{ "objects" : [ { "embark_ID" : 14852, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14852", "Disp_Access_No" : "1985.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1740s", "_Disp_Start_Dat" : "1740", "_Disp_End_Date" : "1740", "Disp_Title" : "The Adoration of the Magi", "Alt_Title" : "", "Obj_Title" : "The Adoration of the Magi", "Series_Title" : "", "Disp_Maker_1" : "Francesco Fontebasso", "Sort_Artist" : "Fontebasso, Francesco", "Disp_Dimen" : "63.5 cm x 76.2 cm (25 in. x 30 in.)", "Disp_Height" : "63.5 cm", "Disp_Width" : "76.2 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, Frost Brothers Benefit and Archer M. Huntington Museum Fund, 1985", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Not in play Could be next to Anton Kern because it uses the same pigments and color values; in great condition (FC:jb 4/6/15) Ranking changed, in play (FC: jp 7/3/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.18.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.18.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.18.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.18.tif", "IsPrimary" : "1", "_SurrogateID" : "1319", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15922, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15922", "Disp_Access_No" : "2017.1063", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1695-1700", "_Disp_Start_Dat" : "1695", "_Disp_End_Date" : "1700", "Disp_Title" : "Sleeping Shepherdess Teased by a Boy", "Alt_Title" : "", "Obj_Title" : "Sleeping Shepherdess Teased by a Boy", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Maria Crespi", "Sort_Artist" : "Crespi, Giuseppe Maria", "Disp_Dimen" : "15.88 cm x 22.86 cm (6 1/4 in. x 9 in.)", "Disp_Height" : "15.88 cm", "Disp_Width" : "22.86 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Giuseppe Maria Crespi’s paintings are characterized by the masterful treatment of light achieved by free brushwork and sophisticated use of colors, which he learned from Venetian art. This luminous quality is most apparent in his small paintings on copper executed for private patrons. On the smooth surface, the painter’s virtuoso strokes create intimate and charming images that glisten against dark backgrounds. The depiction of contemporary life was a passion for Crespi throughout his career. These three small paintings of shepherdesses represent bucolic reveries, without specific literary sources attached to them. The works are meant to evoke a poetic mood rather than to communicate a message.", "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 pair with other Crespi(s). Louis Waldman thinks this is charming. (FC:jb 5/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1063.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1063.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1063.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1063.tif", "IsPrimary" : "1", "_SurrogateID" : "2595", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16077, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16077", "Disp_Access_No" : "2017.1065", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Rape of Europa", "Alt_Title" : "", "Obj_Title" : "The Rape of Europa", "Series_Title" : "", "Disp_Maker_1" : "Circle of Donato Creti", "Sort_Artist" : "Creti, Circle of Donato", "Disp_Dimen" : "24.77 cm x 33.02 cm (9 3/4 in. x 13 in.)", "Disp_Height" : "24.77 cm", "Disp_Width" : "33.02 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil in grisaille on canvas", "Support" : "", "Disp_Medium" : "Oil in grisaille 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/2017.1065.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1065.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1065.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1065.TIF", "IsPrimary" : "1", "_SurrogateID" : "10655", "Image_Type" : "Digital image", "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" : 16210, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16210", "Disp_Access_No" : "2017.1283", "_AccNumSort1" : "", "Disp_Create_DT" : "1717", "_Disp_Start_Dat" : "1717", "_Disp_End_Date" : "1717", "Disp_Title" : "Justice Fulminating the Vices", "Alt_Title" : "", "Obj_Title" : "Justice Fulminating the Vices", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Antonio Pellegrini", "Sort_Artist" : "Pellegrini, Giovanni Antonio", "Disp_Dimen" : "34.6 cm x 32.3 cm (13 5/8 in. x 12 11/16 in.)", "Disp_Height" : "34.6 cm", "Disp_Width" : "32.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Giovanni Antonio Pellegrini represents eighteenth-century Venetian painting at its most exuberant. He was first trained in Milan with the idiosyncratic Paolo Pagani, but his style depends more on the sensuous and decorative aspects of Sebastiano Ricci. Pellegrini’s drawing is broad and soft, his palette warm and pastel, and his paint handling dense and fluid. Defying gravity, bordering on the caricatural, this painterly virtuosity was a tremendous success across Europe, with the artist called to execute significant fresco cycles and numerous canvases in England, France, and Germany. During a year-long sojourn in Antwerp, Pellegrini carried out three major decorative projects. This painting is an unpublished oil sketch for one of these, a much-admired canvas for the ceiling of the Salle du Petit Collège in the city’s town hall. Appropriate to that setting, it represents the figures of Justice and Prudence crushing two male figures identifiable as Avarice and Deceit. Phosphorescent in color, practically sculpted in paint, this sketch dramatizes the material properties for which Pellegrini was so highly regarded. These properties are conspicuous in the wake of a recent cleaning and relining of the canvas. The Suida-Manning Collection includes two other paintings by Pellegrini: a comparably rich, half-length figure of Bellona from around 1713–1714, and a more summary Venus and Cupid, which may have come from a decorative ensemble. ", "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" : "Frame takes away from object Impressive brushwork Strong contrast between light and dark (FC:jb 4/6/15) Possible medallion hang with two Pellegrinis in middle, with this lower (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1283.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1283.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1283.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1283.tif", "IsPrimary" : "1", "_SurrogateID" : "2634", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16363, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16363", "Disp_Access_No" : "2017.1321", "_AccNumSort1" : "", "Disp_Create_DT" : "18th century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1799", "Disp_Title" : "The Immaculate Conception", "Alt_Title" : "", "Obj_Title" : "The Immaculate Conception", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Francesco Polazzo", "Sort_Artist" : "Polazzo, Attributed to Francesco", "Disp_Dimen" : "56.52 cm x 34.29 cm (22 1/4 in. x 13 1/2 in.)", "Disp_Height" : "56.52 cm", "Disp_Width" : "34.29 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" : "Condition issues, conservation issues: needs cleaning. 2+ when cleaned (FC:jb 5/13/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1321.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1321.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1321.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1321.tif", "IsPrimary" : "1", "_SurrogateID" : "10570", "Image_Type" : "Digital image", "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" : 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. 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