{ "objects" : [ { "embark_ID" : 15894, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15894", "Disp_Access_No" : "2017.1349", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Christ at the Tomb with two Angels", "Alt_Title" : "", "Obj_Title" : "Christ at the Tomb with two Angels", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Girolamo Romanino", "Sort_Artist" : "Romanino, Attributed to Girolamo", "Disp_Dimen" : "12.07 cm x 9.21 cm (4 3/4 in. x 3 5/8 in.)", "Disp_Height" : "12.07 cm", "Disp_Width" : "9.21 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and brown ink", "Support" : "", "Disp_Medium" : "Pen and brown ink", "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/2017.1349.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1349.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1349.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1349.tif", "IsPrimary" : "1", "_SurrogateID" : "5714", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15912, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15912", "Disp_Access_No" : "2017.1350", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Putti Bearing the Cross", "Alt_Title" : "", "Obj_Title" : "Putti Bearing the Cross", "Series_Title" : "", "Disp_Maker_1" : "Circle of Giulio Romano", "Sort_Artist" : "Romano, Circle of Giulio", "Disp_Dimen" : "14.92 cm x 33.02 cm (5 7/8 in. x 13 in.)", "Disp_Height" : "14.92 cm", "Disp_Width" : "33.02 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and brown ink. Indented for transfer. The verso rubbed with black chalk.", "Support" : "", "Disp_Medium" : "Pen and brown ink. Indented for transfer. The verso rubbed with black chalk.", "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/2017.1350.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1350.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1350.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1350.tif", "IsPrimary" : "1", "_SurrogateID" : "5713", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15989, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15989", "Disp_Access_No" : "2017.1358", "_AccNumSort1" : "", "Disp_Create_DT" : "1595-1605", "_Disp_Start_Dat" : "1595", "_Disp_End_Date" : "1605", "Disp_Title" : "Studies of the Arrest of Christ", "Alt_Title" : "", "Obj_Title" : "Studies of the Arrest of Christ", "Series_Title" : "", "Disp_Maker_1" : "Ventura Salimbeni", "Sort_Artist" : "Salimbeni, Ventura", "Disp_Dimen" : "19.9 cm x 27.4 cm (7 13/16 in. x 10 13/16 in.)", "Disp_Height" : "19.9 cm", "Disp_Width" : "27.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Black chalk with brown pen and ink and traces of white chalk", "Support" : "", "Disp_Medium" : "Black chalk with brown pen and ink and traces of white chalk", "Info_Page_Comm" : "Salimbeni’s later drawing, Studies for the Arrest of Christ, is a conflagration of violence, set in motion by Judas’ kiss. The strokes of the chalk are light and rapid, giving the figures an attenuated elegance and the action a visceral energy. 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They derive solely from the artist's imagination, not established iconography. From as far back as the Sibyls, Cambiaso has taken certain themes as an opportunity to express his virtuosity. At this last stage, with the cubic module reasserted and any material appeal suppressed, the virtuosity turned to invention alone, like a Jesuit's meditations on the life of Christ. 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