{ "objects" : [ { "embark_ID" : 15964, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15964", "Disp_Access_No" : "2017.878", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1633", "_Disp_Start_Dat" : "1628", "_Disp_End_Date" : "1638", "Disp_Title" : "Christ Child and the Young Saint John the Baptist in a Landscape", "Alt_Title" : "", "Obj_Title" : "Christ Child and the Young Saint John the Baptist in a Landscape", "Series_Title" : "", "Disp_Maker_1" : "Francesco Albani", "Sort_Artist" : "Albani, Francesco", "Disp_Dimen" : "19 cm x 24.2 cm (7 1/2 in. x 9 1/2 in.)", "Disp_Height" : "19 cm", "Disp_Width" : "24.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Albani was a principal among the group of Bolognese painters who followed Annibale Carracci to Rome just after 1600. Until Carracci’s death in 1609, these painters served as executors of his designs for a series of major projects, thereby establishing a rationally ordered and ideally formed alternative to Caravaggio’s raw naturalism. In the second decade, Albani in particular tended toward the historical example of Raphael and produced works of an increasingly light, pretty manner. Albani’s production after his return to Bologna in 1617 would feature small scale mythological and allegorical works that represent a rather superficial, if at the time very popular, interpretation of early Baroque classicism. This miniature devotional work is perfectly character-istic of that later production. It is a lovely object in which Carracci’s grand proposition is reduced not only in scale but in idea to an easy and appealing formula ", "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) Pair with Reni (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.878.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.878.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.878.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.878.tif", "IsPrimary" : "1", "_SurrogateID" : "2576", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16398, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16398", "Disp_Access_No" : "2017.882", "_AccNumSort1" : "", "Disp_Create_DT" : "1600s", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1600", "Disp_Title" : "Drunken Silenus on an Ass", "Alt_Title" : "", "Obj_Title" : "Drunken Silenus on an Ass", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Giulio Cesare Amidano", "Sort_Artist" : "Amidano, Attributed to Giulio Cesare", "Disp_Dimen" : "71.7 cm x 57.1 cm (28 1/4 in. x 22 1/2 in.)", "Disp_Height" : "71.7 cm", "Disp_Width" : "57.1 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on 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/2017.882.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.882.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.882.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.882.tif", "IsPrimary" : "1", "_SurrogateID" : "2614", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14407, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14407", "Disp_Access_No" : "1991.97", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "An Italianate Landscape with Animals, a Shepherd, and a Peasant Woman Holding a Distaff", "Alt_Title" : "", "Obj_Title" : "An Italianate Landscape with Animals, a Shepherd, and a Peasant Woman Holding a Distaff", "Series_Title" : "", "Disp_Maker_1" : "Workshop of Nicolas Pietersz Berchem", "Sort_Artist" : "Berchem, Workshop of Nicolas Pietersz", "Disp_Dimen" : "128 cm x 96.6 cm (50 3/8 in. x 38 1/16 in.)", "Disp_Height" : "128 cm", "Disp_Width" : "96.6 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "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" : "Dutch", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Medallion (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.97.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.97.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.97.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.97.tif", "IsPrimary" : "1", "_SurrogateID" : "1599", "Image_Type" : "", "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" : 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" : 16480, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16480", "Disp_Access_No" : "2017.1000", "_AccNumSort1" : "", "Disp_Create_DT" : "1660s", "_Disp_Start_Dat" : "1660", "_Disp_End_Date" : "1660", "Disp_Title" : "Pan and Syrinx", "Alt_Title" : "", "Obj_Title" : "Pan and Syrinx", "Series_Title" : "", "Disp_Maker_1" : "Giulio Carpioni", "Sort_Artist" : "Carpioni, Giulio", "Disp_Dimen" : "39.1 cm x 46.8 cm (15 3/8 in. x 18 7/16 in.)", "Disp_Height" : "39.1 cm", "Disp_Width" : "46.8 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" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1000.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1000.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1000.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1000.tif", "IsPrimary" : "1", "_SurrogateID" : "2729", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16479, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16479", "Disp_Access_No" : "2017.998", "_AccNumSort1" : "", "Disp_Create_DT" : "1660s", "_Disp_Start_Dat" : "1660", "_Disp_End_Date" : "1660", "Disp_Title" : "Artemis and Chione", "Alt_Title" : "", "Obj_Title" : "Artemis and Chione", "Series_Title" : "", "Disp_Maker_1" : "Giulio Carpioni", "Sort_Artist" : "Carpioni, Giulio", "Disp_Dimen" : "39.4 cm x 46.9 cm (15 1/2 in. x 18 7/16 in.)", "Disp_Height" : "39.4 cm", "Disp_Width" : "46.9 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" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.998.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.998.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.998.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.998.tif", "IsPrimary" : "1", "_SurrogateID" : "2728", "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" : 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" : 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" : 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" : 16343, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16343", "Disp_Access_No" : "2017.1032", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1630", "_Disp_Start_Dat" : "1625", "_Disp_End_Date" : "1635", "Disp_Title" : "Saint James Vanquishing the Moors", "Alt_Title" : "", "Obj_Title" : "Saint James Vanquishing the Moors", "Series_Title" : "", "Disp_Maker_1" : "Cerano (Giovanni Battista Crespi)", "Sort_Artist" : "Cerano (Giovanni Battista Crespi)", "Disp_Dimen" : "50.4 cm x 60.2 cm (19 13/16 in. x 23 11/16 in.)", "Disp_Height" : "50.4 cm", "Disp_Width" : "60.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In the panorama of early 17th century painting, the Milanese school occupies a singular place. In the wake of the catastrophic plague of 1576, the legendary episcopate of Saint Charles Borromeo, and the resulting preoccupation with religious reform, the city’s culture was pervaded by profound skepticism and spiritual intensity. Involving Mannerist formulae and eccentric inventions, but also the progressive elements of Caravaggio’s chiaroscuro and then Rubens’s dynamism, the school’s painting tends toward the supernatural: the highly subjective, even the irrational, made real to the senses. Of the school’s three leading painters, Cerano was the most complex, visionary, and affecting. His mature style features, and derives its practically existential meaning from, exaggerated contrast between enveloping darkness and celestial light, general monochrome and localized color, thin handling and fluid impasti, pervasive melancholy and momentary ecstasy. In this late picture, related in theme and principal motif to a monumental canvas of Saint Dominic Defeating the Albigensians at Cremona, these contrasts make the representation of militant faith haunting and universal. ", "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 other St. James (in storage) (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1032.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1032.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1032.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1032.tif", "IsPrimary" : "1", "_SurrogateID" : "2590", "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" : 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" : 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" : 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" : 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" : 16300, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16300", "Disp_Access_No" : "2017.1077", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1675-1680", "_Disp_Start_Dat" : "1675", "_Disp_End_Date" : "1680", "Disp_Title" : "Lot and his Daughters", "Alt_Title" : "", "Obj_Title" : "Lot and his Daughters", "Series_Title" : "", "Disp_Maker_1" : "Gregorio De Ferrari", "Sort_Artist" : "De Ferrari, Gregorio", "Disp_Dimen" : "43.1 cm x 83.8 cm (16 15/16 in. x 33 in.)", "Disp_Height" : "43.1 cm", "Disp_Width" : "83.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Extravagant and lyrical, Gregorio de Ferrari’s style was the principal alternative to Domencio Piola’s handsome manufacture in late-century Genoa. Based upon the example of Valerio Castello, and informed by the long study of Correggio, this style is characterized by concatenated form, iridescent color, and ecstatic sentiment. The full splendor of this style can be appreciated only in his ceiling decoration of palaces, villas and, with a mystical force, some churches in Genoa. Although Gregorio’s style is little known in this country, it is one of the most beautiful of the Baroque and one of the clearest predictions of 18th-century painting. The small size and oblong format of this canvas suggest an architectural function, probably as an over-door element. The calculated balance, relative stability, and general conception of the composition as a shallow relief temper Gregorio’s usual exuberance. This seems, however, compensated by the subtlety of interpretation. Having fled the destruction of Sodom, Lot dwelt in a cave with two daughters who proceeded to seduce him (Genesis 19:12-35). Here, the three appear a single being of soft limbs and rich stuffs and slow rhythms coursing around and through them. Their transgression is understated, exquisite, insinuating. Moreover, the recent cleaning of the painting has revealed the range, responsiveness, and personality of handling, from the broad, constructing strokes in the drapery to the rivuleting impasto in the fine description. This must be reckoned one of the great interpretations of the 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" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1077.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1077.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1077.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1077.tif", "IsPrimary" : "1", "_SurrogateID" : "2741", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16301, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16301", "Disp_Access_No" : "2017.1098", "_AccNumSort1" : "", "Disp_Create_DT" : "1640s", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1640", "Disp_Title" : "A Personification Holding a Book and a Candle", "Alt_Title" : "", "Obj_Title" : "A Personification Holding a Book and a Candle", "Series_Title" : "", "Disp_Maker_1" : "Michel Dorigny", "Sort_Artist" : "Dorigny, Michel", "Disp_Dimen" : "43.18 cm x 31.75 cm (17 in. x 12 1/2 in.)", "Disp_Height" : "43.18 cm", "Disp_Width" : "31.75 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on panel", "Support" : "", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "After early training in the workshop of the late Mannerist Lallement, Dorigny became a strict follower, as well as son-in-law, of Vouet. At times, especially during the 1640s, his style follows the master’s so closely as to risk confusion. Generally, it tends to be more abstract, harder in its description, and more superficial in its characterization. Dorigny was also Vouet’s preferred interpreter as a printmaker, producing some ninety reproductive engravings after the master’s compositions. This panel is a lovely example of Dorigny’s style, which is also to say of Vouet’s thriving Parisian workshop. Not only are its finish high and its craft refined, but its condition is superb. ", "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/2017.1098.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1098.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1098.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1098.tif", "IsPrimary" : "1", "_SurrogateID" : "2603", "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" : 16217, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16217", "Disp_Access_No" : "2017.1155", "_AccNumSort1" : "", "Disp_Create_DT" : "1620s", "_Disp_Start_Dat" : "1620", "_Disp_End_Date" : "1620", "Disp_Title" : "Landscape with Saint Jerome and Christ Baptizing Saints", "Alt_Title" : "", "Obj_Title" : "Landscape with Saint Jerome and Christ Baptizing Saints", "Series_Title" : "", "Disp_Maker_1" : "Pietro Paolo Bonzi, called Gobbo dei Carracci", "Sort_Artist" : "Gobbo dei Carracci, Pietro Paolo Bonzi, called", "Disp_Dimen" : "57.7 cm x 40.7 cm (22 11/16 in. x 16 in.)", "Disp_Height" : "57.7 cm", "Disp_Width" : "40.7 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Although little known, Bonzi was an early and distinctive protagonist of classical landscape painting in Rome. He began as a still life painter of Netherlandish inspiration and realist, Caravaggesque cast. Drawn into Annibale Carracci’s circle of Bolognese compatriots, he specialized in the kind of rationally ordered, firmly drawn, and incidentally populated landscape that had been invented by the master and coined by his pupil Domenichino. Referring to this stylistic relationship, his sobriquet means “hanger-on of the Carracci.” He did, however, work with other artists, collaborating on the backgrounds of frescoes by Agostino Tassi and some early works by the great High Baroque painter Pietro da Cortona. This is a fine example of Bonzi’s independent landscape paintings. Their style is distinguished by a composition of discrete, rather flat planes, a regular and static pattern of light and shadow, and even handling. The small scale of this work is also characteristic. Here, the introduction of classical structures and handsome, Carraccesque figures enhance the monumental effect and the noble feeling. ", "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/2017.1155.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1155.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1155.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1155.tif", "IsPrimary" : "1", "_SurrogateID" : "2585", "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" : 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" : 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" : 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" : 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" : 16390, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16390", "Disp_Access_No" : "2017.1201", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1632-1634", "_Disp_Start_Dat" : "1632", "_Disp_End_Date" : "1634", "Disp_Title" : "Sleeping Venus with Two Putti in a Landscape", "Alt_Title" : "", "Obj_Title" : "Sleeping Venus with Two Putti in a Landscape", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Lanfranco", "Sort_Artist" : "Lanfranco, Giovanni", "Disp_Dimen" : "66.68 cm x 100.33 cm (26 1/4 in. x 39 1/2 in.)", "Disp_Height" : "66.68 cm", "Disp_Width" : "100.33 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/2017.1201.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1201.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1201.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1201.tif", "IsPrimary" : "1", "_SurrogateID" : "2623", "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" : 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" : 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" : 14592, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14592", "Disp_Access_No" : "1991.104", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1677-before 1693", "_Disp_Start_Dat" : "1677", "_Disp_End_Date" : "1693", "Disp_Title" : "Mary Stuart II", "Alt_Title" : "", "Obj_Title" : "Mary Stuart II", "Series_Title" : "", "Disp_Maker_1" : "Nicolaes Maes", "Sort_Artist" : "Maes, Nicolaes", "Disp_Dimen" : "54 cm x 42.3 cm (21 1/4 in. x 16 5/8 in.)", "Disp_Height" : "54 cm", "Disp_Width" : "42.3 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "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" : "Dutch", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Portrait gallery or northern European room, low level (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.104.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.104.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.104.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.104.tif", "IsPrimary" : "1", "_SurrogateID" : "2807", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14591, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14591", "Disp_Access_No" : "1991.105", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1677-before 1693", "_Disp_Start_Dat" : "1677", "_Disp_End_Date" : "1693", "Disp_Title" : "William III of Orange", "Alt_Title" : "", "Obj_Title" : "William III of Orange", "Series_Title" : "", "Disp_Maker_1" : "Nicolaes Maes", "Sort_Artist" : "Maes, Nicolaes", "Disp_Dimen" : "54 cm x 42.3 cm (21 1/4 in. x 16 5/8 in.)", "Disp_Height" : "54 cm", "Disp_Width" : "42.3 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "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" : "Dutch", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Portrait gallery or northern European room, low level (FC:jb 4/2/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.105.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.105.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.105.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.105.tif", "IsPrimary" : "1", "_SurrogateID" : "2808", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16423, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16423", "Disp_Access_No" : "2017.1236", "_AccNumSort1" : "", "Disp_Create_DT" : "17th century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "Portrait of a Lady as Venus with Cupid", "Alt_Title" : "", "Obj_Title" : "Portrait of a Lady as Venus with Cupid", "Series_Title" : "", "Disp_Maker_1" : "Pierre Mignard", "Sort_Artist" : "Mignard, Pierre", "Disp_Dimen" : "80.01 cm x 63.5 cm (31 1/2 in. x 25 in.)", "Disp_Height" : "80.01 cm", "Disp_Width" : "63.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "An unidentified sitter poses as a personification of Venus, the goddess of love. Pearls adorn her hair, ears, and neck and remind us that she was a deity born from the sea. Her hand gesture calls attention to her son Cupid, the god of erotic love, who sits beside her on a plush red cushion. Notably absent are his bow and arrows, a wound from which induces uncontrollable desire. Pierre Mignard thus presents his sitter as a Venus in contemporary dress who has disarmed Cupid of his power in favor of a higher spiritual love. Mignard is quoted as saying, “Most women have no idea of what it means to be painted as they are; they have a mental image of the beauty they wish to resemble, and it is this image that they want copied, not their face.” The artist entertains the sitter’s narcissistic desires by fulfilling her fantasy.", "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" : "Portrait gallery (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1236.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1236.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1236.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1236.tif", "IsPrimary" : "1", "_SurrogateID" : "8863", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16485, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16485", "Disp_Access_No" : "2017.1237", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1657", "_Disp_Start_Dat" : "1652", "_Disp_End_Date" : "1662", "Disp_Title" : "Hagar and Ishmael in the Wilderness", "Alt_Title" : "", "Obj_Title" : "Hagar and Ishmael in the Wilderness", "Series_Title" : "", "Disp_Maker_1" : "Pier Francesco Mola", "Sort_Artist" : "Mola, Pier Francesco", "Disp_Dimen" : "44 cm x 54.3 cm (17 5/16 in. x 21 3/8 in.)", "Disp_Height" : "44 cm", "Disp_Width" : "54.3 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" : "Ranking adjusted from B to B/B+ (FC:jp 7/10/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1237.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1237.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1237.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1237.tif", "IsPrimary" : "1", "_SurrogateID" : "2628", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16523, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16523", "Disp_Access_No" : "2017.1256", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1650", "_Disp_Start_Dat" : "1645", "_Disp_End_Date" : "1655", "Disp_Title" : "Rachel Hiding Laban’s Idols", "Alt_Title" : "Lot’s Journey", "Obj_Title" : "Rachel Hiding Laban’s Idols", "Series_Title" : "", "Disp_Maker_1" : "Carlo Francesco Nuvolone", "Sort_Artist" : "Nuvolone, Carlo Francesco", "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 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" : "Ranking adjusted, in play (FC: jp 7/3/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1256.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1256.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1256.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1256.tif", "IsPrimary" : "1", "_SurrogateID" : "2752", "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" : 16119, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16119", "Disp_Access_No" : "2017.1281", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Landscape with a Bridge and Hunters", "Alt_Title" : "", "Obj_Title" : "Landscape with a Bridge and Hunters", "Series_Title" : "", "Disp_Maker_1" : "Pierre-Antoine Patel", "Sort_Artist" : "Patel, Pierre-Antoine", "Disp_Dimen" : "27.62 cm x 48.26 cm (10 7/8 in. x 19 in.)", "Disp_Height" : "27.62 cm", "Disp_Width" : "48.26 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" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1281.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1281.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1281.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1281.tif", "IsPrimary" : "1", "_SurrogateID" : "8865", "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" : 16200, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16200", "Disp_Access_No" : "2017.1288", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1647-1650", "_Disp_Start_Dat" : "1647", "_Disp_End_Date" : "1650", "Disp_Title" : "Bacchus and Ariadne", "Alt_Title" : "", "Obj_Title" : "Bacchus and Ariadne", "Series_Title" : "", "Disp_Maker_1" : "François Perrier", "Sort_Artist" : "Perrier, François", "Disp_Dimen" : "33.5 cm x 44 cm (13 3/16 in. x 17 5/16 in.)", "Disp_Height" : "33.5 cm", "Disp_Width" : "44 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" : "Similar to Louvre picture, Orpheus before Pluto & Proserpina, circa 1647-50 (inv. 7163) is close to Suida-Manning in scale & style.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1288.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1288.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1288.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1288.tif", "IsPrimary" : "1", "_SurrogateID" : "2755", "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" : 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" : 16424, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16424", "Disp_Access_No" : "2017.1324", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1627-1628", "_Disp_Start_Dat" : "1627", "_Disp_End_Date" : "1628", "Disp_Title" : "Arcadian Landscape", "Alt_Title" : "", "Obj_Title" : "Arcadian Landscape", "Series_Title" : "", "Disp_Maker_1" : "Circle of Nicolas Poussin", "Sort_Artist" : "Poussin, Circle of Nicolas", "Disp_Dimen" : "80.01 cm x 101.6 cm (31 1/2 in. x 40 in.)", "Disp_Height" : "80.01 cm", "Disp_Width" : "101.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting had caused considerable perplexity. Without question it was painted in Rome around 1630 by an ambitious artist who was both extending the development of classical landscape beyond Carracci and Domenichino and applying the lessons of earlier Venetian painting, of compositional device and warm opticality, that had so impressed Rome when, in 1598, the Aldobrandini family brought Titian’s great Bacchanals from Ferrara. No less, the painting represents a coalescing of just the type of ideal mythology that in the 1630s would become Poussin’s undisputed province and in turn a fundamental genre of European painting. A few scholars were willing to attribute this work to Poussin himself. Others, however, argued that it must be the work of a follower: its forms are insufficiently constructed; its blond palette, more typical of Poussin’s work of the mid 1630s, is incompatible with the likely date of the composition; and, most telling, its handling is too even, its finish too slick, for Poussin’s own hand at any stage. Very recently the matter has been settled. The identical composition, but rendered with the innate sense of structure, deep palette, and bold touch of Poussin’s early Roman activity has come to light in an English private collection. The Suida-Manning picture is thus proved to be a replica, probably by one of the circle of French painters who lived and worked with Poussin at just this moment. ", "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" : "Pair with Claude landscape (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1324.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1324.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1324.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1324.tif", "IsPrimary" : "1", "_SurrogateID" : "2641", "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" : 16358, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16358", "Disp_Access_No" : "2017.1333", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1625", "_Disp_Start_Dat" : "1620", "_Disp_End_Date" : "1630", "Disp_Title" : "Christ Child Playing with a Finch", "Alt_Title" : "", "Obj_Title" : "Christ Child Playing with a Finch", "Series_Title" : "", "Disp_Maker_1" : "Guido Reni", "Sort_Artist" : "Reni, Guido", "Disp_Dimen" : "53.7 cm x 63.3 cm (21 1/8 in. x 24 15/16 in.)", "Disp_Height" : "53.7 cm", "Disp_Width" : "63.3 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" : "Pair with Albani (FC:jb 4/2/15) Not in play as per Louis Waldman''s opinions (FC:jp 6/22/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1333.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1333.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1333.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1333.tif", "IsPrimary" : "1", "_SurrogateID" : "2759", "Image_Type" : "", "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" : 16373, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16373", "Disp_Access_No" : "2017.1379", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1625", "_Disp_Start_Dat" : "1620", "_Disp_End_Date" : "1630", "Disp_Title" : "Portrait of a Man", "Alt_Title" : "", "Obj_Title" : "Portrait of a Man", "Series_Title" : "", "Disp_Maker_1" : "Bernardo Strozzi", "Sort_Artist" : "Strozzi, Bernardo", "Disp_Dimen" : "60.2 cm x 48.8 cm (23 11/16 in. x 19 3/16 in.)", "Disp_Height" : "60.2 cm", "Disp_Width" : "48.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Known for his portraits, genre scenes, and religious works, Bernardo Strozzi was one of the most influential painters active in Genoa and Venice in the seventeenth century. Strozzi captured popular fashions in his portraiture. The sitter in the "Portrait of a Man" wears a doublet with buttons and a flat, white collar, which generally replaced the voluminous ruff. His long, wavy brown hair reflects a hairstyle in vogue at the time. From 1550 to 1650, beard fashions varied enough to include over fifty named styles. This sitter’s beard appears to be a variation on the “Roman T” or “hammer cut” beard, which included a straight moustache, a thin tuft of hair below the lower lip—the “handle” of the hammer—and perhaps a goatee. Beards were seen as symbols of masculinity as well as adulthood. ", "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" : "Portrait gallery (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1379.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1379.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1379.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1379.tif", "IsPrimary" : "1", "_SurrogateID" : "2656", "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" : 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" : 16380, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16380", "Disp_Access_No" : "2017.1432", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1618-1619", "_Disp_Start_Dat" : "1618", "_Disp_End_Date" : "1619", "Disp_Title" : "Portrait of a Young Man", "Alt_Title" : "", "Obj_Title" : "Portrait of a Young Man", "Series_Title" : "", "Disp_Maker_1" : "Circle of Simon Vouet", "Sort_Artist" : "Vouet, Circle of Simon", "Disp_Dimen" : "62.23 cm x 48.9 cm (24 1/2 in. x 19 1/4 in.)", "Disp_Height" : "62.23 cm", "Disp_Width" : "48.9 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, 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/2017.1432.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1432.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1432.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1432.tif", "IsPrimary" : "1", "_SurrogateID" : "3431", "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" : 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" : 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" : 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" : 16325, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16325", "Disp_Access_No" : "2017.1142", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1666-1672", "_Disp_Start_Dat" : "1666", "_Disp_End_Date" : "1672", "Disp_Title" : "Study for "Justice, Peace, and Truth"", "Alt_Title" : "", "Obj_Title" : "Study for "Justice, Peace, and Truth"", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Gaulli (Baciccio)", "Sort_Artist" : "Gaulli (Baciccio), Giovanni Battista", "Disp_Dimen" : "47.6 cm x 41.6 cm (18 3/4 in. x 16 3/8 in.)", "Disp_Height" : "47.6 cm", "Disp_Width" : "41.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This work depicts Justice, who holds her scales and sword, being kissed by Peace, with an olive branch. The bright orb at right is being held by the truncated figure of Truth. Together they reference Psalm 85:11–12: “Justice and Peace will kiss. Truth will spring from the earth; Justice will look down from heaven.” Here, Justice also presses her foot down on a winged demon with a serpent’s tail, a personification of vice or discord. Giovanni Battista Gaulli made several preparatory drawings depicting this theme for a fresco project commissioned by the Pamphili family for their church, Sant’Agnese 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" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1142.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1142.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1142.