{ "objects" : [ { "embark_ID" : 16278, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16278", "Disp_Access_No" : "2017.1451", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1760s", "_Disp_Start_Dat" : "1755", "_Disp_End_Date" : "1765", "Disp_Title" : "Apollo, Mercury, and the Arts", "Alt_Title" : "", "Obj_Title" : "Apollo, Mercury, and the Arts", "Series_Title" : "", "Disp_Maker_1" : "Francesco Zugno", "Sort_Artist" : "Zugno, Francesco", "Disp_Dimen" : "41.2 cm x 28.8 cm (16 1/4 in. x 11 5/16 in.)", "Disp_Height" : "41.2 cm", "Disp_Width" : "28.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and brown ink with brush and brown wash over graphite on cream antique laid", "Support" : "", "Disp_Medium" : "Pen and brown ink with brush and brown wash over graphite on cream antique...", "Info_Page_Comm" : "A follower and frequent collaborator of Giovanni Battista Tiepolo, Zugno was active across the Veneto in a style distinguished from that of his mentor by slacker design, a sweet palette, and a precious touch. Also responsive to pro-gressive French painting, this style can be seen in the Collection’s Young Noble Couple Playing Cards. From its subject, format, and foreshortening, it is clear that this drawing prepared the design of a ceiling decoration. The attenuated rhythms of the composition, the rounding contours of its figures, their scalloped modeling, and the generally refined handling are at once gentle deductions from Tiepolo’s pen-and-wash manner of the 1740s and precise equivalents of Zugno’s own habits in painting. ", "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/2017.1451.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1451.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1451.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1451.tif", "IsPrimary" : "1", "_SurrogateID" : "5907", "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" : "" } , ] }, ] }