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"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" : 15954, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15954", "Disp_Access_No" : "2017.1247", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Christ Crowned with Thorns", "Alt_Title" : "", "Obj_Title" : "Christ with the Crown of Thorns", "Series_Title" : "", "Disp_Maker_1" : "Francesco de Mura", "Sort_Artist" : "Mura, Francesco de", "Disp_Dimen" : "17.78 cm x 15.24 cm (7 in. x 6 in.)", "Disp_Height" : "17.78 cm", "Disp_Width" : "15.24 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "On copper, could go in display case. (Case of great coppers in collection?) Condition issues, conservation: needs cleaning. 2+ if cleaned. (FC:jb 4/15/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1247.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1247.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1247.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1247.tif", "IsPrimary" : "1", "_SurrogateID" : "4842", "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. ", "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/2017.1358.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1358.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1358.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1358.tif", "IsPrimary" : "1", "_SurrogateID" : "5718", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16039, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16039", "Disp_Access_No" : "2017.1267", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Deposition", "Alt_Title" : "", "Obj_Title" : "The Deposition", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Paggi", "Sort_Artist" : "Paggi, Giovanni Battista", "Disp_Dimen" : "22.54 cm x 17.78 cm (8 7/8 in. x 7 in.)", "Disp_Height" : "22.54 cm", "Disp_Width" : "17.78 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and brown ink and wash over black chalk", "Support" : "", "Disp_Medium" : "Pen and brown ink and wash over 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/2017.1267.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1267.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1267.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1267.tif", "IsPrimary" : "1", "_SurrogateID" : "5700", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16076, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16076", "Disp_Access_No" : "2017.1274", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1525-1527", "_Disp_Start_Dat" : "1525", "_Disp_End_Date" : "1527", "Disp_Title" : "The Entombment of Christ", "Alt_Title" : "", "Obj_Title" : "The Entombment of Christ", "Series_Title" : "", "Disp_Maker_1" : "Parmigianino (Francesco Mazzola)", "Sort_Artist" : "Parmigianino (Francesco Mazzola)", "Disp_Dimen" : "24.4 cm x 18.8 cm (9 5/8 in. x 7 3/8 in.)", "Disp_Height" : "24.4 cm", "Disp_Width" : "18.8 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Parmigianino was the most elegant and refined of all sixteenth-century Italian artists. Provincial but inspired by his visionary compatriot Correggio, he tended from the outset toward eccentric form and idiosyncratic expression. Affected by Raphael during a sojourn in Rome, his style became more self-conscious and rigorous. Increasingly abstracted and impossibly beautiful, Parmigianino’s late works determined the course of Mannerism and remained the measure of high artifice through the eighteenth century. His etchings were the first to essay the technique’s conceptual relation with drawing and potential for original expression. This small panel is the most important surviving link between Parmigianino’s painting and printmaking. It was once regarded as a copy after his most developed and famous etching. The two compositions, however, differ in numerous details, and the elaboration of the panel departs from a loose underdrawing in dark pigment—indicative of an evolving rather than a derivative conception. The quality of the painting is confirmed by the soundness of its figures, the modulation of light, and the incisiveness of touch. Still close to Raphael’s designs, the painting was probably executed in Rome. Later, in Bologna, it would have served as the model for the etching. ", "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" : "", "Related_Children" : [ { "Rel_Obj_ID" : "11065", "Rel_Obj_Title" : "The Entombment of Christ" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1274.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1274.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1274.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1274.tif", "IsPrimary" : "1", "_SurrogateID" : "3360", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16145, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16145", "Disp_Access_No" : "2017.960", "_AccNumSort1" : "", "Disp_Create_DT" : "early 1580s", "_Disp_Start_Dat" : "1580", "_Disp_End_Date" : "1580", "Disp_Title" : "Christ Nailed to the Cross", "Alt_Title" : "", "Obj_Title" : "Christ Nailed to the Cross", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "21 cm x 29.6 cm (8 1/4 in. x 11 5/8 in.)", "Disp_Height" : "21 cm", "Disp_Width" : "29.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and brown ink and wash on antique laid paper", "Support" : "", "Disp_Medium" : "Pen and brown ink and wash on antique laid paper", "Info_Page_Comm" : "This comes from a series of variations of the theme. 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. ", "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/2017.960.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.960.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.960.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.960.tif", "IsPrimary" : "1", "_SurrogateID" : "2891", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16165, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16165", "Disp_Access_No" : "2017.975", "_AccNumSort1" : "", "Disp_Create_DT" : "early 1570s", "_Disp_Start_Dat" : "1570", "_Disp_End_Date" : "1570", "Disp_Title" : "The Entombment", "Alt_Title" : "", "Obj_Title" : "The Entombment", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "29.7 cm x 21.2 cm (11 11/16 in. x 8 3/8 in.)", "Disp_Height" : "29.7 cm", "Disp_Width" : "21.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and brown ink with brush and brown wash over traces of black chalk, on cream antique laid paper, laid down", "Support" : "", "Disp_Medium" : "Pen and brown ink with brush and brown wash over traces of black chalk, on cream antique laid paper, laid down", "Info_Page_Comm" : "Relatively conventional in composition, calm in its articulation, and legible in narration, this drawing parallels the development of Cambiaso’s religious paintings after around 1570 in the tempering of virtuosity toward an accommodation of Counter-Reformation expectations. ", "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/2017.975.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.975.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.975.