{ "objects" : [ { "embark_ID" : 14590, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14590", "Disp_Access_No" : "1991.106", "_AccNumSort1" : "", "Disp_Create_DT" : "17th century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "Still Life of Flowers in a Glass Vase", "Alt_Title" : "", "Obj_Title" : "Still Life of Flowers in a Glass Vase", "Series_Title" : "", "Disp_Maker_1" : "Bartolomé Pérez", "Sort_Artist" : "Pérez, Bartolomé", "Disp_Dimen" : "92.1 cm x 74.9 cm (36 1/4 in. x 29 1/2 in.)", "Disp_Height" : "92.1 cm", "Disp_Width" : "74.9 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Flower painting in Europe has been closely associated with the "vanitas" theme because of the ephemeral nature and the beauty of its subject matter. Delicate flowers in full bloom, droplets of dew that will disappear with sunrise, and bowed stems soon to wilt symbolize the brevity of human life. In this painting, the glass vase adds to the sense of fragility. Bartolomé Pérez was one of the most celebrated flower painters in Spain in his time. Notice how his use of bold colors and brushstrokes enliven every petal and stem of the flowers. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Jack G. Taylor, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Spanish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Possible conservation issue, needs opinion from conservator; condition issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.106.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.106.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.106.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.106.tif", "IsPrimary" : "1", "_SurrogateID" : "3693", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14897, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14897", "Disp_Access_No" : "1984.57", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1650-1655", "_Disp_Start_Dat" : "1650", "_Disp_End_Date" : "1655", "Disp_Title" : "Personification of Astrology", "Alt_Title" : "", "Obj_Title" : "Personification of Astrology", "Series_Title" : "", "Disp_Maker_1" : "Guercino (Giovanni Francesco Barbieri)", "Sort_Artist" : "Guercino (Giovanni Francesco Barbieri)", "Disp_Dimen" : "81 cm x 65.6 cm (31 7/8 in. x 25 13/16 in.)", "Disp_Height" : "81 cm", "Disp_Width" : "65.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Guercino, the leading artist in Bologna during the mid-seventeenth century, simplified Cesare Ripa’s description of Astrology. Ripa describes her as a science “devoted to the contemplation of the celestial bodies,” wearing blue clothing and a starry cap. Guercino gives her these attributes but omits others mentioned in Ripa: her wings, a celestial globe, compass, and scepter. Instead, he paints her looking at a demonstrational armillary sphere with Earth at its center. The sphere consists of metal rings that represent the equator, tropics, arctic, and Antarctic circles, revolving on an axis. It is notable that Guercino spotlights this geocentric device rather than a heliocentric one about two decades after Galileo’s "Dialogue Concerning the Two Great World Systems" (1632) confirmed Copernicus’s theory that the earth revolved around the sun. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Does this have a "twin" somewhere? (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.57.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.57.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.57.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.57.tif", "IsPrimary" : "1", "_SurrogateID" : "1302", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14898, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14898", "Disp_Access_No" : "1984.56", "_AccNumSort1" : "", "Disp_Create_DT" : "17th century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "A Roemer with Grapes, a Pewter Plate, and a Roll", "Alt_Title" : "", "Obj_Title" : "A Roemer with Grapes, a Pewter Plate, and a Roll", "Series_Title" : "", "Disp_Maker_1" : "Abraham van Beyeren", "Sort_Artist" : "Beyeren, Abraham van", "Disp_Dimen" : "92.7 cm x 79.4 cm (36 1/2 in. x 31 1/4 in.)", "Disp_Height" : "92.7 cm", "Disp_Width" : "79.4 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Still-life painting became popular in Europe in the seventeenth century. Lacking the traditional patronage of Church and court, Dutch artists excelled at these banquet table scenes. They were especially popular among the growing merchant class who were interested in commercial goods. These paintings also served as reminders of the transient nature of life. Here, the artist shows plates precariously set near the edge of the table on a rumpled tablecloth and a knife with its handle jutting out towards the spectator, which suggests a sudden departure of people from the scene. The pocket watch with a winding key on a ribbon further emphasizes the effect of fleeting time. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Dutch", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.56.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.56.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.56.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.56.tif", "IsPrimary" : "1", "_SurrogateID" : "1301", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14904, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14904", "Disp_Access_No" : "1984.50", "_AccNumSort1" : "", "Disp_Create_DT" : "1680s", "_Disp_Start_Dat" : "1680", "_Disp_End_Date" : "1680", "Disp_Title" : "The Presentation of the Virgin in the Temple", "Alt_Title" : "", "Obj_Title" : "The Presentation of the Virgin in the Temple", "Series_Title" : "", "Disp_Maker_1" : "Luca Giordano", "Sort_Artist" : "Giordano, Luca", "Disp_Dimen" : "105.5 cm x 135.9 cm (41 9/16 in. x 53 1/2 in.)", "Disp_Height" : "105.5 cm", "Disp_Width" : "135.9 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, Archer M. Huntington Museum Fund, 1984", "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/1984.50.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.50.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.50.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.50.tif", "IsPrimary" : "1", "_SurrogateID" : "1295", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15019, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15019", "Disp_Access_No" : "1982.182", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1605-1608", "_Disp_Start_Dat" : "1605", "_Disp_End_Date" : "1608", "Disp_Title" : "Diana and Callisto", "Alt_Title" : "", "Obj_Title" : "Diana and Callisto", "Series_Title" : "", "Disp_Maker_1" : "Jan Brueghel the Elder and Hendrick van Balen", "Sort_Artist" : "Brueghel the Elder and Hendrick van Balen, Jan", "Disp_Dimen" : "26.4 cm x 37.9 cm (10 3/8 in. x 14 15/16 in.)", "Disp_Height" : "26.4 cm", "Disp_Width" : "37.9 cm", "Dimen_Extent" : "panel", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "The goddess Diana and her chaste nymphs have returned from hunting to bathe in their sacred stream, but Callisto is reluctant. Sensing she is hiding something, Diana orders her entourage to forcibly remove Callisto’s garments, revealing her pregnancy. According to Ovid’s "Metamorphoses," Jupiter had disguised himself as Diana and lured Callisto into his embrace. No longer virginal and pure, Callisto was banished from Diana’s sacred waters. Depicting the climactic moment of the myth, this painting alludes to the immediate and eternal punishment of Callisto. Diana leans forward in the same direction as Callisto’s movement backwards, emphasizing their roles as punisher and punished. A bearded iris near Diana represents the goddess Iris, Juno’s messenger of bad tidings. The collection of shells, corals, and accessories for grooming after the bath are abandoned at the bottom right, which signals the final outcome for Callisto. Collaborations between artists of different specialties were fashionable in early seventeenth-century Flanders. Here, as in many pieces by this pair, Hendrick van Balen’s ability to render the female nude and Jan Brueghel’s skills as a landscape painter work in tandem. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1982", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Flemish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Display case to show copper on back (FC:jb 4/2/15) Could potentially go with Sprangers, northern European gallery (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.182.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.182.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.182.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.182.tif", "IsPrimary" : "1", "_SurrogateID" : "1233", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16054, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16054", "Disp_Access_No" : "2017.1074", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1634", "_Disp_Start_Dat" : "1629", "_Disp_End_Date" : "1639", "Disp_Title" : "Personification of Constancy", "Alt_Title" : "", "Obj_Title" : "Personification of Constancy", "Series_Title" : "", "Disp_Maker_1" : "Cesare Dandini", "Sort_Artist" : "Dandini, Cesare", "Disp_Dimen" : "73 cm x 63 cm (28 3/4 in. x 24 13/16 in.)", "Disp_Height" : "73 cm", "Disp_Width" : "63 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "One of the principal painters of the second quarter of the century in Florence, and the favorite of the Medici family, Dandini epitomizes the basic conservatism of the school and its patrons. Although trained by several of the city’s more progressive painters, he developed a style in the 1630s that is characterized by lucid design, exaggerated geometry, impenetrable psychology, and high finish. The Allegory of Constancy, with its subject precisely following the prescription of Cesare Ripa’s famed book of emblems, is an excellent example of this rather abstract, practically anti-naturalistic style. At one level, this style represents a self-conscious return to the art of the Florentine past, early Mannerism, and the works of Andrea del Sarto and Pontormo in particular. At another, it bespeaks the growing insecurities, intellectualism, and hermeticism of a center and court in decline.", "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" : "Beautiful firelight reflected onto the sword (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/214.1999.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/214.1999.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/214.1999.tif", "IIIF_URL": "http://iiif.gallerysystems.com/214.1999.tif", "IsPrimary" : "0", "_SurrogateID" : "2601", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1074-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1074-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1074-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1074-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18065", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16057, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16057", "Disp_Access_No" : "2017.1426", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1630", "_Disp_Start_Dat" : "1625", "_Disp_End_Date" : "1635", "Disp_Title" : "Madonna and Child with Saints Cecilia, Valerian, and Tibertius", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with Saints Cecilia, Valerian, and Tibertius", "Series_Title" : "", "Disp_Maker_1" : "Claude Vignon", "Sort_Artist" : "Vignon, Claude", "Disp_Dimen" : "23.5 cm x 30.16 cm (9 1/4 in. x 11 7/8 in.)", "Disp_Height" : "23.5 cm", "Disp_Width" : "30.16 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "As the patron saint of music, Cecilia is typically depicted with an instrument; here a small pipe organ. To indicate her purity and devotion, Claude Vignon placed Cecilia at the feet of Mary, who appears as royalty, illuminating the scene with a golden crown. Saints Valerian and Tiburtius hold palms of martyrdom as Cecilia gazes upon baby Jesus. A devout Christian from youth, Cecilia took a vow of chastity before being betrothed to Valerian, a Roman nobleman. She lamented the match, invoking the saints to protect her virginity. Before consummation, she informed Valerian of her vow, claiming that she was protected by an angel whom he could see only if baptized. Valerian was baptized and returned to see the angel crowning Cecilia with a chaplet of rose and lily. Cecilia, Valerian, and his brother Tiburtius were all martyred by order of the Roman governor Almachius.", "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" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Copper, display case. Condition issues, conservation: needs to be cleaned. (FC:jb 4/15/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1426.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1426.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1426.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1426.tif", "IsPrimary" : "1", "_SurrogateID" : "2671", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16179, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16179", "Disp_Access_No" : "2017.1168", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1616-1617", "_Disp_Start_Dat" : "1616", "_Disp_End_Date" : "1617", "Disp_Title" : "Landscape with Tobias and the Angel", "Alt_Title" : "", "Obj_Title" : "Landscape with Tobias and the Angel", "Series_Title" : "", "Disp_Maker_1" : "Guercino (Giovanni Francesco Barbieri)", "Sort_Artist" : "Guercino (Giovanni Francesco Barbieri)", "Disp_Dimen" : "31 cm x 40.5 cm (12 3/16 in. x 15 15/16 in.)", "Disp_Height" : "31 cm", "Disp_Width" : "40.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Archangel Raphael points to a great fish located at the painting’s bottom edge and instructs a surprised, bathing Tobias to seize it. Tobias, the son of the title character in the Book of Tobit, would later use the fish’s entrails to cure the blindness of his father and to dispel a demon tormenting his future wife, Sara. Guercino was a leading painter in the Bolognese school of the seventeenth century. He was known for his ability to communicate emotion through human gesture and expression. His talent for depicting contrasts in light also appears in the painting’s dark landscape lit by a setting sun, which echoes Tobias’ story of faith and revelation. This rare work is likely Guercino’s only landscape painting on copper to incorporate a religious narrative. ", "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/2017.1168.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1168.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1168.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1168.tif", "IsPrimary" : "1", "_SurrogateID" : "2618", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16250, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16250", "Disp_Access_No" : "2017.1162", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1640-1645", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1645", "Disp_Title" : "Saints Mary Magdalene, Catherine of Alexandria, Catherine of Siena, Lucy, and Dorothy", "Alt_Title" : "", "Obj_Title" : "Saints Mary Magdalene, Catherine of Alexandria, Catherine of Siena, Lucy, and Dorothy", "Series_Title" : "", "Disp_Maker_1" : "Francesco Guarino", "Sort_Artist" : "Guarino, Francesco", "Disp_Dimen" : "39.2 cm x 26.6 cm (15 7/16 in. x 10 1/2 in.)", "Disp_Height" : "39.2 cm", "Disp_Width" : "26.6 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" : "Could be shown in display case in middle of the room to show copper (FC:jb 4/6/15) Figures awkwardly proportioned but still in play (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1162.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1162.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1162.