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"Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Charles and Dorothy Clark, 1976", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1976.11.26.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1976.11.26.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1976.11.26.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1976.11.26.tif", "IsPrimary" : "1", "_SurrogateID" : "4659", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3377, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3377", "Disp_Access_No" : "2002.1667", "_AccNumSort1" : "", "Disp_Create_DT" : "1750", "_Disp_Start_Dat" : "1750", "_Disp_End_Date" : "1750", "Disp_Title" : "Title page from Vedute di Roma [Views of Rome]", "Alt_Title" : "", "Obj_Title" : "Title page from Vedute di Roma [Views of Rome]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "55 cm x 79.7 cm (21 5/8 in. x 31 3/8 in.)", "Disp_Height" : "55 cm", "Disp_Width" : "79.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 3385, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3385", "Disp_Access_No" : "2002.1659", "_AccNumSort1" : "", "Disp_Create_DT" : "1751", "_Disp_Start_Dat" : "1751", "_Disp_End_Date" : "1751", "Disp_Title" : "Lorenzo de'Medici Locking the Temple of Janus, after Cecco Bravo", "Alt_Title" : "", "Obj_Title" : "Lorenzo de'Medici Locking the Temple of Janus, after Cecco Bravo", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Antonio Faldoni", "Sort_Artist" : "Faldoni, Giovanni Antonio", "Disp_Dimen" : "63.9 cm x 38.7 cm (25 3/16 in. x 15 1/4 in.)", "Disp_Height" : "63.9 cm", "Disp_Width" : "38.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1659.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1659.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1659.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1659.tif", "IsPrimary" : "1", "_SurrogateID" : "1821", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3387, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3387", "Disp_Access_No" : "2002.1793", "_AccNumSort1" : "", "Disp_Create_DT" : "1752", "_Disp_Start_Dat" : "1752", "_Disp_End_Date" : "1752", "Disp_Title" : "Reliquiae Domas and Balnearum Sallustianarum...[Remains of a house and baths of Sallust...], plate XLII from Il Campo Marzio dell'Antica Roma [The Campus Martius of Ancient Rome]", "Alt_Title" : "", "Obj_Title" : "Reliquiae Domas and Balnearum Sallustianarum...[Remains of a house and baths of Sallust...], plate XLII from Il Campo Marzio dell'Antica Roma [The Campus Martius of Ancient Rome]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "23 cm x 34.9 cm (9 1/16 in. x 13 3/4 in.)", "Disp_Height" : "23 cm", "Disp_Width" : "34.9 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 3404, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3404", "Disp_Access_No" : "1991.66.2/40", "_AccNumSort1" : "", "Disp_Create_DT" : "1756", "_Disp_Start_Dat" : "1756", "_Disp_End_Date" : "1756", "Disp_Title" : "Pianta dell' Avanzo del Mausoleo di Adriano Imp...[Plan of the Remains of the Mausoleum of the Emperor Hadrian...], plate V from Volume IV of Le Antichità Romane [Roman Antiquities]", "Alt_Title" : "", "Obj_Title" : "Pianta dell' Avanzo del Mausoleo di Adriano Imp...[Plan of the Remains of the Mausoleum of the Emperor Hadrian...], plate V from Volume IV of Le Antichità Romane [Roman Antiquities]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.7 cm x 37.3 cm (20 3/4 in. x 14 11/16 in.)", "Disp_Height" : "52.7 cm", "Disp_Width" : "37.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "The bridge was built by the Emperor Hadrian in connection with his Mausoleum. It has three main arches. Before the canalization of the Tiber in the nineteenth century, three smaller arches connected it to the left bank, while two arches joined it to the right bank. It was made of travertine on the exterior, peperino on the interior. Completed in 134 A.D., it stood undamaged until 1450 when the parapets collapsed during a gathering of pilgrims. Pope Clement VII added the statues of Saints Peter and Paul in 1527, and Pope Clement IX added the series of angels by Bernini in 1669-71. In order to reduce water resistance, the bases of the piers are pointed where they meet the current to form cutwaters. This print shows the plan of the bridge and the Mausoleum. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 3405, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3405", "Disp_Access_No" : "1991.66.3/40", "_AccNumSort1" : "", "Disp_Create_DT" : "1756", "_Disp_Start_Dat" : "1756", "_Disp_End_Date" : "1756", "Disp_Title" : "Spaccato degli Speroni, i quali servono di contrafforti al gran Fondamento del Maus. d'Elio Adriano [Vertical section of the buttresses which counterbalance the massive foundations of the Mausoleum of Hadrian], plate VII from Volume IV of Le Antichità Rom", "Alt_Title" : "", "Obj_Title" : "Spaccato degli Speroni, i quali servono di contrafforti al gran Fondamento del Maus. d'Elio Adriano [Vertical section of the buttresses which counterbalance the massive foundations of the Mausoleum of Hadrian], plate VII from Volume IV of Le Antichità Romane [Roman Antiquities]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.7 cm x 37.4 cm (20 3/4 in. x 14 3/4 in.)", "Disp_Height" : "52.7 cm", "Disp_Width" : "37.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 3406, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3406", "Disp_Access_No" : "1991.66.4/40", "_AccNumSort1" : "", "Disp_Create_DT" : "1756", "_Disp_Start_Dat" : "1756", "_Disp_End_Date" : "1756", "Disp_Title" : "Spaccato di uno degli Archi di mezzo del Ponte d'Elio Adriano [Vertical section of one of the arches in the middle of the Bridge of Hadrian], plate XI from Volume IV of Le Antichità Romane [Roman Antiquities]", "Alt_Title" : "", "Obj_Title" : "Spaccato di uno degli Archi di mezzo del Ponte d'Elio Adriano [Vertical section of one of the arches in the middle of the Bridge of Hadrian], plate XI from Volume IV of Le Antichità Romane [Roman Antiquities]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.8 cm x 69.2 cm (20 13/16 in. x 27 1/4 in.)", "Disp_Height" : "52.8 cm", "Disp_Width" : "69.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "The bridge was built by the Emperor Hadrian in connection with his Mausoleum. It has three main arches. Before the canalization of the Tiber in the nineteenth century, three smaller arches connected it to the left bank, while two arches joined it to the right bank. It was made of travertine on the exterior, peperino on the interior. Completed in 134 A.D., it stood undamaged until 1450 when the parapets collapsed during a gathering of pilgrims. Pope Clement VII added the statues of Saints Peter and Paul in 1527, and Pope Clement IX added the series of angels by Bernini in 1669-71. In order to reduce water resistance, the bases of the piers are pointed where they meet the current to form cutwaters. This print shows one of the bridge piers in detail. (C: pier; D: buttress; E: ancient river bed; F: current river bed; G: foundation; I: Roman concrete, consisting of lime and pozzolana; O: lower buttress; P: upper buttress; Q: margin space).", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 3407, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3407", "Disp_Access_No" : "1991.66.5/40", "_AccNumSort1" : "", "Disp_Create_DT" : "1756", "_Disp_Start_Dat" : "1756", "_Disp_End_Date" : "1756", "Disp_Title" : "Veduta dell' avanzo di una delle Pile del Ponte Trionfale...