{ "objects" : [ { "embark_ID" : 2246, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2246", "Disp_Access_No" : "2002.2104", "_AccNumSort1" : "", "Disp_Create_DT" : "1566", "_Disp_Start_Dat" : "1566", "_Disp_End_Date" : "1566", "Disp_Title" : "Diana and Callisto, after Titian", "Alt_Title" : "", "Obj_Title" : "Diana and Callisto, after Titian", "Series_Title" : "", "Disp_Maker_1" : "Cornelis Cort", "Sort_Artist" : "Cort, Cornelis", "Disp_Dimen" : "44 cm x 36.7 cm (17 5/16 in. x 14 7/16 in.)", "Disp_Height" : "44 cm", "Disp_Width" : "36.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "A number of Titian’s greatest paintings of the 1550s were sent to Philip II of Spain. These included two celebrated poesie––visual equivalents of verbal poems––Diana and Callisto and its pendant, Diana and Actaeon (today in the National Galley of Scotland). Arriving in Venice in 1565, Cort undertook their reproduction and immediately set a new standard in approximating pictorial effects. He would remain Titian’s preferred interpreter and, through his influence on Agostino Carracci and Hendrick Goltzius, determine the later course of reproductive engraving. ", "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" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2104.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2104.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2104.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2104.TIF", "IsPrimary" : "1", "_SurrogateID" : "9777", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }