimary" : "1", "_SurrogateID" : "4815", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16434, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16434", "Disp_Access_No" : "2017.1036", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1541", "_Disp_Start_Dat" : "1536", "_Disp_End_Date" : "1546", "Disp_Title" : "The Coronation of the Virgin", "Alt_Title" : "", "Obj_Title" : "The Coronation of the Virgin", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista della Cerva", "Sort_Artist" : "Cerva, Giovanni Battista della", "Disp_Dimen" : "87 cm x 71.5 cm (34 1/4 in. x 28 1/8 in.)", "Disp_Height" : "87 cm", "Disp_Width" : "71.5 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Jesus crowns her mother Mary as God the Father gazes down from above and the Holy Spirit descends in the form of a dove. Playful cherubim in the wreath of cloud add to the jubilant mood. This theme represents the final episode in the life of Mary, when, according to the tradition of the Catholic Church, she was brought to heaven after death and crowned as Queen of Heaven. In order to set the scene for the celestial event, Giovanni Battista della Cerva creates an abstract space relying on colors associated with heaven (blue) and eternity (gold). ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Lost in corner, needs more of a relationship with objects around it (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1036.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1036.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1036.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1036.tif", "IsPrimary" : "1", "_SurrogateID" : "2740", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14899, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14899", "Disp_Access_No" : "1984.55", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1595-1600", "_Disp_Start_Dat" : "1595", "_Disp_End_Date" : "1600", "Disp_Title" : "Raising of Lazarus", "Alt_Title" : "", "Obj_Title" : "Raising of Lazarus", "Series_Title" : "", "Disp_Maker_1" : "Joachim Wtewael and workshop", "Sort_Artist" : "Wtewael and workshop, Joachim", "Disp_Dimen" : "132.1 cm x 170.2 cm (52 in. x 67 in.)", "Disp_Height" : "132.1 cm", "Disp_Width" : "170.2 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is one of four known copies made in Wtewael’s workshop of his now lost original. It displays all the Mannerist characteristics for which the master was known, including vivid colors, compressed space, and contorted figures disproportionate to their surroundings. Wtewael based this work on Abraham Bloemart’s painting of the same subject, which he likely saw in an engraved reproduction. This kind of artistic borrowing through intermediary prints and subsequent copying of one’s own work helped spread new ideas about style and ideology to a wider audience.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Dutch", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Medallion (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55_detail6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55_detail6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55_detail6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55_detail6.tif", "IsPrimary" : "0", "_SurrogateID" : "7812", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55_detail4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55_detail4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55_detail4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55_detail4.tif", "IsPrimary" : "0", "_SurrogateID" : "7811", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55_detail3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55_detail3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55_detail3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55_detail3.tif", "IsPrimary" : "0", "_SurrogateID" : "7810", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55_detail2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55_detail2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55_detail2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55_detail2.tif", "IsPrimary" : "0", "_SurrogateID" : "7809", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55_detail1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55_detail1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55_detail1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55_detail1.tif", "IsPrimary" : "0", "_SurrogateID" : "7808", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55_detail5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55_detail5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55_detail5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55_detail5.tif", "IsPrimary" : "0", "_SurrogateID" : "7807", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55.tif", "IsPrimary" : "1", "_SurrogateID" : "1300", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14903, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14903", "Disp_Access_No" : "1984.51", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1583", "_Disp_Start_Dat" : "1578", "_Disp_End_Date" : "1588", "Disp_Title" : "Saint Margaret", "Alt_Title" : "", "Obj_Title" : "Saint