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.975.tif", "IsPrimary" : "1", "_SurrogateID" : "2880", "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" : 16397, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16397", "Disp_Access_No" : "2017.1341", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1694-1697", "_Disp_Start_Dat" : "1694", "_Disp_End_Date" : "1697", "Disp_Title" : "The Entombment of Christ", "Alt_Title" : "", "Obj_Title" : "The Entombment of Christ", "Series_Title" : "", "Disp_Maker_1" : "Sebastiano Ricci", "Sort_Artist" : "Ricci, Sebastiano", "Disp_Dimen" : "71.12 cm x 39.37 cm (28 in. x 15 1/2 in.)", "Disp_Height" : "71.12 cm", "Disp_Width" : "39.37 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting had long been attributed to the extravagant Genoese painter Alessandro Magnasco, whose Mythological Scene with Ruins is also in the Blanton's collections. Conservation treatment in 2005 revealed drawing that is firmer, light that is sharper, and a palette that is more varied than in Magnasco’s works. Between 1694 and 1697 Sebastiano Ricci was engaged in major projects in and around Milan. His influence upon Magnasco, long active inthe Lombard capital, is evident in many works and well known. This painting, on the other hand, represents the reciprocal but less recognized response of Ricci to the highly eccentric and deforming style of the Genoese master.", "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" : "Very dark, difficult to read. Medallion hang possibility. (FC:jb 4/9/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1341.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1341.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1341.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1341.tif", "IsPrimary" : "1", "_SurrogateID" : "8861", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16464, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16464", "Disp_Access_No" : "2017.1059", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1623", "_Disp_Start_Dat" : "1618", "_Disp_End_Date" : "1628", "Disp_Title" : "Ecce Homo", "Alt_Title" : "", "Obj_Title" : "Ecce Homo", "Series_Title" : "", "Disp_Maker_1" : "Daniele Crespi", "Sort_Artist" : "Crespi, Daniele", "Disp_Dimen" : "127 cm x 97.8 cm (50 in. x 38 1/2 in.)", "Disp_Height" : "127 cm", "Disp_Width" : "97.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Had Crespi enjoyed a longer career, and were his works not largely confined to Lombardy, he would be widely known as a master of the first order. He was without doubt the finest painter of the second generation of Baroque painting in Milan. In his paintings the willful deformation and neurotic intensity of the first generation are subjected to a more disciplined design and a more rhetorical expression, which he gathered from contemporary Florentine painters as well as from the emerging school of Bologna. The resulting style is highly original in its staging, admirable in its action, and convincing in its feeling. This picture demonstrates Crespi’s rapid development toward a style of absolute coherence and exceptional theatricality. The composition is related to Caravaggio’s painting of the same subject, and the dramatic chiaroscuro generally reflects Crespi’s intensifying naturalism. The design, with bold rhythms and strong drawing, is conditioned by Florentine interpretations of early Baroque style. And both the palette and striking differentiation of paint handling—compare the rendering of Christ’s tremulous flesh with that of Pilate’s splendid sleeve—are freshly informed by Rubens’s example. But by now these elements have been thoroughly synthesized and reconciled with a persistently Milanese subjectivity. This, Crespi’s mature style, is at once rich in narration, declamatory in form, and charged in expression. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1059.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1059.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1059.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1059.tif", "IsPrimary" : "1", "_SurrogateID" : "2739", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19447, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19447", "Disp_Access_No" : "2009.43", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1579", "_Disp_Start_Dat" : "1574", "_Disp_End_Date" : "1584", "Disp_Title" : "Calvary", "Alt_Title" : "", "Obj_Title" : "Calvary", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Fontana", "Sort_Artist" : "Fontana, Giovanni Battista", "Disp_Dimen" : "31.4 cm x 20.2 cm (12 3/8 in. x 7 15/16 in.)", "Disp_Height" : "31.4 cm", "Disp_Width" : "20.2 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Of the etchings of the school of Verona, Fontana’s are the most controlled in articulation, dense in description and suited to complex narrative. His subjects often correlate with the reasserted dogma and intensified devotion in the wake of the Council of Trent. Although signed on the face of the stone in the foreground, this print was only recently identified as his work.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Jack S. Blanton Curatorial Endowment Fund, 2009", "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/2009.43.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2009.43.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2009.43.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2009.43.tif", "IsPrimary" : "1", "_SurrogateID" : "7019", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19200, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19200", "Disp_Access_No" : "2008.126", "_AccNumSort1" : "", "Disp_Create_DT" : "before 1771", "_Disp_Start_Dat" : "1761", "_Disp_End_Date" : "1770", "Disp_Title" : "The Entombment, after Jacopo Tintoretto", "Alt_Title" : "", "Obj_Title" : "The Entombment, after Jacopo Tintoretto", "Series_Title" : "", "Disp_Maker_1" : "Andrea Scacciati II", "Sort_Artist" : "Scacciati II, Andrea", "Disp_Dimen" : "44 cm x 31.6 cm (17 5/16 in. x 12 7/16 in.)", "Disp_Height" : "44 cm", "Disp_Width" : "31.6 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching with burnished aquatint and roulette, printed in green", "Support" : "", "Disp_Medium" : "Etching with burnished aquatint and roulette, printed in green", "Info_Page_Comm" : "This plate reproduces the lower part of an altarpiece, now in the National Gallery of Scotland, that Tintoretto created for the church of San Francesco della Vigna in Venice. It comes from a collection of etchings after important sixteenth-century Venetian paintings. Apart from this series, Scacciati’s activity is poorly documented and little known. Nonetheless, his use of aquatint is remarkable for the very early date—the technique had been invented in France just a few years earlier—and for the fluency with which it is employed to suggest painterly effects.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Faith and Dewayne Perry, 2008", "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/2008.126.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.126.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.126.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2008.126.tif", "IsPrimary" : "1", "_SurrogateID" : "5353", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }