{ "objects" : [ { "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" : 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" : "" } , ] }, ] }