Margaret", "Series_Title" : "", "Disp_Maker_1" : "Bartholomaeus Spranger", "Sort_Artist" : "Spranger, Bartholomaeus", "Disp_Dimen" : "37.2 cm x 30.5 cm (14 5/8 in. x 12 in.)", "Disp_Height" : "37.2 cm", "Disp_Width" : "30.5 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Beautiful, pious, and able to wear the “crown of martyrdom,” the Saints Catherine, Margaret, and Ursula are prime subjects for devotional painting. According to "The Golden Legend," a popular medieval text on the lives of the saints, Catherine converted multitudes using her great wisdom and erudition. She holds the sword used for her own beheading in one hand and a book in the other. She also stands over a Roman emperor who attempted to kill her on a spiked wheel. Likewise, Margaret stands triumphant over her enemy, a demon dragon, whom she defeated by making the sign of the cross. (This action takes material form as the wooden cross in her left hand.) Ursula is shown, not with her enemy, but with a crowd of fellow martyrs, whom she led during persecution. From the complex folds of the saints’ drapery to a delicate rendering of jewelry, flower petals, and even toes, Bartholomaeus Spranger’s interest in detail connects the artist to his Netherlandish roots and a Northern Renaissance style of painting. But it also draws the viewer into a closer study of the saints. For instance, notice the prominent pearl on Margaret’s forehead attached to strands of smaller pearls in her hair. According to the "Legend," the saint’s name corresponds with the Latin word for a pearl, margarita, a “precious gem [that shines] white, small, and endowed with virtue.” In like manner, says the "Legend," “Saint Margaret was shining white by her virginity, small by her humility, and endowed with the power to work miracles.” For viewers familiar with her story, a study of the painting’s details could lead to a meditation on the saint’s character.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Flemish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "14902", "Rel_Obj_Title" : "Saint Ursula" },{ "Rel_Obj_ID" : "14901", "Rel_Obj_Title" : "Saint Catherine" } ], "Curator" : "Ranking is provisional (FC:jb 4/2/15) All of the Sprangers could potentially be in a smaller space with other Dutch and Flemish works or displayed in a case in the middle of the gallery (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.51.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.51.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.51.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.51.tif", "IsPrimary" : "1", "_SurrogateID" : "1296", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14902, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14902", "Disp_Access_No" : "1984.52", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1583", "_Disp_Start_Dat" : "1578", "_Disp_End_Date" : "1588", "Disp_Title" : "Saint Ursula", "Alt_Title" : "", "Obj_Title" : "Saint Ursula", "Series_Title" : "", "Disp_Maker_1" : "Bartholomaeus Spranger", "Sort_Artist" : "Spranger, Bartholomaeus", "Disp_Dimen" : "37.2 cm x 30.5 cm (14 5/8 in. x 12 in.)", "Disp_Height" : "37.2 cm", "Disp_Width" : "30.5 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Beautiful, pious, and able to wear the “crown of martyrdom,” the Saints Catherine, Margaret, and Ursula are prime subjects for devotional painting. According to "The Golden Legend," a popular medieval text on the lives of the saints, Catherine converted multitudes using her great wisdom and erudition. She holds the sword used for her own beheading in one hand and a book in the other. She also stands over a Roman emperor who attempted to kill her on a spiked wheel. Likewise, Margaret stands triumphant over her enemy, a demon dragon, whom she defeated by making the sign of the cross. (This action takes material form as the wooden cross in her left hand.) Ursula is shown, not with her enemy, but with a crowd of fellow martyrs, whom she led during persecution. From the complex folds of the saints’ drapery to a delicate rendering of jewelry, flower petals, and even toes, Bartholomaeus Spranger’s interest in detail connects the artist to his Netherlandish roots and a Northern Renaissance style of painting. But it also draws the viewer into a closer study of the saints. For instance, notice the prominent pearl on Margaret’s forehead attached to strands of smaller pearls in her hair. According to the "Legend," the saint’s name corresponds with the Latin word for a pearl, margarita, a “precious gem [that shines] white, small, and endowed with virtue.” In like manner, says the "Legend," “Saint Margaret was shining white by her virginity, small by her humility, and endowed with the power to work miracles.” For viewers familiar with her story, a study of the painting’s details could lead to a meditation on the saint’s character.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Flemish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "14903", "Rel_Obj_Title" : "Saint Margaret" },{ "Rel_Obj_ID" : "14901", "Rel_Obj_Title" : "Saint Catherine" } ], "Curator" : "Ranking is provisional (FC:jb 4/2/15) All of the Sprangers could potentially be in a smaller space with other Dutch and Flemish works or displayed in a case in the middle of the gallery (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.52.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.52.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.52.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.52.tif", "IsPrimary" : "1", "_SurrogateID" : "1297", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14901, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14901", "Disp_Access_No" : "1984.53", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1583", "_Disp_Start_Dat" : "1578", "_Disp_End_Date" : "1588", "Disp_Title" : "Saint Catherine", "Alt_Title" : "", "Obj_Title" : "Saint Catherine", "Series_Title" : "", "Disp_Maker_1" : "Bartholomaeus Spranger", "Sort_Artist" : "Spranger, Bartholomaeus", "Disp_Dimen" : "37.2 cm x 30.5 cm (14 5/8 in. x 12 in.)", "Disp_Height" : "37.2 cm", "Disp_Width" : "30.5 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Beautiful, pious, and able to wear the “crown of martyrdom,” the Saints Catherine, Margaret, and Ursula are prime subjects for devotional painting. According to "The Golden Legend," a popular medieval text on the lives of the saints, Catherine converted multitudes using her great wisdom and erudition. She holds the sword used for her own beheading in one hand and a book in the other. She also stands over a Roman emperor who attempted to kill her on a spiked wheel. Likewise, Margaret stands triumphant over her enemy, a demon dragon, whom she defeated by making the sign of the cross. (This action takes material form as the wooden cross in her left hand.) Ursula is shown, not with her enemy, but with a crowd of fellow martyrs, whom she led during persecution. From the complex folds of the saints’ drapery to a delicate rendering of jewelry, flower petals, and even toes, Bartholomaeus Spranger’s interest in detail connects the artist to his Netherlandish roots and a Northern Renaissance style of painting. But it also draws the viewer into a closer study of the saints. For instance, notice the prominent pearl on Margaret’s forehead attached to strands of smaller pearls in her hair. According to the "Legend," the saint’s name corresponds with the Latin word for a pearl, margarita, a “precious gem [that shines] white, small, and endowed with virtue.” In like manner, says the "Legend," “Saint Margaret was shining white by her virginity, small by her humility, and endowed with the power to work miracles.” For viewers familiar with her story, a study of the painting’s details could lead to a meditation on the saint’s character.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Flemish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "14903", "Rel_Obj_Title" : "Saint Margaret" },{ "Rel_Obj_ID" : "14902", "Rel_Obj_Title" : "Saint Ursula" } ], "Curator" : "Ranking is provisional (FC:jb 4/2/15) All of the Sprangers could potentially be in a smaller space with other Dutch and Flemish works (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.53.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.53.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.53.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.53.tif", "IsPrimary" : "1", "_SurrogateID" : "1298", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16036, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16036", "Disp_Access_No" : "2017.1146", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1390-1395", "_Disp_Start_Dat" : "1390", "_Disp_End_Date" : "1395", "Disp_Title" : "Saint Bernard", "Alt_Title" : "", "Obj_Title" : "Saint Bernard", "Series_Title" : "", "Disp_Maker_1" : "Niccolò di Pietro Gerini", "Sort_Artist" : "Gerini, Niccolò di Pietro", "Disp_Dimen" : "22.6 cm x 25 cm (8 7/8 in. x 9 13/16 in.)", "Disp_Height" : "22.6 cm", "Disp_Width" : "25 cm", "Dimen_Extent" : "canvas", "Medium" : "Tempera with gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Could potentially be used for a double hang (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1146.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1146.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1146.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1146.tif", "IsPrimary" : "1", "_SurrogateID" : "2612", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1146_with_frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1146_with_frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1146_with_frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1146_with_frame.tif", "IsPrimary" : "0", "_SurrogateID" : "2613", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14922, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14922", "Disp_Access_No" : "1984.105", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1470", "_Disp_Start_Dat" : "1465", "_Disp_End_Date" : "1475", "Disp_Title" : "Saint Bernard", "Alt_Title" : "", "Obj_Title" : "Saint Bernard", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "49.7 cm x 36 cm (19 9/16 in. x 14 3/16 in.)", "Disp_Height" : "49.7 cm", "Disp_Width" : "36 cm", "Dimen_Extent" : "sight", "Medium" : "Oil, tempera, and gold leaf", "Support" : "wood panel", "Disp_Medium" : "Oil, tempera, and gold leaf on wood panel", "Info_Page_Comm" : "This painting presents an unflattering, naturalistic portrayal of an elderly man through the artist's meticulous depiction of wrinkles, veins, warts, and graying hair. The figure has been considered to be Saint Bernard of Clairvaux, who led the reform of the Cistercian Order in twelfth-century France. He wears a white habit, which is usually associated with the Order, and holds an abbot's crozier. The inscription on the ribbonlike banderole reads, “Monstra te esse matrem (Show thyself to be a mother),” the words that Bernard used in his prayer before a statue of Mary. According to legend, the statue came to life and spouted milk from her breast in response to his plea. It is unclear, however, if the present work was originally meant to be an image of Bernard. A close examination of the paint layers has recently revealed that the banderole and the upper half of the crozier, along with the blue clouds in the top corners, are later additions. It is possible that the painting was modified to represent the saint, sometime after its creation. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Charles and Loretta Marsh, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Rare, gorgeous, has its original panel. Condition issues, conservation issues. Needs restoration in the middle. Would like to see the back. (FC:jb 4/15/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.105.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.105.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.105.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.105.tif", "IsPrimary" : "1", "_SurrogateID" : "1289", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16184, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16184", "Disp_Access_No" : "2017.865", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Virgin Annunciate", "Alt_Title" : "", "Obj_Title" : "The Virgin Annunciate", "Series_Title" : "", "Disp_Maker_1" : "Anonymous, Florentine", "Sort_Artist" : "Anonymous, Florentine", "Disp_Dimen" : "31.7 cm x 22.9 cm (12 1/2 in. x 9 in.)", "Disp_Height" : "31.7 cm", "Disp_Width" : "22.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on gold ground panel", "Support" : "", "Disp_Medium" : "Oil on gold ground panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.865.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.865.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.865.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.865.tif", "IsPrimary" : "1", "_SurrogateID" : "2742", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16215, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16215", "Disp_Access_No" : "2017.942", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1790", "_Disp_Start_Dat" : "1785", "_Disp_End_Date" : "1795", "Disp_Title" : "Madonna and Child", "Alt_Title" : "", "Obj_Title" : "Madonna and Child", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Cades", "Sort_Artist" : "Cades, Giuseppe", "Disp_Dimen" : "34.8 cm x 26 cm (13 11/16 in. x 10 1/4 in.)", "Disp_Height" : "34.8 cm", "Disp_Width" : "26 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.942.tif", "ThumbnailPath" : 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University of Texas at Austin, Gift of Kurt and Alessandra Manning-Dolnier in honor of Francesca Consagra, 2016", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.65-back-right-qtr.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.65-back-right-qtr.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.65-back-right-qtr.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.65-back-right-qtr.tif", "IsPrimary" : "0", "_SurrogateID" : "16795", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.65-back-left-qtr.tif", "ThumbnailPath" : 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"https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.65-front.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.65-front.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.65-front.tif", "IsPrimary" : "1", "_SurrogateID" : "16790", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16387, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16387", "Disp_Access_No" : "2017.1367", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1615", "_Disp_Start_Dat" : "1610", "_Disp_End_Date" : "1620", "Disp_Title" : "Orpheus Charming the Beasts", "Alt_Title" : "", "Obj_Title" : "Orpheus Charming the Beasts", "Series_Title" : "", "Disp_Maker_1" : "Sinibaldo Scorza", "Sort_Artist" : "Scorza, Sinibaldo", "Disp_Dimen" : "65.5 cm x 100.2 cm (25 13/16 in. x 39 7/16 in.)", "Disp_Height" : "65.5 cm", "Disp_Width" : "100.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1367.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1367.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1367.