[View of the remains of one of the supports of the Ponte Trionfale (Triumphal Bridge)], plate XIII from Volume IV of Le Antichità Romane [Roman Antiquities]", "Alt_Title" : "", "Obj_Title" : "Veduta dell' avanzo di una delle Pile del Ponte Trionfale...[View of the remains of one of the supports of the Ponte Trionfale (Triumphal Bridge)], plate XIII from Volume IV of Le Antichità Romane [Roman Antiquities]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.7 cm x 37.3 cm (20 3/4 in. x 14 11/16 in.)", "Disp_Height" : "52.7 cm", "Disp_Width" : "37.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "The Triumphal Bridge is the sixteenth-century name for an ancient bridge built by Nero that connected the Field of Mars with the valley between the Vatican and the Janiculum Hill. Until the 1870s, remains of its piers still existed and could be seen when the water was low. Piranesi has recorded the masonry technique and texture of the travertine blocks of one of the piers.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.66.5-40.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.66.5-40.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.66.5-40.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.66.5-40.tif", "IsPrimary" : "1", "_SurrogateID" : "5403", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3408, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3408", "Disp_Access_No" : "1991.66.6/40", "_AccNumSort1" : "", "Disp_Create_DT" : "1756", "_Disp_Start_Dat" : "1756", "_Disp_End_Date" : "1756", "Disp_Title" : "Nelle passate Tavole ho rappresentato il Mausoleo e Ponte Elio Adriano, co gli avanzi dell' antico Ponte Trionfale a questo contiguo...nella presente figura la situazione degli altri due Ponti Quattro Capi e Ferrato...[In the previous Plates I have repres", "Alt_Title" : "", "Obj_Title" : "Nelle passate Tavole ho rappresentato il Mausoleo e Ponte Elio Adriano, co gli avanzi dell' antico Ponte Trionfale a questo contiguo...nella presente figura la situazione degli altri due Ponti Quattro Capi e Ferrato...[In the previous Plates I have represented the Mausoleum and Bridge of Hadrian, with the remains of the ancient Ponte Trionfale nearby...], plate XIV from Volume IV of Le Antichità Romane [Roman Antiquities]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.8 cm x 37.4 cm (20 13/16 in. x 14 3/4 in.)", "Disp_Height" : "52.8 cm", "Disp_Width" : "37.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 3409, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3409", "Disp_Access_No" : "1991.66.7/40", "_AccNumSort1" : "", "Disp_Create_DT" : "1756", "_Disp_Start_Dat" : "1756", "_Disp_End_Date" : "1756", "Disp_Title" : "Inscrizione incisa ne' Cunei d'uno dei grand' Archi del Ponte Fabricio (oggi detto de' Quattro Capi) dalla parte accanto al Teatro di Marcello...[Inscription incised on the voussoir blocks of the large arches of the Bridge of Fabricius (today called the P", "Alt_Title" : "", "Obj_Title" : "Inscrizione incisa ne' Cunei d'uno dei grand' Archi del Ponte Fabricio (oggi detto de' Quattro Capi) dalla parte accanto al Teatro di Marcello...[Inscription incised on the voussoir blocks of the large arches of the Bridge of Fabricius (today called the Ponte dei Quattro Capi [Bridge of the Four Heads] from the side adjacent to the Theatre of Marcellus...], plate XVII from Volume IV of Le Antichità Romane [Roman Antiquities] ", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.8 cm x 69.4 cm (20 13/16 in. x 27 5/16 in.)", "Disp_Height" : "52.8 cm", "Disp_Width" : "69.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "The larger inscription commemorates the building of the bridge by Lucius Fabricius in his capacity as Superintendent of Streets. The smaller inscription records that the consuls Quintus Lepidus and Marcus Lollius had inspected the work and approved it, possibly after repairs following a huge flood in 23 B.C.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 3410, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3410", "Disp_Access_No" : "1991.66.8/40", "_AccNumSort1" : "", "Disp_Create_DT" : "1756", "_Disp_Start_Dat" : "1756", "_Disp_End_Date" : "1756", "Disp_Title" : "Dimostransi nella Tav. presente la Pianta, ed Elevazione del Ponte, oggi detto Quattro Capi egli è antichissimo, e chiamavasi Fabrizio da L. Fabrizio Presid. delle Strade, che lo fabbrico' nel fine della Repubblica... [Shown in this Plate are the plan and", "Alt_Title" : "", "Obj_Title" : "Dimostransi nella Tav. presente la Pianta, ed Elevazione del Ponte, oggi detto Quattro Capi egli è antichissimo, e chiamavasi Fabrizio da L. Fabrizio Presid. delle Strade, che lo fabbrico' nel fine della Repubblica... [Shown in this Plate are the plan and elevation of the bridge now called the Ponte dei Quattro Capi [Bridge of the Four Heads], which in antiquity was called the Bridge of Fabricius after L. Fabricius, the Superintendant of the Streets who built it at the end of the Republic [62 B.C.]..., plate XVIII from Volume IV of Le Antichità Romane [Roman Antiquities]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.9 cm x 69.5 cm (20 13/16 in. x 27 3/8 in.)", "Disp_Height" : "52.9 cm", "Disp_Width" : "69.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "The Bridge of Fabricius is the stone bridge connecting the left bank of the Tiber with the Island, named after its builder, Lucius Fabricius. It dates from 62 B.C. and is one of three working Roman bridges in Rome. It is composed of two semicircular arches with a large cutwater surmounted by a flood lunette between. The materials are tufa and peperino stone highlighted with travertine. In the sixteenth century, the tufa was overlaid with brick facing. The nickname “Bridge of the four heads” refers to two ancient four-faced herms embedded in the parapet. In this print, Piranesi balances the technique of the vedute with architectural rendering. The two arches of the bridge frame a picturesque riverscape with slanting light coming from the left side. The church of S. Bartolomeo (1), the Ponte Rotto (2), the circular temple on the Tiber (3) and the bell-tower of S. Maria in Cosmedin (4) are visible.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.66.8_40-crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.66.8_40-crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.66.8_40-crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.66.8_40-crop.tif", "IsPrimary" : "0", "_SurrogateID" : "14791", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.66.8_40-sheet.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.66.8_40-sheet.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.66.8_40-sheet.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.66.8_40-sheet.tif", "IsPrimary" : "1", "_SurrogateID" : "14792", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3411, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3411", "Disp_Access_No" : "1991.66.9/40", "_AccNumSort1" : "", "Disp_Create_DT" : "1756", "_Disp_Start_Dat" : "1756", "_Disp_End_Date" : "1756", "Disp_Title" : "Spaccato del Ponte Fabrizio, detto dè quattro Capi [Vertical Section of the Bridge of Fabricius, called the Ponte dei Quattro Capi (Bridge of the Four Heads)], plate XIX from Volume IV of Le Antichità Romane [Roman Antiquities] ", "Alt_Title" : "", "Obj_Title" : "Spaccato del Ponte Fabrizio, detto dè quattro Capi [Vertical Section of the Bridge of Fabricius, called the Ponte dei Quattro Capi (Bridge of the Four Heads)], plate XIX from Volume IV of Le Antichità Romane [Roman Antiquities] ", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.8 cm x 69.7 cm (20 13/16 in. x 27 7/16 in.)", "Disp_Height" : "52.8 cm", "Disp_Width" : "69.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "The inverted arch was a bracing element allegedly known in Roman antiquity. One example has been found embedded in a wall in Pompeii; others appear in medieval and modern architecture. This print shows Piranesi’s hypothetical reconstruction of the bridge, with its arches and inverted arches together forming circles. This is an example of Piranesi’s theoretical imagination at work; the actual bridge has no inverted arches.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 3412, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3412", "Disp_Access_No" : "1991.66.10/40", "_AccNumSort1" : "", "Disp_Create_DT" : "1756", "_Disp_Start_Dat" : "1756", "_Disp_End_Date" : "1756", "Disp_Title" : "Spaccato del Ponte Fabricio oggi detto Quattro Capi... [Vertical Section of the Bridge of Fabricius, today called the Ponte dei Quattro Capi (Bridge of the Four Heads)], plate XX from Volume IV of Le Antichità Romane [Roman Antiquities]", "Alt_Title" : "", "Obj_Title" : "Spaccato del Ponte Fabricio oggi detto Quattro Capi... [Vertical Section of the Bridge of Fabricius, today called the Ponte dei Quattro Capi (Bridge of the Four Heads)], plate XX from Volume IV of Le Antichità Romane [Roman Antiquities]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.8 cm x 69.6 cm (20 13/16 in. x 27 3/8 in.)", "Disp_Height" : "52.8 cm", "Disp_Width" : "69.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "This print shows sections of the bridge piers, indicating also the different water levels according to the seasons. Piranesi notes that the consuls who executed the repairs buttressed the bridge piers and reinforced the frontage area (M).", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 3413, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3413", "Disp_Access_No" : "1991.66.11/40", "_AccNumSort1" : "", "Disp_Create_DT" : "1756", "_Disp_Start_Dat" : "1756", "_Disp_End_Date" : "1756", "Disp_Title" : "Pianta del Ponte Ferrato detto dagl' Antiquari Cestio...[Plan of the Ponte Ferrato, called the Bridge of Cestius by antiquarians...], plate XXII from Volume IV of Le Antichità Romane [Roman Antiquities]", "Alt_Title" : "", "Obj_Title" : "Pianta del Ponte Ferrato detto dagl' Antiquari Cestio...[Plan of the Ponte Ferrato, called the Bridge of Cestius by antiquarians...], plate XXII from Volume IV of Le Antichità Romane [Roman Antiquities]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.8 cm x 69.2 cm (20 13/16 in. x 27 1/4 in.)", "Disp_Height" : "52.8 cm", "Disp_Width" : "69.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 3414, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3414", "Disp_Access_No" : "1991.66.12/40", "_AccNumSort1" : "", "Disp_Create_DT" : "1756", "_Disp_Start_Dat" : "1756", "_Disp_End_Date" : "1756", "Disp_Title" : "Elevazione del Ponte Ferrato...[Elevation of the Ponte Ferrato], plate XXIII from Volume IV of Le Antichità Romane [Roman Antiquities]", "Alt_Title" : "", "Obj_Title" : "Elevazione del Ponte Ferrato...[Elevation of the Ponte Ferrato], plate XXIII from Volume IV of Le Antichità Romane [Roman Antiquities]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.8 cm x 69.6 cm (20 13/16 in. x 27 3/8 in.)", "Disp_Height" : "52.8 cm", "Disp_Width" : "69.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "The Bridge of Cestius is the stone bridge that connects the Tiber Island with the Trastevere, built in the first century B.C. It is not known whether the name Cestius refers to the original builder or to a restorer. The original bridge was heavily restored in 370. The restoration consisted of a large central arch flanked by a smaller arch on either side; the materials were tufa and peperino faced with travertine. When the Tiber was canalized in the 1870s and 1880s, the bridge was dismantled and redesigned. Many of the original stone blocks have been retained. 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[After the consideration of bridges and the Tiber Island there follows an examination of theaters, and particularly of ", "Alt_Title" : "", "Obj_Title" : "Dopo il trattato de' Ponti, e dell'Isola Tiberina segue la dimostrazione de' Teatri, e particolarmente del vicino Teatro di Marcello... [After the consideration of bridges and the Tiber Island there follows an examination of theaters, and particularly of the nearby Theater of Marcellus...], plate XXV from Le Antichità Romane [Roman Antiquities]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.8 cm x 37.4 cm (20 13/16 in. x 14 3/4 in.)", "Disp_Height" : "52.8 cm", "Disp_Width" : "37.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "The Theater of Marcellus, one of the earliest stone theaters in Rome, was constructed by Augustus and dedicated to the memory of his nephew Marcellus in 13 B.C. The materials are travertine on the exterior, and large tufa blocks and concrete vaults on the interior. It is considered to have influenced the design of the Colosseum. This print shows the plan of the seating zones: annular corridor (C), stairs (E), passageway for the senators (F), orchestra (G), cages of animals destined for spectacle (H). 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The materials are travertine on the exterior, and large tufa blocks and concrete vaults on the interior. It is considered to have influenced the design of the Colosseum. This print shows a section of the semicircular seating banks. Radial stairs together with the outer ring of annular corridors facilitated the movement of the spectators. 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[Roman Antiquities]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "52.8 cm x 37.4 cm (20 13/16 in. x 14 3/4 in.)", "Disp_Height" : "52.8 cm", "Disp_Width" : "37.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 3423, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3423", "Disp_Access_No" : "1991.66.21/40", "_AccNumSort1" : "", "Disp_Create_DT" : "1756", "_Disp_Start_Dat" : "1756", "_Disp_End_Date" : "1756", "Disp_Title" : "Dimostrazione in grande delle parti del second' ordine 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Huntington Museum Fund, 1992", "Copyright_Type" : " public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1992.282.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1992.282.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1992.282.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1992.282.tif", "IsPrimary" : "1", "_SurrogateID" : "3355", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8560, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8560", "Disp_Access_No" : "2001.90", "_AccNumSort1" : "", "Disp_Create_DT" : "1762", "_Disp_Start_Dat" : "1762", "_Disp_End_Date" : "1762", "Disp_Title" : "Elevazione ortografica dello stesso delubro per largo [Sectional reconstruction of the same shrine widthwise], plate V from Archaeological Works", "Alt_Title" : "", "Obj_Title" : "Elevazione ortografica dello stesso delubro per largo [Sectional reconstruction of the same shrine widthwise], plate V from Archaeological Works", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "57 cm x 81.2 cm (22 7/16 in. x 31 15/16 in.)", "Disp_Height" : "57 cm", "Disp_Width" : "81.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Dr. and Mrs. William J. Crowley, Jr., 2001", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 8598, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8598", "Disp_Access_No" : "2002.1671", "_AccNumSort1" : "", "Disp_Create_DT" : "1761", "_Disp_Start_Dat" : "1761", "_Disp_End_Date" : "1761", "Disp_Title" : "Altra Veduta del Tempio della Sibilla in Tivoli [Another View of the Temple of the Sibyl in Tivoli], from Vedute di Roma [Views of Rome]", "Alt_Title" : "", "Obj_Title" : "Altra Veduta del Tempio della Sibilla in Tivoli [Another View of the Temple of the Sibyl in Tivoli], from Vedute di Roma [Views of Rome]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "66.7 cm x 49 cm (26 1/4 in. x 19 5/16 in.)", "Disp_Height" : "66.7 cm", "Disp_Width" : "49 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1671.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1671.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1671.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1671.tif", "IsPrimary" : "1", "_SurrogateID" : "4201", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 9268, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9268", "Disp_Access_No" : "1982.305", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Paris et ses merveilles", "Alt_Title" : "", "Obj_Title" : "Paris et ses merveilles", "Series_Title" : "", "Disp_Maker_1" : "Bruno Bruni", "Sort_Artist" : "Bruni, Bruno", "Disp_Dimen" : "76.2 cm x 56.4 cm (30 in. x 22 3/16 in.)", "Disp_Height" : "76.2 cm", "Disp_Width" : "56.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph (?) in color", "Support" : "", "Disp_Medium" : "Lithograph (?) in color", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin and Ethel Romansky, 1978", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 9310, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9310", "Disp_Access_No" : "1985.110", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Untitled (street scene in Rome)", "Alt_Title" : "", "Obj_Title" : "Untitled (street scene in Rome)", "Series_Title" : "", "Disp_Maker_1" : "V. Lombardi", "Sort_Artist" : "Lombardi, V.", "Disp_Dimen" : "15.4 cm x 17.3 cm (6 1/16 in. x 6 13/16 in.)", "Disp_Height" : "15.4 cm", "Disp_Width" : "17.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Watercolor over pencil", "Support" : "", "Disp_Medium" : "Watercolor over pencil", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Latane Temple, 1985", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 9988, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9988", "Disp_Access_No" : "1982.1049", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Algerian Huts", "Alt_Title" : "", "Obj_Title" : "Algerian Huts", "Series_Title" : "", "Disp_Maker_1" : "Antonio Zoran Music", "Sort_Artist" : "Music, Antonio Zoran", "Disp_Dimen" : "49 cm x 66 cm (19 5/16 in. x 26 in.)", "Disp_Height" : "49 cm", "Disp_Width" : "66 cm", "Dimen_Extent" : "Sheet", "Medium" : "Color lithograph", "Support" : "", "Disp_Medium" : "Color lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Thomas Cranfill, 1973; Transfer from the Harry Ransom Center, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 11004, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11004", "Disp_Access_No" : "2002.16", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1520-1522", "_Disp_Start_Dat" : "1520", "_Disp_End_Date" : "1522", "Disp_Title" : "Hercules and Antaeus, after Giulio Romano", "Alt_Title" : "", "Obj_Title" : "Hercules and Antaeus, after Giulio Romano", "Series_Title" : "", "Disp_Maker_1" : "Marcantonio Raimondi", "Sort_Artist" : "Raimondi, Marcantonio", "Disp_Dimen" : "30.7 cm x 21.2 cm (12 1/16 in. x 8 3/8 in.)", "Disp_Height" : "30.7 cm", "Disp_Width" : "21.2 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "Early in the 16th century artists tended to use motifs from antique sculpture with relative freedom, reflecting a more developed sense of historical continuity. For example, Marcantonio Raimondi’s Hercules and Antaeus is inspired by a marble sculpture that, lacking Antaeus’s head and Hercules’s legs, lay on its side at the Belvedere Courtyard. In the print the group has not only been imaginatively restored by the engraver, but also brought to life. The two figures struggle in a stylized setting, with a crumbling classical building in the background.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.16.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.16.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.16.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.16.tif", "IsPrimary" : "1", "_SurrogateID" : "6025", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11035, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11035", "Disp_Access_No" : "1989.143", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1506", "_Disp_Start_Dat" : "1501", "_Disp_End_Date" : "1511", "Disp_Title" : "Adoration of the Magi, from The Life of the Virgin, after Albrecht Dürer", "Alt_Title" : "", "Obj_Title" : "Adoration of the Magi, from The Life of the Virgin, after Albrecht Dürer", "Series_Title" : "", "Disp_Maker_1" : "Marcantonio Raimondi", "Sort_Artist" : "Raimondi, Marcantonio", "Disp_Dimen" : "29.7 cm x 21.6 cm (11 11/16 in. x 8 1/2 in.)", "Disp_Height" : "29.7 cm", "Disp_Width" : "21.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "Raimondi attempted to capture the subtleties of Dürer’s woodcut style by using the more precise medium of engraving. In contrast to Dürer’s variegated tones and animated, angular lines, Raimondi’s burin strokes produce uniform parallel strokes, creating a homogeneous grey tone that contrasts sharply with the areas left white. The copy also loses most of the specificity of detail and texture found in Dürer’s original. Note, for example, Riamondi’s mechanical rendering of the hole in the wall just above the Virgin’s head. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jonathan Bober, 1989", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1989.143.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.143.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.143.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.143.tif", "IsPrimary" : "1", "_SurrogateID" : "6003", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11036, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11036", "Disp_Access_No" : "1989.144", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1506", "_Disp_Start_Dat" : "1501", "_Disp_End_Date" : "1511", "Disp_Title" : "The Annunciation, from The Life of the Virgin, after Albrecht Dürer", "Alt_Title" : "", "Obj_Title" : "The Annunciation, from The Life of the Virgin, after Albrecht Dürer", "Series_Title" : "", "Disp_Maker_1" : "Marcantonio Raimondi", "Sort_Artist" : "Raimondi, Marcantonio", "Disp_Dimen" : "29.2 cm x 21.6 cm (11 1/2 in. x 8 1/2 in.)", "Disp_Height" : "29.2 cm", "Disp_Width" : "21.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "The Annunciation illustrates the moment when the Angel Gabriel tells the Virgin that she will bear Christ. Images of the Annunciation allude not just to the promise of salvation through Christ’s incarnation, but also to the Virgin’s humility and power to intercede. Just as it was through her that God was made flesh on earth, so too could a devout person get closer to God. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jonathan Bober, 1989", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1989.144.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.144.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.144.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.144.tif", "IsPrimary" : "1", "_SurrogateID" : "6004", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11039, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11039", "Disp_Access_No" : "1989.147", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1506", "_Disp_Start_Dat" : "1501", "_Disp_End_Date" : "1511", "Disp_Title" : "Glorification of the Virgin, from The Life of the Virgin, after Albrecht Dürer", "Alt_Title" : "", "Obj_Title" : "Glorification of the Virgin, from The Life of the Virgin, after Albrecht Dürer", "Series_Title" : "", "Disp_Maker_1" : "Marcantonio Raimondi", "Sort_Artist" : "Raimondi, Marcantonio", "Disp_Dimen" : "30.1 cm x 21.9 cm (11 7/8 in. x 8 5/8 in.)", "Disp_Height" : "30.1 cm", "Disp_Width" : "21.9 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jonathan Bober, 1989", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1989.147.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.147.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.147.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.147.tif", "IsPrimary" : "1", "_SurrogateID" : "5948", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11040, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11040", "Disp_Access_No" : "1989.149", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1506", "_Disp_Start_Dat" : "1501", "_Disp_End_Date" : "1511", "Disp_Title" : "The Nativity, from The Life of the Virgin, after Albrecht Dürer", "Alt_Title" : "", "Obj_Title" : "The Nativity, from The Life of the Virgin, after Albrecht Dürer", "Series_Title" : "", "Disp_Maker_1" : "Marcantonio Raimondi", "Sort_Artist" : "Raimondi, Marcantonio", "Disp_Dimen" : "29.1 cm x 21.2 cm (11 7/16 in. x 8 3/8 in.)", "Disp_Height" : "29.1 cm", "Disp_Width" : "21.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "Active primarily in Rome, Raimondi made over 300 engraving over the course of his career, most of which reproduced designs by Raphael as well as recently excavated antique sculptures. His engraved copies of the Life of the Virgin woodcuts were created almost immediately after the publication of Dürer’s originals. Raimondi’s inclusion of Dürer’s monogram was not uncommon for the period. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jonathan Bober, 1989", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1989.149.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.149.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.149.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.149.tif", "IsPrimary" : "1", "_SurrogateID" : "6005", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11041, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11041", "Disp_Access_No" : "1989.150", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1506", "_Disp_Start_Dat" : "1501", "_Disp_End_Date" : "1511", "Disp_Title" : "The Visitation, from The Life of the Virgin, after Albrecht Dürer", "Alt_Title" : "", "Obj_Title" : "The Visitation, from The Life of the Virgin, after Albrecht Dürer", "Series_Title" : "", "Disp_Maker_1" : "Marcantonio Raimondi", "Sort_Artist" : "Raimondi, Marcantonio", "Disp_Dimen" : "30 cm x 21.6 cm (11 13/16 in. x 8 1/2 in.)", "Disp_Height" : "30 cm", "Disp_Width" : "21.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jonathan Bober, 1989", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1989.150.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.150.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.150.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.150.tif", "IsPrimary" : "1", "_SurrogateID" : "6006", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11058, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11058", "Disp_Access_No" : "1986.337", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1520-1525", "_Disp_Start_Dat" : "1520", "_Disp_End_Date" : "1525", "Disp_Title" : "Holy Family with the Young Saint John the Baptist, called Virgin with the Long Thigh, after Raphael", "Alt_Title" : "", "Obj_Title" : "Holy Family with the Young Saint John the Baptist, called Virgin with the Long Thigh, after Raphael", "Series_Title" : "", "Disp_Maker_1" : "Marcantonio Raimondi", "Sort_Artist" : "Raimondi, Marcantonio", "Disp_Dimen" : "40.2 cm x 26.8 cm (15 13/16 in. x 10 9/16 in.)", "Disp_Height" : "40.2 cm", "Disp_Width" : "26.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of William and Sally Parsons, 1986", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.337.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.337.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.337.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.337.tif", "IsPrimary" : "1", "_SurrogateID" : "5944", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11066, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11066", "Disp_Access_No" : "P1964.11", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1527-1531", "_Disp_Start_Dat" : "1527", "_Disp_End_Date" : "1531", "Disp_Title" : "Augustus and the Tiburtine Sibyl, after Parmigianino", "Alt_Title" : "", "Obj_Title" : "Augustus and the Tiburtine Sibyl, after Parmigianino", "Series_Title" : "", "Disp_Maker_1" : "Antonio da Trento", "Sort_Artist" : "da Trento, Antonio", "Disp_Dimen" : "34.6 cm x 26.7 cm (13 5/8 in. x 10 1/2 in.)", "Disp_Height" : "34.6 cm", "Disp_Width" : "26.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Chiaroscuro woodcut from two blocks, tone block printed in pale olive", "Support" : "", "Disp_Medium" : "Chiaroscuro woodcut from two blocks, tone block printed in pale olive", "Info_Page_Comm" : "The Tiburtine Sibyl, a prophetess associated with ancient Rome, was said to have shown the Emperor Augustus a vision of the advent of Christ. This chiaroscuro, one of Trento’s most controlled and beautiful, seems to have been a composite of several designs by Parmigianino. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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"https://webkiosk.gallerysystems.com/Media/Previews/2017.917.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.917.tif", "IsPrimary" : "1", "_SurrogateID" : "3296", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16016, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16016", "Disp_Access_No" : "2017.958", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1565", "_Disp_Start_Dat" : "1560", "_Disp_End_Date" : "1570", "Disp_Title" : "Betrayal and Death of the Daughter of Spurio Tarpeo", "Alt_Title" : "", "Obj_Title" : "Betrayal and Death of the Daughter of Spurio Tarpeo", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "20.9 cm x 30.2 cm (8 1/4 in. x 11 7/8 in.)", "Disp_Height" : "20.9 cm", "Disp_Width" : "30.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and brown ink with brush and brown wash, squared in red chalk", "Support" : "", "Disp_Medium" : "Pen and brown ink with brush and brown wash, squared in red chalk", "Info_Page_Comm" : "Tarpeia, the daughter of Roman general Spurio Tarpeo, betrayed the fortress under her father’s command to the Sabines, but ironically was crushed when their forces entered. This was one of the secondary scenes of Roman history in the Villa Cattaneo-Imperiale, the first of the grand secular schemes executed by Cambiaso independent of Bergamasco. Stressing massing and light over de-scription, this is the preparatory study for the composition.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.958.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.958.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.958.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.958.tif", "IsPrimary" : "1", "_SurrogateID" : "2887", "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" : 16106, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16106", "Disp_Access_No" : "2017.1230", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Construction of a Church", "Alt_Title" : "", "Obj_Title" : "The Construction of a Church", "Series_Title" : "", "Disp_Maker_1" : "Paolo de Matteis", "Sort_Artist" : "Matteis, Paolo de", "Disp_Dimen" : "26.67 cm x 42.55 cm (10 1/2 in. x 16 3/4 in.)", "Disp_Height" : "26.67 cm", "Disp_Width" : "42.55 cm", "Dimen_Extent" : "Sheet", "Medium" : "Red chalk; red chalk studies on the verso.", "Support" : "", "Disp_Medium" : "Red chalk; red chalk studies on the verso.", "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" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1230.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1230.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1230.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1230.tif", "IsPrimary" : "1", "_SurrogateID" : "5861", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16137, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16137", "Disp_Access_No" : "2017.1052", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1715", "_Disp_Start_Dat" : "1710", "_Disp_End_Date" : "1720", "Disp_Title" : "Saint Dominic Resuscitating a Mason", "Alt_Title" : "", "Obj_Title" : "Saint Dominic Resuscitating a Mason", "Series_Title" : "", "Disp_Maker_1" : "Sebastiano Conca", "Sort_Artist" : "Conca, Sebastiano", "Disp_Dimen" : "29.8 cm x 19.1 cm (11 3/4 in. x 7 1/2 in.)", "Disp_Height" : "29.8 cm", "Disp_Width" : "19.1 cm", "Dimen_Extent" : "Sheet", "Medium" : "Recto: Pen and brown ink with brush and brown wash and white heightening over black chalk on beige antique laid paper, squared in graphite; Verso: Two Studies of Male Heads, in red chalk, and Studies of Legs, Feet and the Bust of a Man, in red and black c", "Support" : "", "Disp_Medium" : "Recto: Pen and brown ink with brush and brown wash and white heightening over black chalk on beige antique laid paper, squared in graphite; Verso: Two Studies of Male Heads, in red chalk, and Studies of Legs, Feet and the Bust of a Man, in red and black c", "Info_Page_Comm" : "The preeminent painter in early 18th-century Rome, Conca carried on the late Baroque classicism of Carlo Maratta, at first with the fluid rhythms, iridescent color, and sentimentalism of his Neapolitan training with Francecso Solimena, then with an ever greater disciplining of form and expression that point toward Neoclassicism. His very first public commission in Rome (1714) was an altarpiece of the Madonna of the Rosary for San Clemente. Its overwhelming success led to an immediate request for a pendant painting. This unpublished drawing is a compositional study for that second altarpiece. The elaboration of the study is so pictorial (and now properly legible following treatment to reverse the oxidation of its heightening) and the discrepancies between it and the painting are so minor -- not to mention the squaring of the design for transfer -- that is must have served as the model. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1052.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1052.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1052.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1052.tif", "IsPrimary" : "1", "_SurrogateID" : "5211", "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" : 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" : 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" : 16225, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16225", "Disp_Access_No" : "2017.1387", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "A Palatial Gallery", "Alt_Title" : "", "Obj_Title" : "A Palatial Gallery", "Series_Title" : "", "Disp_Maker_1" : "Mauro Tesi", "Sort_Artist" : "Tesi, Mauro", "Disp_Dimen" : "35.88 cm x 26.67 cm (14 1/8 in. x 10 1/2 in.)", "Disp_Height" : "35.88 cm", "Disp_Width" : "26.67 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and brown ink, brown wash", "Support" : "", "Disp_Medium" : "Pen and brown ink, brown wash", "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" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1387.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1387.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1387.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1387.tif", "IsPrimary" : "1", "_SurrogateID" : "5906", "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" : 16260, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16260", "Disp_Access_No" : "2017.1404", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Rest on the Flight into Egypt", "Alt_Title" : "", "Obj_Title" : "Rest on the Flight into Egypt", "Series_Title" : "", "Disp_Maker_1" : "Antonio Travi", "Sort_Artist" : "Travi, Antonio", "Disp_Dimen" : "39.37 cm x 49.53 cm (15 1/2 in. x 19 1/2 in.)", "Disp_Height" : "39.37 cm", "Disp_Width" : "49.53 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" : "In terrible condition (FC:jb 4/9/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1404.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1404.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1404.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1404.tif", "IsPrimary" : "1", "_SurrogateID" : "2664", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16263, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16263", "Disp_Access_No" : "2017.1448", "_AccNumSort1" : "", "Disp_Create_DT" : "1568", "_Disp_Start_Dat" : "1568", "_Disp_End_Date" : "1568", "Disp_Title" : "Christ Healing the Blind Man", "Alt_Title" : "", "Obj_Title" : "Christ Healing the Blind Man", "Series_Title" : "", "Disp_Maker_1" : "Federico Zuccaro", "Sort_Artist" : "Zuccaro, Federico", "Disp_Dimen" : "39.4 cm x 27.3 cm (15 1/2 in. x 10 3/4 in.)", "Disp_Height" : "39.4 cm", "Disp_Width" : "27.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and brown ink with brush and brown wash and white heightening (partly oxidized) on ochre prepared paper, partly squared in black chalk, laid down", "Support" : "", "Disp_Medium" : "Pen and brown ink with brush and brown wash and white heightening (partly oxidized) on ochre prepared paper, partly squared in black chalk, laid down", "Info_Page_Comm" : "In his encyclopedic style and substantial intellectual activity, Federico Zuccaro is a fundamental figure of late Mannerism. His initial graphic language was a synthesis of developments in central Italy, with a vital accent from Venetian painting and Correggio. Principally in Rome, his later work became more deliberately classicizing and formulaic. His thought was also expressed in the founding of the Roman academy and his publication of Idea de’ pittori, scultori, ed architetti (1607), the most articulate statement of the period’s artistic theory. In 1568 Zuccaro was commissioned for a pair of altarpieces for the Duomo at Orvieto. This drawing corresponds to a preliminary stage of one composition. It differs from the painting in the kneeling figure at the lower left and in a few minor details. Another version of the drawing (Louvre, Paris) is identical in size, technique, and virtually every mark, but its revisions are more logical and its line is more responsive. The Suida-Manning drawing is an autograph replica. It may have had a functional role in the project, as suggested by the squaring of one figure for transfer, or it may have been intended for a collector. The Suida-Manning Collection includes two more compositional studies for major frescoes: The Adoration of the Magi in San Francesco della Vigna, Venice (1563–1564), and the Prophet and Sibyl in the Oratorio del Gonfalone, Rome (1573). ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1448.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1448.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1448.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1448.tif", "IsPrimary" : "1", "_SurrogateID" : "2675", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16268, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16268", "Disp_Access_No" : "2017.1362", "_AccNumSort1" : "", "Disp_Create_DT" : "1540s", "_Disp_Start_Dat" : "1540", "_Disp_End_Date" : "1540", "Disp_Title" : "Diana and Callisto", "Alt_Title" : "", "Obj_Title" : "Diana and Callisto", "Series_Title" : "", "Disp_Maker_1" : "Andrea Schiavone (Andrea Meldolla)", "Sort_Artist" : "Schiavone (Andrea Meldolla), Andrea", "Disp_Dimen" : "40 cm x 132.5 cm (15 3/4 in. x 52 3/16 in.)", "Disp_Height" : "40 cm", "Disp_Width" : "132.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "This lovely panel appears to render the passage from Ovid’s Metamorphoses in which Diana and her nymphs discover that one of their companions, Callisto, has been made pregnant by Jupiter. The exaggerated horizontal format and size indicate that it originally served as part of an interior ensemble or piece of furniture, perhaps a cassone (storage chest) or spalliera (chair back). Especially considering this function, the panel is in excellent condition. Bonifazio was perhaps the first painter in Venice to explore ways of reconciling the school’s traditional insistence upon more naturalistic representation with Central Italian concerns of the moment: complex design, complicated linear rhythm, and self-conscious elegance. In this exploration of a distinctively Venetian Mannerism, his work anticipated and helped prepare the brilliant researches of Tintoretto and Veronese. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional. Could go above a doorway or in a medallion hang. Should be in galleries. Needs to be unframed, picture might go beyond frame (FC:jb 4/14/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1362.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1362.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1362.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1362.tif", "IsPrimary" : "1", "_SurrogateID" : "9155", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 16328, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16328", "Disp_Access_No" : "2017.1087", "_AccNumSort1" : "", "Disp_Create_DT" : "1690s", "_Disp_Start_Dat" : "1690", "_Disp_End_Date" : "1690", "Disp_Title" : "Triumph of Hercules", "Alt_Title" : "Hercules Crowned by Victory ", "Obj_Title" : "Triumph of Hercules", "Series_Title" : "", "Disp_Maker_1" : "Lorenzo De Ferrari", "Sort_Artist" : "De Ferrari, Lorenzo", "Disp_Dimen" : "48.2 cm x 36.3 cm (19 in. x 14 5/16 in.)", "Disp_Height" : "48.2 cm", "Disp_Width" : "36.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and brown ink with brush and brown wash with white heightening over black chalk on cream antique laid paper", "Support" : "", "Disp_Medium" : "Pen and brown ink with brush and brown wash with white heightening over black chalk on cream antique laid paper", "Info_Page_Comm" : "Son and pupil of Gregorio de Ferrari, Lorenzo carried on his father’s extravagant decorative manner while imposing a more conventional, academic order first gathered from the Bolognese active in Genoa, then reinforced by the classical Baroque tradition he experienced on a trip to Rome. This grand study for an illusionistic ceiling fresco epitomizes this style at an early stage, with its composition dependent upon one realized by Gregorio for the Palazzo Balbi-Senarega in the mid 1680s, but its construction more regular, forms more conventional, and handling more restrained. Despite its scale and elaborateness, the drawing is not connected with any known work by Lorenzo.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1087.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1087.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1087.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1087.tif", "IsPrimary" : "1", "_SurrogateID" : "2678", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16345, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16345", "Disp_Access_No" : "2017.988", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1563-64", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Visitation", "Alt_Title" : "", "Obj_Title" : "Visitation", "Series_Title" : "", "Disp_Maker_1" : "Workshop of Luca Cambiaso", "Sort_Artist" : "Cambiaso, Workshop of Luca", "Disp_Dimen" : "50.9 cm x 35.6 cm (20 1/16 in. x 14 in.)", "Disp_Height" : "50.9 cm", "Disp_Width" : "35.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and iron gall and bistre inks, on cream antique laid paper, tipped to modern cardboard", "Support" : "", "Disp_Medium" : "Pen and iron gall and bistre inks, on cream antique laid paper, tipped to modern cardboard", "Info_Page_Comm" : "This is another spectacular and well known example of draftsmanship from Cambiaso’s early maturity. Probably the result of Bergamasco’s influence, he has devised a very personal interpretation of the subject, complicated the spatial arrangement, and thorough interwoven the figures to create a single, seamless fabric. At the same time, his line has become more predictable in its ellipses and regular in its distribution without sacrificing any of its energy. Jonathan Bober changed to Workshop of Luca Cambiaso 5/13/11.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.988.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.988.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.988.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.988.tif", "IsPrimary" : "1", "_SurrogateID" : "2890", "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" : 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" : 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" : 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" : 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" : 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" : 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" : 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" : 16520, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16520", "Disp_Access_No" : "2017.981", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1572", "_Disp_Start_Dat" : "1573", "_Disp_End_Date" : "1582", "Disp_Title" : "Emperor of Trebizond Constructing a Fondaco for Megollo Lercari", "Alt_Title" : "", "Obj_Title" : "Emperor of Trebizond Constructing a Fondaco for Megollo Lercari", "Series_Title" : "", "Disp_Maker_1" : "Workshop of Luca Cambiaso", "Sort_Artist" : "Cambiaso, Workshop of Luca", "Disp_Dimen" : "24.5 cm x 42.2 cm (9 5/8 in. x 16 5/8 in.)", "Disp_Height" : "24.5 cm", "Disp_Width" : "42.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and brown ink with brush and brown wash", "Support" : "", "Disp_Medium" : "Pen and brown ink with brush and brown wash", "Info_Page_Comm" : "The decoration of the Palazzo Lercari-Parodi was Cambiaso's most important secular commission of the 1570s. In the principal scene on the ceiling of the main room, the mythical emperor of Trebizond builds a warehouse and lodging at the order of the Lercari family's legendary forebear. The primary version of the preparatory study for this composition is in the Nationalmusem , Stockholm. The Suida-Manning version is a workshop replica of another preparatory drawing that evidently studied the distribution of light and shadow. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.981.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.981.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.981.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.981.tif", "IsPrimary" : "1", "_SurrogateID" : "2889", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16943, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16943", "Disp_Access_No" : "2002.2933", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Chiesa de San Salvatore", "Alt_Title" : "", "Obj_Title" : "Chiesa de San Salvatore", "Series_Title" : "", "Disp_Maker_1" : "Ambrogio Brambilla", "Sort_Artist" : "Brambilla, Ambrogio", "Disp_Dimen" : "16.3 cm x 11.6 cm (6 7/16 in. x 4 9/16 in.)", "Disp_Height" : "16.3 cm", "Disp_Width" : "11.6 cm", "Dimen_Extent" : "", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2933.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2933.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2933.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2933.tif", "IsPrimary" : "1", "_SurrogateID" : "7042", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17234, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17234", "Disp_Access_No" : "2004.149", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1749-1750", "_Disp_Start_Dat" : "1749", "_Disp_End_Date" : "1750", "Disp_Title" : "The Sawhorse, plate XII from Carceri d'invenzione [Imaginary Prisons]", "Alt_Title" : "", "Obj_Title" : "The Sawhorse, plate XII from Carceri d'invenzione [Imaginary Prisons]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "47 cm x 73.6 cm (18 1/2 in. x 29 in.)", "Disp_Height" : "47 cm", "Disp_Width" : "73.6 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching, engraving and sulfurtint", "Support" : "", "Disp_Medium" : "Etching, engraving and sulfurtint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Jack S. Blanton Curatorial Endowment Fund, 2004", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.149.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.149.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.149.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2004.149.TIF", "IsPrimary" : "1", "_SurrogateID" : "9284", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17282, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17282", "Disp_Access_No" : "2004.184", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1637", "_Disp_Start_Dat" : "1632", "_Disp_End_Date" : "1642", "Disp_Title" : "Scena quinta d’Inferno [Fifth Scene of Hell], from Le Nozze degli Dei [The Marriage of the Gods], after Alfonso Parigi", "Alt_Title" : "", "Obj_Title" : "Scena quinta d’Inferno [Fifth Scene of Hell], from Le Nozze degli Dei [The Marriage of the Gods], after Alfonso Parigi", "Series_Title" : "", "Disp_Maker_1" : "Stefano Della Bella", "Sort_Artist" : "Della Bella, Stefano", "Disp_Dimen" : "21 cm x 29.4 cm (8 1/4 in. x 11 9/16 in.)", "Disp_Height" : "21 cm", "Disp_Width" : "29.4 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "This plate comes from a series of eight that illustrate scenes from Alfonso’s Parigi’s production of the melodrama, The Wedding of the Gods. The production was staged in celebration of Ferdinando II de’ Medici’s marriage to Vittoria della Rovere, princess of Urbino. Stefano della Bella had succeeded Callot as official printmaker to the Medici. As Alfonso Parigi maintained the style of productions by his father, Giulio, so Della Bella respected artistic conventions going back to Cantagallina.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Jack S. Blanton Curatorial Endowment Fund, 2004", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.184.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.184.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.184.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.184.tif", "IsPrimary" : "1", "_SurrogateID" : "7698", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17283, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17283", "Disp_Access_No" : "2004.185", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1680s", "_Disp_Start_Dat" : "1675", "_Disp_End_Date" : "1685", "Disp_Title" : "Study for a Vault with the Virgin of the Immaculate Conception, God-the-Father and Prophets", "Alt_Title" : "", "Obj_Title" : "Study for a Vault with the Virgin of the Immaculate Conception, God-the-Father and Prophets", "Series_Title" : "", "Disp_Maker_1" : "Domenico Piola", "Sort_Artist" : "Piola, Domenico", "Disp_Dimen" : "25.7 cm x 40.9 cm (10 1/8 in. x 16 1/8 in.)", "Disp_Height" : "25.7 cm", "Disp_Width" : "40.9 cm", "Dimen_Extent" : "sheet", "Medium" : "Pen and brown ink with brush and brown wash", "Support" : "", "Disp_Medium" : "Pen and brown ink with brush and brown wash", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of M.K. Hage, Jr., 2004", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.185.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.185.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.185.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.185.tif", "IsPrimary" : "1", "_SurrogateID" : "2786", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.185.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.185.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.185.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.185.tif", "IsPrimary" : "0", "_SurrogateID" : "3058", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17385, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17385", "Disp_Access_No" : "2004.190", "_AccNumSort1" : "", "Disp_Create_DT" : "1754", "_Disp_Start_Dat" : "1754", "_Disp_End_Date" : "1754", "Disp_Title" : "Veduta del Ponte e Castello Sant' Angelo [View of the Bridge and the Castel S. Angelo], from Vedute di Roma [Views of Rome]", "Alt_Title" : "", "Obj_Title" : "Veduta del Ponte e Castello Sant' Angelo [View of the Bridge and the Castel S. Angelo], from Vedute di Roma [Views of Rome]", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piranesi", "Sort_Artist" : "Piranesi, Giovanni Battista", "Disp_Dimen" : "47.3 cm x 67.4 cm (18 5/8 in. x 26 9/16 in.)", "Disp_Height" : "47.3 cm", "Disp_Width" : "67.4 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Jack S. Blanton Curatorial Endowment Fund, 2004", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.190.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.190.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.190.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.190.tif", "IsPrimary" : "1", "_SurrogateID" : "4211", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19515, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19515", "Disp_Access_No" : "2010.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1550", "_Disp_Start_Dat" : "1550", "_Disp_End_Date" : "1550", "Disp_Title" : "The School of Athens, after Raphael", "Alt_Title" : "", "Obj_Title" : "The School of Athens, after Raphael", "Series_Title" : "", "Disp_Maker_1" : "Giorgio Ghisi", "Sort_Artist" : "Ghisi, Giorgio", "Disp_Dimen" : "51.3 cm x 41 cm (20 3/16 in. x 16 1/8 in.)", "Disp_Height" : "51.3 cm", "Disp_Width" : "41 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The R. E. 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