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1142.tif", "IsPrimary" : "1", "_SurrogateID" : "2732", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16239, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16239", "Disp_Access_No" : "2017.1141", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1680-1685", "_Disp_Start_Dat" : "1680", "_Disp_End_Date" : "1685", "Disp_Title" : "Rinaldo and Armida", "Alt_Title" : "", "Obj_Title" : "Rinaldo and Armida", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Gaulli (Baciccio)", "Sort_Artist" : "Gaulli (Baciccio), Giovanni Battista", "Disp_Dimen" : "38.1 cm x 48.26 cm (15 in. x 19 in.)", "Disp_Height" : "38.1 cm", "Disp_Width" : "48.26 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In a passage from Tarquato Tasso’s late 16th-century epic poem Gerusalemme liberata [Jerusalem Freed], the sorceress Armida puts the Christian hero Rinaldo to sleep in order to kill him, instead falls in love and instructs her nymphs to carry him to her palace. Reflecting the triumph of beauty and romantic love over rational resolve, the passage was a frequent subject of Baroque painting. Here it receives appropriately lyrical and enthralling expression. The style is that of Baciccio’s maturity, with its foreshortenings more pronounced, its rhythms more insistent, its palette even more coordinated than in the adjacent Study for ‘Justice, Peace, and Truth’. Although the scale and the approximate handling indicate that this painting was a preparatory sketch, and the literary subject corresponds to others fully developed by Baciccio, the composition is not known in any other version.", "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/2017.1141.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1141.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1141.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1141.tif", "IsPrimary" : "1", "_SurrogateID" : "2738", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16429, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16429", "Disp_Access_No" : "2017.1221", "_AccNumSort1" : "", "Disp_Create_DT" : "late 1690s", "_Disp_Start_Dat" : "1690", "_Disp_End_Date" : "1690", "Disp_Title" : "Mythological Figures Among Ruins", "Alt_Title" : "", "Obj_Title" : "Mythological Figures Among Ruins", "Series_Title" : "", "Disp_Maker_1" : "Alessandro Magnasco, and Clemente Spera", "Sort_Artist" : "Magnasco, and Clemente Spera, Alessandro", "Disp_Dimen" : "87.6 cm x 114.4 cm (34 1/2 in. x 45 1/16 in.)", "Disp_Height" : "87.6 cm", "Disp_Width" : "114.4 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" : "Medallion (FC:jb 4/2/15) Status due to condition issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1221.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1221.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1221.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1221.tif", "IsPrimary" : "1", "_SurrogateID" : "3432", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16393, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16393", "Disp_Access_No" : "2017.1304", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1650-1655", "_Disp_Start_Dat" : "1650", "_Disp_End_Date" : "1655", "Disp_Title" : "Adoration of the Shepherds", "Alt_Title" : "", "Obj_Title" : "Adoration of the Shepherds", "Series_Title" : "", "Disp_Maker_1" : "Domenico Piola", "Sort_Artist" : "Piola, Domenico", "Disp_Dimen" : "69.7 cm x 90.7 cm (27 7/16 in. x 35 11/16 in.)", "Disp_Height" : "69.7 cm", "Disp_Width" : "90.7 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 17th century. With the catalyst of Pietro da Cortona’s High Baroque cycles, in a manner so fluent as to seem automatic, Piola generalized the lessons of Rubens and Van Dyck’s dynamic naturalism and translated 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 sound in structure or deep in characterization, but they do convey a ease, even a joy, that are estimable and historically relevant. Although reduced to a small, horizontal format, this picture depends strictly on Giovanni Benedetto Castiglione’s great altarpiece of 1645 for San Luca in Genoa. The setting with a broken column symbolic of the Synagogue, the delightful incorporation of the bacchanalian shepherd and still-life motifs, and the fluid rhythm leading toward the radiant Child are virtual quotations. Soprani, the 17th-century biographer of the Genoese painters, writes that the young Piola was so taken with Castiglione that he learned to imitate his style. One of these imitations, “a very beautiful small panel of the Nativity,” was so successful that even experts equivocated about its authorship. Except for the material of its support, Soprani could have been referring to the present picture. Principally it is the slacker drawing, difficulty with space, as in the interval between the boys and the Virgin, and impatient execution in the background that identify it as a very early work by Piola. The picture is a landmark of the artist’s development and of Genoese painting on the threshold of its greatest achievments. ", "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/2017.1304.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1304.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1304.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1304.tif", "IsPrimary" : "1", "_SurrogateID" : "2637", "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" : 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" : "" } , ] }, ] }