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1367.tif", "IsPrimary" : "1", "_SurrogateID" : "2651", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16400, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16400", "Disp_Access_No" : "2017.1305", "_AccNumSort1" : "", "Disp_Create_DT" : "1680s", "_Disp_Start_Dat" : "1680", "_Disp_End_Date" : "1680", "Disp_Title" : "An Allegory with Figures in a Garden Setting", "Alt_Title" : "", "Obj_Title" : "An Allegory with Figures in a Garden Setting", "Series_Title" : "", "Disp_Maker_1" : "Domenico Piola", "Sort_Artist" : "Piola, Domenico", "Disp_Dimen" : "71.76 cm x 93.98 cm (28 1/4 in. x 37 in.)", "Disp_Height" : "71.76 cm", "Disp_Width" : "93.98 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Piola was, with his pupil Gregorio De Ferrari, the leading painter in Genoa during the second half of the seventeenth century. With the catalyst of Pietro da Cortona’s High Baroque cycles, in a manner so fluent as to seem automatic, Piola managed to generalize the lessons of Rubens and Van Dyck’s dynamic naturalism and translate them into the grand scale decoration of the native Genoese tradition. Few palaces in Genoa and scarcely a church in Liguria lack a work with the undulating rhythms, variegated modelling, and softly modulated light that are his trademarks. Piola’s works may not be the most resolute in structure or deep in characterization, but they convey a ease, even a joy, that are estimable and historically significant. Here, a beautiful young woman is interrupted by an aged, winged male who holds an hourglass and scythe in one hand and presents a flower with the other. The subject is related in basic elements and composition to a common Baroque allegory, Time revealing Truth. In fact, the explicit vanity of plaiting hair, the implicit one of a mirror, the futile gesture of the little boy, and the flower shift the meaning to the short duration, the precariousness, of physical beauty. In its suave rhythms and decorative amplitude, the painting exemplifies Piola’s mature style. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Medallion, possibly with other garden pictures (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1305.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1305.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1305.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1305.tif", "IsPrimary" : "1", "_SurrogateID" : "2638", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16310, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16310", "Disp_Access_No" : "2017.1099", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Diana of the Hunt", "Alt_Title" : "", "Obj_Title" : "Diana of the Hunt", "Series_Title" : "", "Disp_Maker_1" : "Michel Dorigny", "Sort_Artist" : "Dorigny, Michel", "Disp_Dimen" : "44.6 cm x 41 cm (17 9/16 in. x 16 1/8 in.)", "Disp_Height" : "44.6 cm", "Disp_Width" : "41 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on canvas", "Support" : "", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Could go in mythology section. (FC:jb 4/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1099.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1099.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1099.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1099.tif", "IsPrimary" : "1", "_SurrogateID" : "4506", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19901, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19901", "Disp_Access_No" : "2014.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1857", "_Disp_Start_Dat" : "1857", "_Disp_End_Date" : "1857", "Disp_Title" : "The Truant", "Alt_Title" : "", "Obj_Title" : "The Truant", "Series_Title" : "", "Disp_Maker_1" : "Randolph Rogers", "Sort_Artist" : "Rogers, Randolph", "Disp_Dimen" : "102.9 x 67.3 x 40.6 cm (40 1/2 x 26 1/2 x 16 in.)", "Disp_Height" : "102.9 cm", "Disp_Width" : "67.3 cm", "Dimen_Extent" : "HWD", "Medium" : "White Carrara marble", "Support" : "", "Disp_Medium" : "White Carrara marble", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Dr. and Mrs. Herbert M. and Mary Jo Loyd, 2014", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.3-detail_books.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.3-detail_books.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.3-detail_books.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.3-detail_books.tif", "IsPrimary" : "0", "_SurrogateID" : "11660", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : 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cm (16 15/16 in. x 13 1/8 in.)", "Disp_Height" : "43 cm", "Disp_Width" : "33.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Good enough to stay in play, largely because it''s by a female artist Could have been cut from larger painting Could possibly be a copy (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1003.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1003.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1003.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1003.TIF", "IsPrimary" : "1", "_SurrogateID" : "10780", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16341, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16341", "Disp_Access_No" : "2017.1035", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1737-1738", "_Disp_Start_Dat" : "1737", "_Disp_End_Date" : "1738", "Disp_Title" : "Young Peasant Woman Holding a Wine Flask", "Alt_Title" : "", "Obj_Title" : "Young Peasant Woman Holding a Wine Flask", "Series_Title" : "", "Disp_Maker_1" : "Giacomo Ceruti (Il Pitocchetto)", "Sort_Artist" : "Ceruti (Il Pitocchetto), Giacomo", "Disp_Dimen" : "49 cm x 39.5 cm (19 5/16 in. x 15 9/16 in.)", "Disp_Height" : "49 cm", "Disp_Width" : "39.