{ "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" : 16375, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16375", "Disp_Access_No" : "2017.855", "_AccNumSort1" : "", "Disp_Create_DT" : "late 14th century", "_Disp_Start_Dat" : "1367", "_Disp_End_Date" : "1399", "Disp_Title" : "Saint Catherine of Alexandria", "Alt_Title" : "", "Obj_Title" : "Saint Catherine of Alexandria", "Series_Title" : "", "Disp_Maker_1" : "Anonymous Venetian", "Sort_Artist" : "Anonymous Venetian", "Disp_Dimen" : "62.2 cm x 33.02 cm (24 1/2 in. x 13 in.)", "Disp_Height" : "62.2 cm", "Disp_Width" : "33.02 cm", "Dimen_Extent" : "panel", "Medium" : "Tempera with gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.855.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.855.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.855.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.855.tif", "IsPrimary" : "1", "_SurrogateID" : "2666", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16096, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16096", "Disp_Access_No" : "2017.894", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1577", "_Disp_Start_Dat" : "1572", "_Disp_End_Date" : "1582", "Disp_Title" : "Sacrifice of Isaac", "Alt_Title" : "", "Obj_Title" : "Sacrifice of Isaac", "Series_Title" : "", "Disp_Maker_1" : "Jacopo Bassano (Jacopo da Ponte)", "Sort_Artist" : "Bassano (Jacopo da Ponte), Jacopo", "Disp_Dimen" : "26.2 cm x 33.6 cm (10 5/16 in. x 13 1/4 in.)", "Disp_Height" : "26.2 cm", "Disp_Width" : "33.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "On the grassy knoll of a mountain, Abraham prepares to carry out a divine order to sacrifice his son, Isaac, who kneels with his hands bound behind his back. Suddenly, an angel appears to stay Abraham’s knife-wielding hand, saying that God is satisfied by the proof of Abraham’s fear and reverence. Jacopo Bassano’s mastery of dynamic contours appears in the lively, varied lines of Abraham’s outstretched arm and the clouds and dark mountains echoing it. His expressive brushstrokes and his playful use of perspective, animated by the figures’ diverse postures, also demonstrate his confidence as a painter. This work is probably a copy of a background scene from Bassano’s popular series depicting the four seasons. To meet popular demand, the artist and his workshop created numerous versions of the series. In fact, previous scholarship suggested that this might be a fragment from a lost painting in the series. Close examination of the painting disproved this theory, however; the painting’s edges are mostly untouched and not cut from a larger canvas.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.894.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.894.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.894.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.894.tif", "IsPrimary" : "1", "_SurrogateID" : "2744", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16454, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16454", "Disp_Access_No" : "2017.895", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1542 - 1545", "_Disp_Start_Dat" : "1542", "_Disp_End_Date" : "1545", "Disp_Title" : "Saint John the Baptist", "Alt_Title" : "", "Obj_Title" : "Saint John the Baptist", "Series_Title" : "", "Disp_Maker_1" : "Jacopo Bassano (Jacopo da Ponte)", "Sort_Artist" : "Bassano (Jacopo da Ponte), Jacopo", "Disp_Dimen" : "109.22 cm x 71.76 cm (43 in. x 28 1/4 in.)", "Disp_Height" : "109.22 cm", "Disp_Width" : "71.76 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Cut out from a larger canvas, this painting represents John the Baptist turning his gaze toward the spectator. The saint’s truncated forearm and the direction of his pose, among other elements, suggest that this fragment once formed the right part of a composition, which likely featured the Madonna and Child in the center; there would have been another saint on the left. The farmhouses with thatched roofs in the background demonstrate the painter’s well-known tendency to incorporate rustic elements in religious paintings. The figure’s right eye, left knee, and left foot are reconstructions completed in 2009.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.895-post-Res.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.895-post-Res.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.895-post-Res.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.895-post-Res.tif", "IsPrimary" : "1", "_SurrogateID" : "6465", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16519, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16519", "Disp_Access_No" : "2017.913", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1428-29", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Madonna and Child", "Alt_Title" : "", "Obj_Title" : "Madonna and Child", "Series_Title" : "", "Disp_Maker_1" : "Circle of Michelino da Besozzo", "Sort_Artist" : "Besozzo, Circle of Michelino da", "Disp_Dimen" : "56.4 cm x 38.4 cm (22 3/16 in. x 15 1/8 in.)", "Disp_Height" : "56.4 cm", "Disp_Width" : "38.4 cm", "Dimen_Extent" : "panel", "Medium" : "Tempera with tooled gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with tooled gold leaf on wood panel", "Info_Page_Comm" : "Fashionable at the established courts of Europe around 1400, closely associated with miniature painting, the International Gothic style was at once traditional in its decorative elegance and more progressive in its emergent naturalism. In Milan, the leading figure of this style was Michelino da Besozzo, whose work is distinguished by an almost arbitrarily lyrical line and poignant characterization. The subject of the present picture is a favorite International Gothic type, the Madonna of Humility, in which a Virgin of appealing human aspect sits upon a cushion or the ground itself. This subject is interpreted with something of the suave rhythms and affecting expression of Michelino’s works. At the same time, the figures are more regular in construction, insistent in modeling, and literal in address than his. This same combination of characteristics, and probably the identical hand, are apparent in an important processional standard in Milan’s Museo del Duomo that can be dated 1429. Either the two pictures correspond to a later stage of Michelino’s development or, more likely, the style of a follower. Certainly they bridge the International Gothic at its purest and the earliest works of the school’s next great master, Vincenzo Foppa. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.913.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.913.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.913.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.913.tif", "IsPrimary" : "1", "_SurrogateID" : "2600", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16307, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16307", "Disp_Access_No" : "2017.914", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1500", "_Disp_Start_Dat" : "1495", "_Disp_End_Date" : "1505", "Disp_Title" : "Christ on the Road to Calvary", "Alt_Title" : "", "Obj_Title" : "Christ on the Road to Calvary", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Giovanni Ambrogio Bevilacqua", "Sort_Artist" : "Bevilacqua, Attributed to Giovanni Ambrogio", "Disp_Dimen" : "44.5 cm x 21.6 cm (17 1/2 in. x 8 1/2 in.)", "Disp_Height" : "44.5 cm", "Disp_Width" : "21.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Tempera on wood panel", "Support" : "", "Disp_Medium" : "Tempera on wood panel", "Info_Page_Comm" : "If not a significant agent in the development of Milanese painting, Bevilacqua does epitomize the complicated situation of that school at the close of the 15th century. On the one hand, through appropriations from more innovative compatriots like Foppa and Bergognone, his style reflects a wide range of progressive elements, from the leading painter in North Italy, Mantegna, to early Netherlandish painting. On the other, these appropriations are subsumed by the school’s traditional concerns with rich decoration and material splendor, and there is no sign of the influence of long-time resident Leonardo da Vinci. Praised by the early chroniclers of Milanese painting, Bevilacqua was nearly forgotten until his rediscovery as a coherent personality in recent decades. This panel confirms a painter of conservative cast but narrative gift and considerable refinement. The only example of his work in this country, it must have been served as part of a portable altarpiece for private devotion. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Needs more prominence (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.914.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.914.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.914.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.914.tif", "IsPrimary" : "1", "_SurrogateID" : "6462", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16418, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16418", "Disp_Access_No" : "2017.915.a", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1495-1500", "_Disp_Start_Dat" : "1495", "_Disp_End_Date" : "1500", "Disp_Title" : "Saint Jerome", "Alt_Title" : "", "Obj_Title" : "Saint Jerome", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Ambrogio Bevilacqua", "Sort_Artist" : "Bevilacqua, Giovanni Ambrogio", "Disp_Dimen" : "76 cm x 52.5 cm (29 15/16 in. x 20 11/16 in.)", "Disp_Height" : "76 cm", "Disp_Width" : "52.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Tempera with gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "Saints Augustine and Jerome are two of the fathers of the Western church who are venerated especially for their scholarly roles in laying the foundation of Christian thought. Jerome translated the Bible into Latin, and Augustine authored "Confessions" and "City of God." Emphasizing the two saints’ literary contributions, these paintings represent them engaged in writing. Their identification is reinforced by their attributes: Saint Augustine is wearing the habit of the Augustinian Order, while Saint Jerome is in his red cardinal’s robe and hat alongside a lion. The curvilinear form of the edges and the low viewpoint indicate that the paintings were most likely the upper corners of an altarpiece composed of multiple panels. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Farther away and higher up (FC:jb 4/2/15) Stays in, important and rare (FC 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.915.a.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.915.a.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.915.a.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.915.a.tif", "IsPrimary" : "1", "_SurrogateID" : "4814", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16419, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16419", "Disp_Access_No" : "2017.915.b", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1495-1500", "_Disp_Start_Dat" : "1495", "_Disp_End_Date" : "1500", "Disp_Title" : "Saint Augustine", "Alt_Title" : "Previously called "Saint Gregory"", "Obj_Title" : "Saint Augustine", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Ambrogio Bevilacqua", "Sort_Artist" : "Bevilacqua, Giovanni Ambrogio", "Disp_Dimen" : "76.2 cm x 57 cm (30 in. x 22 7/16 in.)", "Disp_Height" : "76.2 cm", "Disp_Width" : "57 cm", "Dimen_Extent" : "canvas", "Medium" : "Tempera with gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "Saints Augustine and Jerome are two of the fathers of the Western church who are venerated especially for their scholarly roles in laying the foundation of Christian thought. Jerome translated the Bible into Latin, and Augustine authored "Confessions" and "City of God." Emphasizing the two saints’ literary contributions, these paintings represent them engaged in writing. Their identification is reinforced by their attributes: Saint Augustine is wearing the habit of the Augustinian Order, while Saint Jerome is in his red cardinal’s robe and hat alongside a lion. The curvilinear form of the edges and the low viewpoint indicate that the paintings were most likely the upper corners of an altarpiece composed of multiple panels.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Farther away and higher up (FC:jb 4/2/15) Stays in, important and rare (FC 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.915.b.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.915.b.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.915.b.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.915.b.tif", "IsPrimary" : "1", "_SurrogateID" : "4815", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16297, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16297", "Disp_Access_No" : "2017.934", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1500", "_Disp_Start_Dat" : "1495", "_Disp_End_Date" : "1505", "Disp_Title" : "Madonna and Child", "Alt_Title" : "", "Obj_Title" : "Madonna and Child", "Series_Title" : "", "Disp_Maker_1" : "Follower of Bramantino (Bartolomeo Suardi)", "Sort_Artist" : "Bramantino (Bartolomeo Suardi), Follower of", "Disp_Dimen" : "43 cm x 35.5 cm (16 15/16 in. x 14 in.)", "Disp_Height" : "43 cm", "Disp_Width" : "35.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "This panel is a fine example of late 15th-century Milanese painting. While grounded in the ornamental style that had dominated the school before the arrival of Leonardo, and conditioned by early Netherlandish painting, it incorporates the geometric order that the most ambitious local painters were deducing from his art. In a major study, William Suida described it as an early work by Bramantino, the most cerebral and rigorous exponent of this kind of synthesis. It is much more likely by a master who also absorbed the charming, anecdotal style of another local, Ambrogio Bergognone, and anticipated the greatest native painter of the next generation, Bernardino Luini.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Possible condition issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.934.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.934.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.934.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.934.tif", "IsPrimary" : "1", "_SurrogateID" : "2679", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16082, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16082", "Disp_Access_No" : "2017.940", "_AccNumSort1" : "", "Disp_Create_DT" : "1490s", "_Disp_Start_Dat" : "1490", "_Disp_End_Date" : "1490", "Disp_Title" : "Supper at Bethany", "Alt_Title" : "", "Obj_Title" : "Supper at Bethany", "Series_Title" : "", "Disp_Maker_1" : "Bernardino Butinone", "Sort_Artist" : "Butinone, Bernardino", "Disp_Dimen" : "25.4 cm x 20.5 cm (10 in. x 8 1/16 in.)", "Disp_Height" : "25.4 cm", "Disp_Width" : "20.5 cm", "Dimen_Extent" : "panel", "Medium" : "Tempera", "Support" : "wood panel", "Disp_Medium" : "Tempera on wood panel", "Info_Page_Comm" : "Coming to the town of Bethany, Jesus and his disciples were invited to a supper in the house of Lazarus. When they sat down at the table, Mary Magdalene, sister of Lazarus, anointed Jesus' feet with costly perfume and wiped it with her hair. Considered to be a prefiguration of Jesus' death and burial, this story was one of the popular subjects in Christian art. The Blanton's painting belongs to a series of fifteen panels that illustrate important moments from the life of Jesus. As a whole, they would have formed a part of a large altarpiece and functioned as the Bible for those who could not read. In order to enhance the illusion of space, Bernardino Butinone constructs the scene using linear perspective that was developed earlier in the century. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15) Ranking adjusted from B to B+ (FC:jp 7/10/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.940.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.940.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.940.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.940.tif", "IsPrimary" : "1", "_SurrogateID" : "2764", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16035, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16035", "Disp_Access_No" : "2017.947", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1582-1600", "_Disp_Start_Dat" : "1582", "_Disp_End_Date" : "1600", "Disp_Title" : "The Holy Family with Saint Anne by a Fireplace", "Alt_Title" : "", "Obj_Title" : "The Holy Family with Saint Anne by a Fireplace", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Orazio Cambiaso", "Sort_Artist" : "Cambiaso, Attributed to Orazio", "Disp_Dimen" : "22.6 cm x 29.8 cm (8 7/8 in. x 11 3/4 in.)", "Disp_Height" : "22.6 cm", "Disp_Width" : "29.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "This is an apocryphal scene from the infancy of Christ. Such charming, anecdotal variations were inspired by the popularity of Netherlandish genre paintings and conditioned by the Counter- Reformation’s imperative that religious imagery engage the viewer. In his late devotional paintings, Luca Cambiaso often used nocturnal settings to increase the sense of intimacy and mystery, and his late drawings include many versions of this subject. The combination of these elements in the present painting has led some to attribute the work to Cambiaso himself. Yet, the uncertain relation between the figures and the heavy touch indicate that it is instead the work of a close follower, possibly his son, Orazio", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.947.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.947.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.947.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.947.tif", "IsPrimary" : "1", "_SurrogateID" : "5988", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16471, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16471", "Disp_Access_No" : "2017.974", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1565", "_Disp_Start_Dat" : "1560", "_Disp_End_Date" : "1570", "Disp_Title" : "Suicide of Lucretia", "Alt_Title" : "", "Obj_Title" : "Suicide of Lucretia", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "166.4 cm x 90.2 cm (65 1/2 in. x 35 1/2 in.)", "Disp_Height" : "166.4 cm", "Disp_Width" : "90.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : " ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Medallion, would help hold in middle (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.974.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.974.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.974.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.974.tif", "IsPrimary" : "1", "_SurrogateID" : "2580", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16451, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16451", "Disp_Access_No" : "2017.963", "_AccNumSort1" : "", "Disp_Create_DT" : "early 1570s", "_Disp_Start_Dat" : "1570", "_Disp_End_Date" : "1570", "Disp_Title" : "Ecce Homo", "Alt_Title" : "", "Obj_Title" : "Ecce Homo", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "108 cm x 98 cm (42 1/2 in. x 38 9/16 in.)", "Disp_Height" : "108 cm", "Disp_Width" : "98 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : ""Ecce Homo," a Latin phrase meaning “behold the man,” represents a scene from the Passion. Pontius Pilate presents Jesus, bound and crowned with thorns, before a crowd demanding his crucifixion. Here the tumult of the scene is replaced with a quiet, almost meditative atmosphere. The simplicity of narrative closely reflects the religious and artistic environment in which Luca Cambiaso worked. Faced with the rise of Protestantism in the sixteenth century, the Catholic Church carried out a series of reforms, now referred to as the Counter-Reformation. During this period, the Catholic Church encouraged artists to make decorous images with minimal distractions, like this painting, to communicate the Catholic doctrines effectively. Through its simplified composition, Cambiaso’s "Ecce Homo" invites the viewer to focus on the suffering of Jesus. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.963.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.963.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.963.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.963.tif", "IsPrimary" : "1", "_SurrogateID" : "2727", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17580, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17580", "Disp_Access_No" : "2005.151", "_AccNumSort1" : "", "Disp_Create_DT" : "early 1550s", "_Disp_Start_Dat" : "1550", "_Disp_End_Date" : "1550", "Disp_Title" : "Madonna and Child with the Young Saint John the Baptist", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with the Young Saint John the Baptist", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "92 cm x 80.5 cm (36 1/4 in. x 31 11/16 in.)", "Disp_Height" : "92 cm", "Disp_Width" : "80.5 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "This is an early work by Luca Cambiaso, the first great master of sixteenth-century Genoa and the virtual founder of its distinctive school of painting. The monumentality of the Virgin, the thrust of the Child, and the bold plasticity of every form suggest study with the followers of Michelangelo in mid-century Rome. At the same time, this powerful description has been circumscribed by Cambiaso’s exaggerated regularity of shapes, as in the figures’ heads, and embellished with the unnatural grace of their extremities, which recalls the works that Raphael’s follower Perino del Vaga had created for Genoa. Throughout, from the luscious frosting of the Virgin’s white sleeve to the exquisite filaments about the eyes, there is evident delight in the sheer matter of paint and possibilities of the brush. This virtuosity is conspicuous because of the work’s execution on panel and the excellent preservation of most of its surface. The painting demonstrates the young artist’s startling ambition, explains his first synthesis of influences, and predicts his place among the major figures of Mannerism. The Suida-Manning Collection includes six paintings and at least two dozen autograph drawings by Cambiaso. These represent the most significant holdings of his work outside Genoa. Preceding the earliest Suida-Manning picture by some fifteen years, and the only example on panel, this painting is the cornerstone of the entire group.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase as a gift of the Cain Foundation in honor of Charmaine Hooper Denius, 2005", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Important moment in early Cambiaso (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.151.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.151.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.151.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.151.tif", "IsPrimary" : "1", "_SurrogateID" : "3061", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.151_frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.151_frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.151_frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.151_frame.tif", "IsPrimary" : "0", "_SurrogateID" : "3063", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16443, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16443", "Disp_Access_No" : "2017.964", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1569", "_Disp_Start_Dat" : "1564", "_Disp_End_Date" : "1574", "Disp_Title" : "Esther and Ahasuerus", "Alt_Title" : "", "Obj_Title" : "Esther and Ahasuerus", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "98.4 cm x 88.5 cm (38 3/4 in. x 34 13/16 in.)", "Disp_Height" : "98.4 cm", "Disp_Width" : "88.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Before the mid 16th century, Genoese patrons generally satisfied their artistic needs by importing works or artists themselves from elsewhere in Italy or even the North. The activity of Luca Cambiaso represents the foundation of a native and highly progressive school of painting. First trained locally by his father, Cambiaso then went to Rome, where he assimilated the current style based on Michelangelo’s painting. Returning to Genoa, he cultivated the geometry and ideality that underpin that style. This led to the development of what is perhaps the most abstract and intellectualized style of the entire Italian Renaissance. Its characteristics are an extreme simplification of form, opacity of expression, broadness of execution, and modality according to the subject and function of the painting. Rendering the Jewish queen’s courageous intercession with the Persian king to save her people, this painting is an outstanding example of Cambiaso’s most conventionally beautiful mode. Expressing the powerful conjunction of physical allure and moral force, the subject was a favorite from around this time through the 18th century. Typical of Cambiaso’s art, the composition is spare, schematic, and still. True to this mode, and appropriate to the subject, the description is relatively generous, the touch, especially in the ornament, delicate, and the tenor gentle. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Higher up (FC:jb 4/2/15) Ranking adjusted (JP 5/19/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.964.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.964.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.964.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.964.tif", "IsPrimary" : "1", "_SurrogateID" : "2578", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16186, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16186", "Disp_Access_No" : "2017.996", "_AccNumSort1" : "", "Disp_Create_DT" : "1540s", "_Disp_Start_Dat" : "1540", "_Disp_End_Date" : "1540", "Disp_Title" : "Holy Family with the Young Saint John the Baptist and an Angel", "Alt_Title" : "", "Obj_Title" : "Holy Family with the Young Saint John the Baptist and an Angel", "Series_Title" : "", "Disp_Maker_1" : "Girolamo da Carpi", "Sort_Artist" : "Carpi, Girolamo da", "Disp_Dimen" : "30.99 cm x 43.18 cm (12 3/16 in. x 17 in.)", "Disp_Height" : "30.99 cm", "Disp_Width" : "43.18 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "This panel is characteristic of the late development of this artist and of Ferrarese painting toward mid-century. While active in Bologna in the 1520s, Girolamo had proved one of the first and most successful artists in the region to assimilate currents of the most advanced Central Italian style, particularly from Giulio Romano after his relocation in nearby Mantua. Back in his native Ferrara over the following two decades, the power and distinctiveness of Girolamo’s first manner were overtaken by a more precious and formulaic elegance. In typical, small-scale religious works like the present one, there are still the figure types and iridescent passages recalling Romano’s influence, but the description is less coordinated, the color more local, and the execution more cautious. This same development, from progressive experiment toward conservative production, can also be observed in the later work of the city’s other principal painters, Garofalo and the Dossi brothers.", "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 potentially be used in a double hang (FC:jb 4/2/15) Rating provisional (JP 4/16/15) Ranking adjusted, in play (FC: jp 7/3/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.996.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.996.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.996.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.996.tif", "IsPrimary" : "1", "_SurrogateID" : "2583", "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" : 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" : 16341, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16341", "Disp_Access_No" : "2017.1035", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1737-1738", "_Disp_Start_Dat" : "1737", "_Disp_End_Date" : "1738", "Disp_Title" : "Young Peasant Woman Holding a Wine Flask", "Alt_Title" : "", "Obj_Title" : "Young Peasant Woman Holding a Wine Flask", "Series_Title" : "", "Disp_Maker_1" : "Giacomo Ceruti (Il Pitocchetto)", "Sort_Artist" : "Ceruti (Il Pitocchetto), Giacomo", "Disp_Dimen" : "49 cm x 39.5 cm (19 5/16 in. x 15 9/16 in.)", "Disp_Height" : "49 cm", "Disp_Width" : "39.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Giacomo Ceruti specialized in portraiture, depicting both conventional sitters and anonymous subjects from the periphery of society. This painting exemplifies the latter. Employing the visual idioms reserved for the portraits of the upper class, the artist bestows individuality and dignity on the peasant woman, her simple garments, and heavy hands. Her unaffected, confident gaze and pose anticipate the egalitarian spirit of the next century. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Needs ranking Charming portrait (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1035.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1035.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1035.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1035.tif", "IsPrimary" : "1", "_SurrogateID" : "2737", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16434, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16434", "Disp_Access_No" : "2017.1036", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1541", "_Disp_Start_Dat" : "1536", "_Disp_End_Date" : "1546", "Disp_Title" : "The Coronation of the Virgin", "Alt_Title" : "", "Obj_Title" : "The Coronation of the Virgin", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista della Cerva", "Sort_Artist" : "Cerva, Giovanni Battista della", "Disp_Dimen" : "87 cm x 71.5 cm (34 1/4 in. x 28 1/8 in.)", "Disp_Height" : "87 cm", "Disp_Width" : "71.5 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Jesus crowns her mother Mary as God the Father gazes down from above and the Holy Spirit descends in the form of a dove. Playful cherubim in the wreath of cloud add to the jubilant mood. This theme represents the final episode in the life of Mary, when, according to the tradition of the Catholic Church, she was brought to heaven after death and crowned as Queen of Heaven. In order to set the scene for the celestial event, Giovanni Battista della Cerva creates an abstract space relying on colors associated with heaven (blue) and eternity (gold). ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Lost in corner, needs more of a relationship with objects around it (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1036.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1036.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1036.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1036.tif", "IsPrimary" : "1", "_SurrogateID" : "2740", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 16385, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16385", "Disp_Access_No" : "2017.1073", "_AccNumSort1" : "", "Disp_Create_DT" : "1700s", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1700", "Disp_Title" : "Saint Michael with Other Saints", "Alt_Title" : "", "Obj_Title" : "Saint Michael with Other Saints", "Series_Title" : "", "Disp_Maker_1" : "Andrea D'Aste", "Sort_Artist" : "D'Aste, Andrea", "Disp_Dimen" : "63.4 cm x 49.6 cm (24 15/16 in. x 19 1/2 in.)", "Disp_Height" : "63.4 cm", "Disp_Width" : "49.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1073.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1073.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1073.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1073.tif", "IsPrimary" : "1", "_SurrogateID" : "4839", "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" : 16229, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16229", "Disp_Access_No" : "2017.1369", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1516", "_Disp_Start_Dat" : "1511", "_Disp_End_Date" : "1521", "Disp_Title" : "Portrait of a Man", "Alt_Title" : "", "Obj_Title" : "Portrait of a Man", "Series_Title" : "", "Disp_Maker_1" : "Sebastiano del Piombo", "Sort_Artist" : "Sebastiano del Piombo", "Disp_Dimen" : "36.4 cm x 25.9 cm (14 5/16 in. x 10 3/16 in.)", "Disp_Height" : "36.4 cm", "Disp_Width" : "25.9 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Although no information on the sitter exists, the individualized facial features and contemporary dress indicate that this is a portrait. The painting was not, however, originally of this size and format. Examination of the panel shows that it was cut down from a much larger composition and later balanced with the addition of a narrow strip along the right side. It is possible that the original painting represented the sitter in three-quarter length against a dark green background, not unlike the "Portrait of a Humanist" from around 1520 (National Gallery of Art, Washington, D.C.). One of the most celebrated painters of the Italian Renaissance, Sebastiano del Piombo combined the resplendent colors characteristic of Venetian painting with clear modeling of form prized by central Italian artists. Applied to portraiture, this combination resulted in a particularly moving likeness of an individual. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Potentially next to Cambiaso (FC:jb 4/2/15) Potentially in display case on the floor or portrait gallery (FC:jb 4/2/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1369.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1369.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1369.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1369.tif", "IsPrimary" : "1", "_SurrogateID" : "2652", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16573, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16573", "Disp_Access_No" : "2002.2824", "_AccNumSort1" : "", "Disp_Create_DT" : "1570s", "_Disp_Start_Dat" : "1570", "_Disp_End_Date" : "1570", "Disp_Title" : "Three Maries at the Tomb", "Alt_Title" : "", "Obj_Title" : "Three Maries at the Tomb", "Series_Title" : "", "Disp_Maker_1" : "Jacopo Empoli", "Sort_Artist" : "Empoli, Jacopo", "Disp_Dimen" : "181.7 cm x 150.5 cm (71 9/16 in. x 59 1/4 in.)", "Disp_Height" : "181.7 cm", "Disp_Width" : "150.5 cm", "Dimen_Extent" : "sight", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "According to the Gospels, Mary Magdalene, Mary, the mother of James, and Mary Salome went to Jesus’ tomb, only to find that his body was no longer there. To the puzzled women appeared an angel, clothed in a bright white robe, who told them that Jesus had risen from death. This painting captures the dramatic moment with remarkable clarity. The monumental scale of the figures and the simplified composition draw the viewer to the scene. The three women’s facial expressions convey perplexity and amazement, and the angel’s parted lips and gesture animate his role as the messenger of the exciting news. To elucidate the angel’s message, the artist inserts another scene in the background—Jesus greeting the women who are on their way to Galilee to announce his resurrection to his disciples. Faced with the challenges posed by the Protestants in the sixteenth and seventeenth centuries, the Catholic Church encouraged such narrative clarity in art in order to communicate important doctrines effectively. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Blanton Ball Purchase, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2824.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2824.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2824.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2824.tif", "IsPrimary" : "1", "_SurrogateID" : "1979", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16448, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16448", "Disp_Access_No" : "2017.1137", "_AccNumSort1" : "", "Disp_Create_DT" : "mid 16th century", "_Disp_Start_Dat" : "1533", "_Disp_End_Date" : "1566", "Disp_Title" : "Portrait of a Gentleman, Standing Three-quarter Length, in Armor, Beside a Table", "Alt_Title" : "", "Obj_Title" : "Portrait of a Gentleman, Standing Three-quarter Length, in Armor, Beside a Table", "Series_Title" : "", "Disp_Maker_1" : "Gervasio Gatti", "Sort_Artist" : "Gatti, Gervasio", "Disp_Dimen" : "100.97 cm x 79.69 cm (39 3/4 in. x 31 3/8 in.)", "Disp_Height" : "100.97 cm", "Disp_Width" : "79.69 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Portrait room (FC:jb 4/2/15) Ranking adjusted (JP 5/19/15) Ranking confirmed (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1137.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1137.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1137.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1137.tif", "IsPrimary" : "1", "_SurrogateID" : "7755", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16036, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16036", "Disp_Access_No" : "2017.1146", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1390-1395", "_Disp_Start_Dat" : "1390", "_Disp_End_Date" : "1395", "Disp_Title" : "Saint Bernard", "Alt_Title" : "", "Obj_Title" : "Saint Bernard", "Series_Title" : "", "Disp_Maker_1" : "Niccolò di Pietro Gerini", "Sort_Artist" : "Gerini, Niccolò di Pietro", "Disp_Dimen" : "22.6 cm x 25 cm (8 7/8 in. x 9 13/16 in.)", "Disp_Height" : "22.6 cm", "Disp_Width" : "25 cm", "Dimen_Extent" : "canvas", "Medium" : "Tempera with gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Could potentially be used for a double hang (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1146.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1146.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1146.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1146.tif", "IsPrimary" : "1", "_SurrogateID" : "2612", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1146_with_frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1146_with_frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1146_with_frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1146_with_frame.tif", "IsPrimary" : "0", "_SurrogateID" : "2613", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 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" : 16210, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16210", "Disp_Access_No" : "2017.1283", "_AccNumSort1" : "", "Disp_Create_DT" : "1717", "_Disp_Start_Dat" : "1717", "_Disp_End_Date" : "1717", "Disp_Title" : "Justice Fulminating the Vices", "Alt_Title" : "", "Obj_Title" : "Justice Fulminating the Vices", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Antonio Pellegrini", "Sort_Artist" : "Pellegrini, Giovanni Antonio", "Disp_Dimen" : "34.6 cm x 32.3 cm (13 5/8 in. x 12 11/16 in.)", "Disp_Height" : "34.6 cm", "Disp_Width" : "32.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Giovanni Antonio Pellegrini represents eighteenth-century Venetian painting at its most exuberant. He was first trained in Milan with the idiosyncratic Paolo Pagani, but his style depends more on the sensuous and decorative aspects of Sebastiano Ricci. Pellegrini’s drawing is broad and soft, his palette warm and pastel, and his paint handling dense and fluid. Defying gravity, bordering on the caricatural, this painterly virtuosity was a tremendous success across Europe, with the artist called to execute significant fresco cycles and numerous canvases in England, France, and Germany. During a year-long sojourn in Antwerp, Pellegrini carried out three major decorative projects. This painting is an unpublished oil sketch for one of these, a much-admired canvas for the ceiling of the Salle du Petit Collège in the city’s town hall. Appropriate to that setting, it represents the figures of Justice and Prudence crushing two male figures identifiable as Avarice and Deceit. Phosphorescent in color, practically sculpted in paint, this sketch dramatizes the material properties for which Pellegrini was so highly regarded. These properties are conspicuous in the wake of a recent cleaning and relining of the canvas. The Suida-Manning Collection includes two other paintings by Pellegrini: a comparably rich, half-length figure of Bellona from around 1713–1714, and a more summary Venus and Cupid, which may have come from a decorative ensemble. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Frame takes away from object Impressive brushwork Strong contrast between light and dark (FC:jb 4/6/15) Possible medallion hang with two Pellegrinis in middle, with this lower (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1283.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1283.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1283.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1283.tif", "IsPrimary" : "1", "_SurrogateID" : "2634", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 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" : 17378, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17378", "Disp_Access_No" : "2005.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1595-1596", "_Disp_Start_Dat" : "1595", "_Disp_End_Date" : "1596", "Disp_Title" : "Visitation", "Alt_Title" : "", "Obj_Title" : "Visitation", "Series_Title" : "", "Disp_Maker_1" : "Camillo Procaccini", "Sort_Artist" : "Procaccini, Camillo", "Disp_Dimen" : "213 cm x 146 cm (83 7/8 in. x 57 1/2 in.)", "Disp_Height" : "213 cm", "Disp_Width" : "146 cm", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Mary glides into the scene as the sunlight before dusk enriches the palette with a golden vibrancy. With Jesus in her womb, she will spend the next three months with her cousin, Elizabeth, who is six months pregnant. At the sound of Mary’s voice, Elizabeth is filled with the Holy Spirit as the child in her womb leaps for joy. While Mary’s husband Joseph is not present in the scripture, he appears to the right of the Virgin as a narrative device to evidence Zacharias’s muteness. Because Zacharias doubted his wife’s ability to conceive, the angel Gabriel punished his lack of faith by rendering him mute until the birth of his son, John the Baptist. Here, Zacharias gestures his salutations to Joseph, whose furrowed gaze is troubled by his lack of speech. The Visitation is a popular scene from the life of the Virgin, having been depicted by Camillo Procaccini numerous times. A preparatory drawing for the present piece is kept at the Biblioteca Ambrosiana in Milan. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Suzan and Julius Glickman, M.K. Hage, Jr., Derek Johns, Lawrence Lawver, Susan Thomas, Julia Wilkinson, and Jimmy and Jessica Younger, 2005", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.33.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.33.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.33.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.33.tif", "IsPrimary" : "1", "_SurrogateID" : "2952", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 16462, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16462", "Disp_Access_No" : "2017.1339", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1712-1716", "_Disp_Start_Dat" : "1712", "_Disp_End_Date" : "1716", "Disp_Title" : "Flora", "Alt_Title" : "", "Obj_Title" : "Flora", "Series_Title" : "", "Disp_Maker_1" : "Sebastiano Ricci", "Sort_Artist" : "Ricci, Sebastiano", "Disp_Dimen" : "125.3 cm x 153.7 cm (49 5/16 in. x 60 1/2 in.)", "Disp_Height" : "125.3 cm", "Disp_Width" : "153.7 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Flora was the goddess of flowers who had previously been a nymph by the name of Chloris, known for her sensuous beauty. Ovid’s "Fasti" (8 CE) describes how she was seduced by Zephyrus, the Greek god of the west wind and harbinger of spring, and became his wife. This work captures the moment just before their encounter. Unnoticed by Flora, Zephyrus approaches her from behind, pointing at his future wife and cautioning silence to another putto. At the right, an urn spills over with flowers that celebrate their namesake, Flora. The pose of the goddess makes reference to that of the Crouching Venus, a Hellenistic sculpture type that was repeated in ancient Roman statuary and in Renaissance prints. In addition to the classical theme and composition, Sebastiano Ricci makes full use of the rich colors and free brushwork typical of Venetian painting to render the lush beauty of blossoms and youthful figures. Ricci likely painted this work for a private patron when he was active in London and Paris.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, with support from The Cain Foundation in memory of Effie Marie Cain, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Saved by incredible floral display and size Size and flowers charming; subject matter problematic (particularly the flowers, see Douglas''s research) Condition issues because you can see the ghost of the figure, muddy cloud at top, possibly cut at the top If we do a medallion hang in corner gallery, visitor should see this from much higher up, consider as the centerpiece of medallion (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1339.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1339.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1339.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1339.tif", "IsPrimary" : "1", "_SurrogateID" : "2645", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14900, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14900", "Disp_Access_No" : "1984.54", "_AccNumSort1" : "", "Disp_Create_DT" : "mid 1570s", "_Disp_Start_Dat" : "1570", "_Disp_End_Date" : "1570", "Disp_Title" : "Rebecca and Eliezer at the Well", "Alt_Title" : "", "Obj_Title" : "Rebecca and Eliezer at the Well", "Series_Title" : "", "Disp_Maker_1" : "Santi di Tito", "Sort_Artist" : "Santi di Tito", "Disp_Dimen" : "351 cm x 258.1 cm (138 3/16 in. x 101 5/8 in.)", "Disp_Height" : "351 cm", "Disp_Width" : "258.1 cm", "Dimen_Extent" : "frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Santi di Tito was the first and most important Florentine painter to reform the dominant, Mannerist style of Vasari and his circle. He was himself schooled in that style, its Roman equivalent, and especially the work of Bronzino, but even his earliest paintings show a reaction against its complex artifice and a return to the simpler compositions and clearer rhetoric of the High Renaissance and Raphael in particular. Later, stimulated by Venetian painting, Santi’s added to these deliberately conservative schemes a more naturalistic color and atmospheric light that were new to Florentine painting. His works after around 1570 represent the school’s best examples of Counter Reformation style and best predictions of the early Baroque. Many of the principal painters of the next generation would come from his workshop. Sent by Abraham to find a wife for Isaac, Eliezar came upon Rebecca, who offered him and his camels drink in the predicted sign of the right woman (Genesis 25: 46). This painting renders the following moment as Eliezar explains to Rebecca her destiny and his attendants ready gifts in betrothal, but she for the time being resists. The subject, large size, low viewpoint, and generally broad handling of this painting indicate that it was created as an altarpiece, probably on an aisle or in a side chapel of a major church. Santi contributed very comparable works to programs for the renovation of the Florentine churches of Santa Croce and Santa Maria Novella. Characteristic are the painting’s relatively simple organization, plain exposition, and quiet dignity, while the Venetian influence is pronounced in the diagonal compositional structure, fused color, and coherent illumination. This is a rare kind of work outside Italy and a major example of Santa’s early maturity . ", "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" : "Ranking is provisional (FC:jb 4/2/15) Could potentially be displayed at the top of the stairs outside of the gallery as a lead-in (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.54.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.54.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.54.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.54.tif", "IsPrimary" : "1", "_SurrogateID" : "1299", "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" : 16475, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16475", "Disp_Access_No" : "2017.1372", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1390-1395", "_Disp_Start_Dat" : "1390", "_Disp_End_Date" : "1395", "Disp_Title" : "Triptych", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with Christ in the Sepulchre (center panel); Saint Peter and the Archangel Gabriel (left panel); Saint Paul and the Virgin Annunciate (right panel)", "Series_Title" : "", "Disp_Maker_1" : "Simone dei Crocifissi (Simone da Bologna)", "Sort_Artist" : "Simone dei Crocifissi (Simone da Bologna)", "Disp_Dimen" : "60.2 cm x 47.3 cm (23 11/16 in. x 18 5/8 in.)", "Disp_Height" : "60.2 cm", "Disp_Width" : "47.3 cm", "Dimen_Extent" : "overall", "Medium" : "Tempera with gold leaf", "Support" : "wood panel", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "Normalizing the style of his brilliant teacher, Vitale da Bologna, Simone became the leading painter in Bologna in the second half of the 14th century. His appellation owes to his execution of several monumental depictions of the Crucifixion for major churches in that city. By the 1360s, having built his reputation, he added small-scale polyptychs for private devotion as another specialty. This painting offers a particularly efficient synopsis of the principal mysteries and foundation of the Christian church. The dark underpainting, which heightens contrasts and modeling in the flesh tones, the delicate drawing, and the relatively loose application of paint are characteristic of the Bolognese school of the period. And the prosaic charm and accessibility of the personalities is typical of Simone’s style. Exceptional, however, is the condition of this work, with the paint surface practically undisturbed, the gold leaf revealing its original patterns of application, and even the complex finials of the frame unrestored. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Could be out on the floor in display case to showcase back (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1372.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1372.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1372.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1372.tif", "IsPrimary" : "1", "_SurrogateID" : "2653", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/526.1999_black_bkgnd.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/526.1999_black_bkgnd.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/526.1999_black_bkgnd.tif", "IIIF_URL": "http://iiif.gallerysystems.com/526.1999_black_bkgnd.tif", "IsPrimary" : "0", "_SurrogateID" : "3938", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1372-back.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1372-back.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1372-back.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1372-back.tif", "IsPrimary" : "0", "_SurrogateID" : "9186", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 16205, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16205", "Disp_Access_No" : "2017.1400", "_AccNumSort1" : "", "Disp_Create_DT" : "mid 1770s", "_Disp_Start_Dat" : "1770", "_Disp_End_Date" : "1770", "Disp_Title" : "The Storyteller", "Alt_Title" : "", "Obj_Title" : "The Storyteller", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Domenico Tiepolo", "Sort_Artist" : "Tiepolo, Giovanni Domenico", "Disp_Dimen" : "33.8 cm x 57.1 cm (13 5/16 in. x 22 1/2 in.)", "Disp_Height" : "33.8 cm", "Disp_Width" : "57.1 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Standing on a chair before a crowd in a piazza, a storyteller points to a portable image that helps illustrate his story. The baroque guitar on his back and the triangle in his female assistant's hand suggest that their performance also involved music. Not everyone is absorbed in his story, however. The young lady in a bright orange dress turns her head to respond to the man in a mask, whose suspicious intentions seem to have been noticed by the wary dog in the foreground. The diverse gestures, facial expressions, and colorful attire of the audience offer a glimpse of a popular carnival activity in eighteenth-century Venice. The low viewpoint and the long horizontal format help the viewer to witness the event at the eye level of the depicted figures, which adds to the sense of reality of the painted scene.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Problematic but keeping in (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1400.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1400.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1400.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1400.tif", "IsPrimary" : "1", "_SurrogateID" : "2661", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16449, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16449", "Disp_Access_No" : "2017.1419", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1585", "_Disp_Start_Dat" : "1580", "_Disp_End_Date" : "1590", "Disp_Title" : "The Annunciation", "Alt_Title" : "", "Obj_Title" : "The Annunciation", "Series_Title" : "", "Disp_Maker_1" : "Workshop of Paolo Veronese", "Sort_Artist" : "Veronese, Workshop of Paolo", "Disp_Dimen" : "104.5 cm x 82.9 cm (41 1/8 in. x 32 5/8 in.)", "Disp_Height" : "104.5 cm", "Disp_Width" : "82.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Of the great Venetian painters of the sixteenth century, Paolo Veronese was the most systematic and subtle in exploring the action, formal implications, and even expressive meanings of light upon color. Early in his development, the forms had been quite arbitrary and the result stylish but implausible. Steadily, his design was regularized according to classical models, his palette reached an unprecedented optical range, and his light became naturalistically descriptive. A small altarpiece probably for private devotion, this picture sets the Virgin and the archangel Gabriel in a handsome loggia, like that of an actual villa by Palladio, with whom the artist often collaborated. It is one of numerous late versions of the subject, with no sign of the workshop participation that had become frequent by then. The highlights have lost little of their energy, coursing across the surfaces and infusing the work with a metaphoric vitality. The figures, however, have been simplified in shape, their cadence slowed and their gesture subdued. And the palette is relatively restricted and uniform in value. In such paintings, the heroic splendor of the artist’s mature style yields to something less calculated and more reflective. The Suida-Manning Collection includes two other paintings from the same period, each a fragment from a larger composition. The composition depends upon a painting by Tintoretto. Infrared examination by Stephen Gritt (Feb. 2010) revealed no variation between underdrawing and execution. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1419.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1419.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1419.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1419.tif", "IsPrimary" : "1", "_SurrogateID" : "2668", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16378, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16378", "Disp_Access_No" : "2017.1453", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1750-1755", "_Disp_Start_Dat" : "1750", "_Disp_End_Date" : "1755", "Disp_Title" : "Young Noble Couple Playing Cards on a Terrace with Attendants", "Alt_Title" : "", "Obj_Title" : "Young Noble Couple Playing Cards on a Terrace with Attendants", "Series_Title" : "", "Disp_Maker_1" : "Francesco Zugno", "Sort_Artist" : "Zugno, Francesco", "Disp_Dimen" : "61.6 cm x 75.57 cm (24 1/4 in. x 29 3/4 in.)", "Disp_Height" : "61.6 cm", "Disp_Width" : "75.57 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Zugno was one of the closest and best followers of Giovanni Battista Tiepolo. His first training was with Sebastiano Ricci, but completely determining of his style was his long collaboration with the elder Tiepolo. Although his juvenile works have often been confused with the master’s, Zugno’s mature style is readily distinguished by its more delicate description, soft contour, and sweet color. Not just due to temper, this gentle and elegant manner probably reflects some knowledge of the school of Watteau. This lovely picture renders a young couple playing cards under the supervision of an older couple – her guardians? – and with the service of two pages. In such a context, the game serves as a metaphor for courtship. Formally, the picture depends upon Tiepolo’s style of the late 1740s and 1750s. In composition it may be compared with Tiepolo’s Banquet of Cleopatra in Moscow (1747), while in figural rhythm and lightening palette it recalls his frescoes of Henry III in Paris (1750) and canvases of Rinaldo and Armida in Chicago (1755). At just this time, 1754, Zugno was executing a History of Cleopatra in fresco for the Villa Soderini at Nervesa (practically destroyed in the Second World War), and would have been consulting the master’s recent history paintings closely. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1453.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1453.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1453.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1453.tif", "IsPrimary" : "1", "_SurrogateID" : "2676", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16377, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16377", "Disp_Access_No" : "2017.1402", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1585-1590", "_Disp_Start_Dat" : "1585", "_Disp_End_Date" : "1590", "Disp_Title" : "Portrait of a Gentleman", "Alt_Title" : "", "Obj_Title" : "Portrait of a Gentleman", "Series_Title" : "", "Disp_Maker_1" : "Domenico Tintoretto", "Sort_Artist" : "Tintoretto, Domenico", "Disp_Dimen" : "61.5 cm x 49.8 cm (24 3/16 in. x 19 5/8 in.)", "Disp_Height" : "61.5 cm", "Disp_Width" : "49.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The dynamic composition, mobile light, and inherent expressiveness of the Venetian tradition were carried to their extreme in the painting of Jacopo Tintoretto. However arbitrary his compositions and complicated his devices, their visual energy and the viewer’s visceral sensation return to inform the ostensible subject. In this sense his work represents both the height of a distinctively Venetian Mannerism and a critical source of the Baroque, Rubens’s work in particular. So vital and economical, this style lent itself to portraiture. At their best, Tintoretto’s portraits combine audacious painterliness and powerful characterization. Often, due to the intervention of assistants, they also appear formulaic and unfelt. This portrait, by Jacopo’s eldest son, is an extraordinary example. The drawing is unusually firm, the surface compact, and the light varied, from the glistening corner of the sitter’s eye to the faint glow about his head. This description of a very specific appearance is matched by the psychology, not just generically present but momentary and penetrating. During the 1580s Agostino and Annibale Carracci traveled frequently to Venice and assimilated the school’s most advanced developments: color and classicizing form from Paolo Veronese, and of course dynamic and light from Jacopo Tintoretto. This painting involves the opposite phenomenon: Domenico Tintoretto’s response to the revolutionary experiments of the Carracci. It joins their work on the threshold of the Baroque. ", "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" : "Circle of Jacopo Tintoretto, "Portrait of a Bearded Middle-Aged Man", in Verona, Museo di Castlevecchio, recent acquisition (2002) - very similar to S-M Domenico in format, size, finish, date, but much less well preserved. Portrait room (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1402.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1402.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1402.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1402.tif", "IsPrimary" : "1", "_SurrogateID" : "2662", "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" : 16276, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16276", "Disp_Access_No" : "2017.1416", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1563", "_Disp_Start_Dat" : "1558", "_Disp_End_Date" : "1568", "Disp_Title" : "Head of Saint Michael", "Alt_Title" : "", "Obj_Title" : "Head of Saint Michael", "Series_Title" : "", "Disp_Maker_1" : "Paolo Veronese", "Sort_Artist" : "Veronese, Paolo", "Disp_Dimen" : "41 cm x 32.1 cm (16 1/8 in. x 12 5/8 in.)", "Disp_Height" : "41 cm", "Disp_Width" : "32.1 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is a fragment of a fifteen-foot-tall altarpiece painted for the church of San Francesco at Lendinara, a small town near Padua, Italy. Commissioned by the cousins Antonio and Girolamo Petrobelli, the painting was one of the major projects of Paolo Veronese’s career. By 1785 the church was abandoned and demolished, and the altarpiece was cut and sold in pieces in 1788 to maximize profits. Four fragments have been identified to date. The original canvas had the body of Jesus supported by angels in the upper register and the two donors with their respective patrons—Saint Anthony Abbot and Saint Jerome—in the lower register. Saint Michael stood in the center, holding in his right hand a spear pointed at the demon and in his left scales to weigh souls on Judgment Day. The upright form of the archangel figure connects the upper and lower sections of the composition, while also reflecting the intermediary role of the much-venerated saint.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Needs illustration of the larger image from which it was cut (FC:jb 4/2/15) Possibly higher up (FC:jb 4/2/15) Medallion (FC:jb 4/2/15) Possible pair with other Veroneses, distinct palette (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1416-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1416-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1416-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1416-2.tif", "IsPrimary" : "1", "_SurrogateID" : "2761", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1416-recon1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1416-recon1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1416-recon1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1416-recon1.tif", "IsPrimary" : "0", "_SurrogateID" : "7902", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1416-install.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1416-install.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1416-install.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1416-install.tif", "IsPrimary" : "0", "_SurrogateID" : "7903", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16404, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16404", "Disp_Access_No" : "2017.883", "_AccNumSort1" : "", "Disp_Create_DT" : "1740s", "_Disp_Start_Dat" : "1740", "_Disp_End_Date" : "1740", "Disp_Title" : "The Toilet of Bathsheba", "Alt_Title" : "", "Obj_Title" : "The Toilet of Bathsheba", "Series_Title" : "", "Disp_Maker_1" : "Jacopo Amigoni", "Sort_Artist" : "Amigoni, Jacopo", "Disp_Dimen" : "72.4 cm x 61.6 cm (28 1/2 in. x 24 1/4 in.)", "Disp_Height" : "72.4 cm", "Disp_Width" : "61.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil on canvas", "Support" : "", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up Oval shape very 18th C., could present it for historical nature Venetian medallion hang, could be at top left (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.883.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.883.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.883.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.883.tif", "IsPrimary" : "1", "_SurrogateID" : "3444", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 16399, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16399", "Disp_Access_No" : "2017.903", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1750", "_Disp_Start_Dat" : "1745", "_Disp_End_Date" : "1755", "Disp_Title" : "A Miracle of Saint Dominic", "Alt_Title" : "", "Obj_Title" : "A Miracle of Saint Dominic", "Series_Title" : "", "Disp_Maker_1" : "Biagio Bellotti", "Sort_Artist" : "Bellotti, Biagio", "Disp_Dimen" : "71.7 cm x 43.8 cm (28 1/4 in. x 17 1/4 in.)", "Disp_Height" : "71.7 cm", "Disp_Width" : "43.8 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" : "Not in play Poor handling of composition (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.903.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.903.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.903.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.903.tif", "IsPrimary" : "1", "_SurrogateID" : "2626", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16215, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16215", "Disp_Access_No" : "2017.942", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1790", "_Disp_Start_Dat" : "1785", "_Disp_End_Date" : "1795", "Disp_Title" : "Madonna and Child", "Alt_Title" : "", "Obj_Title" : "Madonna and Child", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Cades", "Sort_Artist" : "Cades, Giuseppe", "Disp_Dimen" : "34.8 cm x 26 cm (13 11/16 in. x 10 1/4 in.)", "Disp_Height" : "34.8 cm", "Disp_Width" : "26 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.942.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.942.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.942.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.942.tif", "IsPrimary" : "1", "_SurrogateID" : "2680", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16335, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16335", "Disp_Access_No" : "2017.1004", "_AccNumSort1" : "", "Disp_Create_DT" : "late 1720s", "_Disp_Start_Dat" : "1720", "_Disp_End_Date" : "1720", "Disp_Title" : "Anthony and Cleopatra", "Alt_Title" : "", "Obj_Title" : "Anthony and Cleopatra", "Series_Title" : "", "Disp_Maker_1" : "Andrea Casali", "Sort_Artist" : "Casali, Andrea", "Disp_Dimen" : "49 cm x 64.9 cm (19 5/16 in. x 25 9/16 in.)", "Disp_Height" : "49 cm", "Disp_Width" : "64.9 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" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1004.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1004.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1004.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1004.tif", "IsPrimary" : "1", "_SurrogateID" : "3434", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16442, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16442", "Disp_Access_No" : "2017.1043", "_AccNumSort1" : "", "Disp_Create_DT" : "1720s", "_Disp_Start_Dat" : "1720", "_Disp_End_Date" : "1720", "Disp_Title" : "Euterpe", "Alt_Title" : "", "Obj_Title" : "Euterpe", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Bartolomeo Chiari", "Sort_Artist" : "Chiari, Giuseppe Bartolomeo", "Disp_Dimen" : "97.1 cm x 72.7 cm (38 1/4 in. x 28 5/8 in.)", "Disp_Height" : "97.1 cm", "Disp_Width" : "72.7 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1043.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1043.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1043.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1043.tif", "IsPrimary" : "1", "_SurrogateID" : "7754", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15921, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15921", "Disp_Access_No" : "2017.1062", "_AccNumSort1" : "", "Disp_Create_DT" : "1698", "_Disp_Start_Dat" : "1698", "_Disp_End_Date" : "1698", "Disp_Title" : "Sleeping Shepherdess (Fall)", "Alt_Title" : "", "Obj_Title" : "Sleeping Shepherdess (Fall)", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Maria Crespi", "Sort_Artist" : "Crespi, Giuseppe Maria", "Disp_Dimen" : "15.9 cm x 22.9 cm (6 1/4 in. x 9 in.)", "Disp_Height" : "15.9 cm", "Disp_Width" : "22.9 cm", "Dimen_Extent" : "panel", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Giuseppe Maria Crespi’s paintings are characterized by the masterful treatment of light achieved by free brushwork and sophisticated use of colors, which he learned from Venetian art. This luminous quality is most apparent in his small paintings on copper executed for private patrons. On the smooth surface, the painter’s virtuoso strokes create intimate and charming images that glisten against dark backgrounds. The depiction of contemporary life was a passion for Crespi throughout his career. These three small paintings of shepherdesses represent bucolic reveries, without specific literary sources attached to them. The works are meant to evoke a poetic mood rather than to communicate a message. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "For Woman Surprised and Sleeping Shepherdess: Keep in play (there is one more in storage that is very good) Pair with other two potentially Fantastic lighting, charming Could be in display case with chairs surrounding so that they don''t take up a wall (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1062.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1062.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1062.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1062.tif", "IsPrimary" : "1", "_SurrogateID" : "2594", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15923, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15923", "Disp_Access_No" : "2017.1064", "_AccNumSort1" : "", "Disp_Create_DT" : "1698", "_Disp_Start_Dat" : "1698", "_Disp_End_Date" : "1698", "Disp_Title" : "Woman Surprised by a Boy (Spring)", "Alt_Title" : "", "Obj_Title" : "Woman Surprised by a Boy (Spring)", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Maria Crespi", "Sort_Artist" : "Crespi, Giuseppe Maria", "Disp_Dimen" : "15.9 cm x 22.9 cm (6 1/4 in. x 9 in.)", "Disp_Height" : "15.9 cm", "Disp_Width" : "22.9 cm", "Dimen_Extent" : "panel", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Giuseppe Maria Crespi’s paintings are characterized by the masterful treatment of light achieved by free brushwork and sophisticated use of colors, which he learned from Venetian art. This luminous quality is most apparent in his small paintings on copper executed for private patrons. On the smooth surface, the painter’s virtuoso strokes create intimate and charming images that glisten against dark backgrounds. The depiction of contemporary life was a passion for Crespi throughout his career. These three small paintings of shepherdesses represent bucolic reveries, without specific literary sources attached to them. The works are meant to evoke a poetic mood rather than to communicate a message.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "For Woman Surprised and Sleeping Shepherdess: Keep in play (there is one more in storage that is very good) Pair with other two potentially Fantastic lighting, charming Could be in display case with chairs surrounding so that they don''t take up a wall (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1064.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1064.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1064.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1064.tif", "IsPrimary" : "1", "_SurrogateID" : "2596", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16472, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16472", "Disp_Access_No" : "2017.1071", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Aurora", "Alt_Title" : "", "Obj_Title" : "Aurora", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Giovanni Battista Crosato", "Sort_Artist" : "Crosato, Attributed to Giovanni Battista", "Disp_Dimen" : "27.1 cm x 36.4 cm (10 11/16 in. x 14 5/16 in.)", "Disp_Height" : "27.1 cm", "Disp_Width" : "36.4 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" : "Not good enough to be in Venetian group (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1071.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1071.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1071.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1071.tif", "IsPrimary" : "1", "_SurrogateID" : "2599", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14852, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14852", "Disp_Access_No" : "1985.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1740s", "_Disp_Start_Dat" : "1740", "_Disp_End_Date" : "1740", "Disp_Title" : "The Adoration of the Magi", "Alt_Title" : "", "Obj_Title" : "The Adoration of the Magi", "Series_Title" : "", "Disp_Maker_1" : "Francesco Fontebasso", "Sort_Artist" : "Fontebasso, Francesco", "Disp_Dimen" : "63.5 cm x 76.2 cm (25 in. x 30 in.)", "Disp_Height" : "63.5 cm", "Disp_Width" : "76.2 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Frost Brothers Benefit and Archer M. Huntington Museum Fund, 1985", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Not in play Could be next to Anton Kern because it uses the same pigments and color values; in great condition (FC:jb 4/6/15) Ranking changed, in play (FC: jp 7/3/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.18.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.18.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.18.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.18.tif", "IsPrimary" : "1", "_SurrogateID" : "1319", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 16433, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16433", "Disp_Access_No" : "2017.1282", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1713-1714", "_Disp_Start_Dat" : "1713", "_Disp_End_Date" : "1714", "Disp_Title" : "Bellona", "Alt_Title" : "", "Obj_Title" : "Bellona", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Antonio Pellegrini", "Sort_Artist" : "Pellegrini, Giovanni Antonio", "Disp_Dimen" : "90.17 cm x 73.66 cm (35 1/2 in. x 29 in.)", "Disp_Height" : "90.17 cm", "Disp_Width" : "73.66 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Pellegrini represents 18th-century Venetian painting at its most exuberant. He was initially trained in Milan with the idiosyncratic Paolo Pagani, but his style is really an exaggeration of the sensuous and decorative aspects of Sebastiano Ricci. In Pellegrini’s works, the drawing is broad and soft, the palette is fiery and luminous, and the paint itself is dense and fluid. Defying gravity, bordering on the caricatural, this painterly virtuosity was a tremendous success across Europe, with Pellegrini called to execute significant fresco cycles and numerous canvases in England, France, and Germany. Bellona is a typically glorious if basically hollow exercise in this purest kind of painting. Already freed from Ricci’s more differentiated handling, but not yet fully dissolved in its drawing and atmospheric in its color, the picture probably dates from the time of Pellegrini’s collaboration with Antonio Bellucci, a Venetian of comparable inclination but lesser brilliance, on a decorative ensemble for the Schloss Bensberg, near Cologne. This is one of three major paintings by Pellegrini in the Collection. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Potentially pair with Venus and Cupid, need to see them together (FC:jb 4/2/15) Don''t need both Pellegrinis unless they are both in medallion or in an upper register (left and right). This one is more engaging because she is looking at us, helmet reflects the light nicely. (FC:jb 4/6/15) Rare to have Pellegrini in American collections (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1282.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1282.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1282.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1282.tif", "IsPrimary" : "1", "_SurrogateID" : "2633", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16209, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16209", "Disp_Access_No" : "2017.1297", "_AccNumSort1" : "", "Disp_Create_DT" : "1740s", "_Disp_Start_Dat" : "1740", "_Disp_End_Date" : "1740", "Disp_Title" : "Young Girl with a Basket of Apples", "Alt_Title" : "", "Obj_Title" : "Young Girl with a Basket of Apples", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piazzetta", "Sort_Artist" : "Piazzetta, Giovanni Battista", "Disp_Dimen" : "34.29 cm x 28.58 cm (13 1/2 in. x 11 1/4 in.)", "Disp_Height" : "34.29 cm", "Disp_Width" : "28.58 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Like the art of Ricci, Piazzetta’s represents an alternative to the formulae of the Late Baroque and a source of 18th-century Venetian painting. It is, however, opposite in temper and direction. Trained in Bologna, Piazzetta brought back to Venice a naturalism based upon systematic drawing, featuring an intense chiaroscuro, and concerned with dramatic expression. He then reconciling this approach with the mobile light and personalized brushwork of his native tradition, while resisting its bright color and decorative values. He would never undertake the monumental decorative projects that were the staple of the age, and unlike his compatriots who mastered that genre, he never worked outside of Venice. But his religious works possess an optical intensity and a visionary power that are equal to the greatest works the early Baroque. Two of Piazzetta’s special researches are reflected in this delightful picture. First, it relates in subject to the pastoral and genre scenes, which, when essayed on a large scale, possess a startling theatricality and an ambiguous psychology (opposite to that of Ceruti’s Peasant Girl, to the right). Second, the picture relates to Piazzetta’s lifelong study of plastic form and personality through “character studies”—black chalk drawings of bust-length types as well as individuals. (The Suida-Manning Collection includes one of the earliest and finest of these studies, among three drawings by the artist.) On this modest scale, with an unencumbered pursuit of momentary response, the picture approaches the vivaciousness and charm of a contemporary like Fragonard. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Apples and orange very well painted Red ribbon has disintegrated (lead white has taken over pigment) Could incorporate Piazetta drawings, although it doesn''t work well unless it''s a colored drawing; could put Venetian drawings on the short walls (FC:jb 4/6/15) Status provisional based on conversation with FC. Need to confirm. (JP 4/30/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1297.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1297.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1297.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1297.tif", "IsPrimary" : "1", "_SurrogateID" : "2757", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16259, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16259", "Disp_Access_No" : "2017.1336", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "A River Landscape with a Figure", "Alt_Title" : "", "Obj_Title" : "A River Landscape with a Figure", "Series_Title" : "", "Disp_Maker_1" : "Marco Ricci", "Sort_Artist" : "Ricci, Marco", "Disp_Dimen" : "39.37 cm x 46.99 cm (15 1/2 in. x 18 1/2 in.)", "Disp_Height" : "39.37 cm", "Disp_Width" : "46.99 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/2017.1336.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1336.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1336.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1336.tif", "IsPrimary" : "1", "_SurrogateID" : "2677", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16334, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16334", "Disp_Access_No" : "2017.1338", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1700-1710", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1710", "Disp_Title" : "Landscape with Fishermen and Washerwomen", "Alt_Title" : "", "Obj_Title" : "Landscape with Fishermen and Washerwomen", "Series_Title" : "", "Disp_Maker_1" : "Marco and Sebastiano Ricci", "Sort_Artist" : "Ricci, Marco and Sebastiano", "Disp_Dimen" : "48.9 cm x 36.83 cm (19 1/4 in. x 14 1/2 in.)", "Disp_Height" : "48.9 cm", "Disp_Width" : "36.83 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Sebastiano’s nephew and regular collaborator, Marco, is an important figure in the development of landscape painting. Generally within the classical tradition of Carracci and Domenichino, he built upon the more moody and textured interpretations of it in the second half of the 17th century, while bringing to bear the luminosity of his native tradition. The result was a new style of pure landscape painting, paralleling and complementing the school’s celebrated view paintings. Marco worked in the major centers of North Italy as well as Venice, twice visited London, and affected the course of the genre across Europe. His work was an important source of picturesque landscape painting in the later 18th century. With its high viewpoint, articulated structure, heavier palette, and lively touch, this landscape recalls earlier, more subjective Baroque landscapes, like those of Salvator Rosa and Alessandro Magnasco. The particularly animated drawing and loaded brushwork in the figures have led to the probable suggestion that they were painted by Sebastiano. One should also note the picture’s exceptionally fine and fresh condition. ", "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" : "Keep in play because we don''t have many 18th C. landscapes Would choose Prodigal Son over this Landscape in background nice, figures among the weakest aspects of this (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1338.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1338.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1338.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1338.tif", "IsPrimary" : "1", "_SurrogateID" : "2647", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16365, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16365", "Disp_Access_No" : "2017.1340", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1720", "_Disp_Start_Dat" : "1715", "_Disp_End_Date" : "1725", "Disp_Title" : "Return of the Prodigal Son", "Alt_Title" : "", "Obj_Title" : "Return of the Prodigal Son", "Series_Title" : "", "Disp_Maker_1" : "Sebastiano Ricci", "Sort_Artist" : "Ricci, Sebastiano", "Disp_Dimen" : "57 cm x 50.8 cm (22 7/16 in. x 20 in.)", "Disp_Height" : "57 cm", "Disp_Width" : "50.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In a parable (Luke 15:11-32) Christ told of the younger son of a rich man who demanded his share of the patrimony, squandered it, and found himself in misery. Repenting, he returned to his father, who welcomed him back, telling the older brother, “to celebrate and rejoice, because this brother of yours was dead and has come to life; he was lost and has been found." Combining a critique of attachment to material well-being, with an affirmation of forgiveness and an allusion to eternal life, the culminating scene was a frequent subject of Baroque painting. This interpretation is a splendid example of Ricci’s mature style. The returning son kneels upon the threshold while the father extends open arms. While its small scale and rich touch might suggest a preparatory study, its compositional equilibration and regular finish indicate a completed work. Newly evident and impressive following conservation in 2001 are the clear tonality revived from Veronese, the pronounced chiaroscuro inspired by contemporary Bolognese painters, and the dramatic sweep despite its size. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition is very good Some aspects could be painted better (knee and right leg not very successful) Back of woman holding baby looks flat Architectural details are nice The way the figures are rendered is a problem Strong greens (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1340.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1340.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1340.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1340.tif", "IsPrimary" : "1", "_SurrogateID" : "2646", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16314, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16314", "Disp_Access_No" : "2017.1342", "_AccNumSort1" : "", "Disp_Create_DT" : "1720s", "_Disp_Start_Dat" : "1720", "_Disp_End_Date" : "1720", "Disp_Title" : "The Rest on the Flight into Egypt", "Alt_Title" : "", "Obj_Title" : "The Rest on the Flight into Egypt", "Series_Title" : "", "Disp_Maker_1" : "Sebastiano Ricci", "Sort_Artist" : "Ricci, Sebastiano", "Disp_Dimen" : "46.3 cm x 34 cm (18 1/4 in. x 13 3/8 in.)", "Disp_Height" : "46.3 cm", "Disp_Width" : "34 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "These rather monumental figures, the daylight palette, and the happy temper are all characteristic of Sebastiano Ricci’s mature style. To judge from its small size and brusque handling, this was a preparatory study for a larger work. Ricci almost invariably prepared such studies, and often more than one, for his major projects. While this project has not been identified, the lozenge shape and surrounding blank areas of canvas —both original—suggest that the final work would have been inserted in a wall and probably surrounded by stucco work.", "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" : "Not in play Condition issues, doesn''t have right frame and craquelure is very apparent (FC:jb 4/6/15) Ranking adjusted from B/B- to B (FC:jp 7/10/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1342.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1342.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1342.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1342.tif", "IsPrimary" : "1", "_SurrogateID" : "3433", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16332, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16332", "Disp_Access_No" : "2017.1393", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1732", "_Disp_Start_Dat" : "1727", "_Disp_End_Date" : "1737", "Disp_Title" : "Madonna and Child", "Alt_Title" : "", "Obj_Title" : "Madonna and Child", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Tiepolo", "Sort_Artist" : "Tiepolo, Giovanni Battista", "Disp_Dimen" : "48.3 cm x 40.5 cm (19 in. x 15 15/16 in.)", "Disp_Height" : "48.3 cm", "Disp_Width" : "40.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Revealed by conservation treatment in 1999, this is a very fine and particularly moving work of Tiepolo’s early maturity. Its strong chiaroscuro, pronounced plasticity, palette dominated by an fiery red, as well as an earnest psychology, still echo his earliest style and the formative influence of Piazzetta (compare the picture to the right). These characteristics are, however, tempered, with the contrasts no longer stark, the plasticity no longer caricatural, the palette more balanced, and the expression transformed from the histrionic toward a lofty ethos and in this case subdued pathos. Most significantly, the density and busyness of earlier compositions has given way to simpler organization and subtler rhythms. Even on this small scale the development is evident in an interweaving of shapes and interpenetration of volumes. Especially striking and appropriately expressive is the combination of the Child rendered from low viewpoint, therefore practically convex and heroic, and the Virgin oppositely, therefore concave and sorrowful. In this tempering of Tiepolo’s first manner and growing sophistication, this picture is properly related to the grand series of canvases of Roman history for the Ca’ Dolfin in Venice (circa 1726-28).", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Requires more research and strong argument to keep Condition issues, pigment may have shifted, creating color imbalance; possibly cut from larger canvas; could this be saved by a conservator? (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1393.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1393.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1393.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1393.tif", "IsPrimary" : "1", "_SurrogateID" : "2660", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : "" } , ] }, ] }