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Giacomo Ceruti specialized in portraiture, depicting both conventional sitters and anonymous subjects from the periphery of society. This painting exemplifies the latter. Employing the visual idioms reserved for the portraits of the upper class, the artist bestows individuality and dignity on the peasant woman, her simple garments, and heavy hands. Her unaffected, confident gaze and pose anticipate the egalitarian spirit of the next century. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Needs ranking Charming portrait (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1035.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1035.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1035.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1035.tif", "IsPrimary" : "1", "_SurrogateID" : "2737", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16459, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16459", "Disp_Access_No" : "2017.905", "_AccNumSort1" : "", "Disp_Create_DT" : "1730s", "_Disp_Start_Dat" : "1730", "_Disp_End_Date" : "1730", "Disp_Title" : "Portrait of a Lady with a Dog", "Alt_Title" : "", "Obj_Title" : "Portrait of a Lady with a Dog", "Series_Title" : "", "Disp_Maker_1" : "Marco Benefial", "Sort_Artist" : "Benefial, Marco", "Disp_Dimen" : "115.5 cm x 86 cm (45 1/2 in. x 33 7/8 in.)", "Disp_Height" : "115.5 cm", "Disp_Width" : "86 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Needs status Conservation issues: disintegration of pigment Similar to the Carriera (FC:jb 4/6/15) Status provisional; based on conversation with FC (JP 4/30/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.905.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.905.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.905.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.905.tif", "IsPrimary" : "1", "_SurrogateID" : "10691", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14227, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14227", "Disp_Access_No" : "G1964.25", "_AccNumSort1" : "", "Disp_Create_DT" : "1791-1796", "_Disp_Start_Dat" : "1791", "_Disp_End_Date" : "1796", "Disp_Title" : "Armand Louis Le Boulanger, Marquis d'Acqueville", "Alt_Title" : "", "Obj_Title" : "Armand Louis Le Boulanger, Le Marquis D'Acqueville", "Series_Title" : "", "Disp_Maker_1" : "Aimée Duvivier", "Sort_Artist" : "Duvivier, Aimée", "Disp_Dimen" : "140.8 cm x 111.8 cm (55 7/16 in. x 44 in.)", "Disp_Height" : "140.8 cm", "Disp_Width" : "111.8 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Dressed in a dark blue coat, bluish gray breeches, and a pale yellow waistcoat with poppy design, the Marquis D’Acqueville presents himself as a fashionable young aristocrat. The bust sculpture of a classical figure, the rolled-up musical score, and the quill pen in the inkwell suggest that he wished to be seen as a man of letters. The numbers “23 7 1791” on the letter in the sitter’s hand most likely indicate the date when the work was painted. Aimée Duvivier was among the few women selected to show their work at official exhibitions organized by the French Academy in the late 1700s. Coming from a family of artists, she may have also studied with Jacques-Louis David. The flat, unadorned background, the subdued palette of blue and gray with just a dash of red, the casual pose, and the restrained handling of paint are characteristic of the neoclassical formula that David popularized during the period of the French Revolution. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Clark W. Thompson, Sr., 1964", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Important to have portrait by woman Research what association he was connected to (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1964.25.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1964.25.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1964.25.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1964.25.tif", "IsPrimary" : "1", "_SurrogateID" : "2298", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16441, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16441", "Disp_Access_No" : "2017.1033", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1640", "_Disp_Start_Dat" : "1635", "_Disp_End_Date" : "1645", "Disp_Title" : "Portrait of a Widow", "Alt_Title" : "Portrait of a Lady Holding a Book", "Obj_Title" : "Portrait of a Widow", "Series_Title" : "", "Disp_Maker_1" : "Carlo Ceresa", "Sort_Artist" : "Ceresa, Carlo", "Disp_Dimen" : "95.8 cm x 78.5 cm (37 11/16 in. x 30 7/8 in.)", "Disp_Height" : "95.8 cm", "Disp_Width" : "78.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "FC and JP like the head but details are lost in the garment (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1033.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1033.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1033.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1033.tif", "IsPrimary" : "1", "_SurrogateID" : "2736", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16525, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16525", "Disp_Access_No" : "2017.1346", "_AccNumSort1" : "", "Disp_Create_DT" : "1689-1706", "_Disp_Start_Dat" : "1689", "_Disp_End_Date" : "1706", "Disp_Title" : "Education of the Virgin", "Alt_Title" : "", "Obj_Title" : "Education of the Virgin", "Series_Title" : "", "Disp_Maker_1" : "Luisa Roldán", "Sort_Artist" : "Roldán, Luisa", "Disp_Dimen" : "43 x 45 x 36 cm (16 15/16 x 17 11/16 x 14 3/16 in.)", "Disp_Height" : "43 cm", "Disp_Width" : "45 cm", "Dimen_Extent" : "", "Medium" : "Polychrome terracotta", "Support" : "", "Disp_Medium" : "Polychrome terracotta", "Info_Page_Comm" : "The earliest documented female sculptor in Spain, Luisa Roldán (1652-1706) created sculptures for the king and queen among many other important Spanish patrons. In The Education of the Virgin, she captured a tender, everyday moment between the young Virgin Mary (future mother of Jesus Christ) and her parents, saints Anne and Joachim. Standing at Anne’s feet, Mary peers over her mother’s lap as they practice reading a religious text together. Joachim leans on the arm of Anne’s chair, observing and encouraging the lesson. By including both Mary’s mother and father in the miniature figural group, Roldán emphasized the important role that parents play in the spiritual and moral education their children. Although The Education of the Virgin serves as an earthly reminder that our parents are our first teachers, the many angels who wait on Mary and her family also confirm the religious significance of the subject and the exceptionality of the Virgin Mary within the Catholic tradition. In fact, painted on the cushion of the chair behind Anne’s back is an image of Anne and Joachim’s embrace at the Golden Gate, a moment that, according to non-Biblical Christian religious texts such as Jacopo da Voragine’s Golden Legend, occurred after the angel Gabriel announced to Joachim that Anne, his elderly wife, had immaculately conceived a child. Mary’s miraculous conception was an important Catholic theological point because, her soul having not been conceived through sexual intercourse, she was born without original sin (the innate tendency of all human beings to disobey God) and was therefore able to bear Christ, the Christian incarnation of God on earth. Roldán also referenced Mary’s birth at the bottom right corner of the sculpture, where a small, chubby angel presents a roll of fabric for swaddling Mary as a newborn, a birthing cushion for her mother Anne’s use during labor, and a woven basket filled with cloth that served as Mary’s bassinette--indeed, these elements also foreshadow Mary’s future role as mother of Christ. In this way, Roldán refers to three phases from the life of the young Virgin at once: her Immaculate conception, her angelically attended birth, and her upbringing by two devout people. The sculpture thus not only imagines a tender scene between parents and daughter but also affirms Mary’s extraordinary position within the Catholic tradition and her worthiness to become the mother of God. In the 1600s, this kind of small, painted terracotta (baked clay) sculpture would have been used in private devotion, usually placed on a table inside of the home, reminding its viewers both of the importance of obedience to one’s elders and to God as well as the need for parents to provide religious and moral education to their children, including girls. This is especially interesting given that, at this time, women were becoming increasingly literate and exercising greater (although still extremely limited) cultural and political authority than they had in earlier periods of Spain’s history. Also significant is that, until the modern era, women were not allowed access to professional artistic training and the few women who became artists almost always learned their craft from their fathers. The Education of the Virgin, which is an image of instruction between parent and child, may thus have had personal significance for Roldán, who was taught how to sculpt by her father, Pedro (1624-1699), an artist from Seville. Due to the fragile nature of terracotta, few of Roldán’s sculptures survive today. The Blanton’s example was conserved in 2019, which revealed that the top of each woman’s head has a small hole where a medal crown would have been inserted. Additionally, at Joachim’s feet are the four paws of a now-lost cat, which may have been competing with the book on Anne’s lap for Mary’s attention. Furthermore, Roldán may have roughened the patch of clay at the center-front of the composition to attach a small dog, which is included in a similar sculpture of the same subject that is now in a private collection in Spain. Even without these elements, Roldán’s Education of the Virgin is an important example of her late work, of which only about twenty examples still exist in the world. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Spanish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "JhP to do more research. 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