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1162.tif", "IsPrimary" : "1", "_SurrogateID" : "2616", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16254, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16254", "Disp_Access_No" : "2017.1024", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1640", "_Disp_Start_Dat" : "1635", "_Disp_End_Date" : "1645", "Disp_Title" : "Noah Leading the Animals into the Ark", "Alt_Title" : "", "Obj_Title" : "Noah Leading the Animals into the Ark", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Benedetto Castiglione", "Sort_Artist" : "Castiglione, Giovanni Benedetto", "Disp_Dimen" : "39.5 cm x 57.3 cm (15 9/16 in. x 22 9/16 in.)", "Disp_Height" : "39.5 cm", "Disp_Width" : "57.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Oil on antique laid paper mounted on cradled wood panel", "Support" : "", "Disp_Medium" : "Oil on antique laid paper mounted on cradled wood panel", "Info_Page_Comm" : "This oil sketch reveals two fundamental debts to Netherlandish art. The technique, especially employed in such a loose and summary manner, derives from the frequent preparatory studies of the great Flemish painters, Rubens and Van Dyck, who were active at Genoa early in the century. And the subject responds to the Genoese taste for animal paintings that was acquired from 17th-century Holland. Castiglione rarely essayed animals as such, but many of his habitual historical subjects are pretexts for featuring them. The constancy of his interest and the continuity in these subjects are made clear by the comparison of this study with his large etching from more than a decade later. ", "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" : "Should be on display with conservator''s approval. (FC:jp 4/22/2015)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1024.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1024.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1024.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1024.tif", "IsPrimary" : "1", "_SurrogateID" : "2763", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16257, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16257", "Disp_Access_No" : "2017.1126", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1608-1613", "_Disp_Start_Dat" : "1608", "_Disp_End_Date" : "1613", "Disp_Title" : "Martyrdom of Saint Cecilia", "Alt_Title" : "", "Obj_Title" : "Martyrdom of Saint Cecilia", "Series_Title" : "", "Disp_Maker_1" : "Guy François", "Sort_Artist" : "François, Guy", "Disp_Dimen" : "126.4 cm x 97.2 cm (49 3/4 in. x 38 1/4 in.)", "Disp_Height" : "126.4 cm", "Disp_Width" : "97.2 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This picture is an early and almost programmatic response to Caravaggio’s lessons. It has long been attributed to Carlo Saraceni, a Venetian painter active in Rome, one of the earliest to espouse the new naturalistic language. It is better seen as a capital work of François, who was also in Rome from 1608 until 1613, then the very first to bring Caravaggism to France. Although extremely similar and usually confused with Saraceni’s, the works of the Frenchman can be distinguished by their slightly more regular shapes and exact contours, which result in compositions of more pronounced pattern than atmospheric space. Precisely this difference is clear in comparing the present composition with a nearly identical version by Saraceni that was recently identified and acquired by Los Angeles. The identity of these pictures also answers any question about the fact and intimate nature of the two painters’ collaboration.", "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" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Among FC''s top twenty. Copy. (FC:jb 5/22/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1126.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1126.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1126.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1126.tif", "IsPrimary" : "1", "_SurrogateID" : "2650", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16308, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16308", "Disp_Access_No" : "2017.1034", "_AccNumSort1" : "", "Disp_Create_DT" : "1640s", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1640", "Disp_Title" : "Carnival Procession with a Wagon", "Alt_Title" : "", "Obj_Title" : "Carnival Procession with a Wagon", "Series_Title" : "", "Disp_Maker_1" : "Michelangelo Cerquozzi", "Sort_Artist" : "Cerquozzi, Michelangelo", "Disp_Dimen" : "44.45 cm x 56.52 cm (17 1/2 in. x 22 1/4 in.)", "Disp_Height" : "44.45 cm", "Disp_Width" : "56.52 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on canvas", "Support" : "", "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" : "Pair with Passeri (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1034.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1034.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1034.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1034.tif", "IsPrimary" : "1", "_SurrogateID" : "2591", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16310, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16310", "Disp_Access_No" : "2017.1099", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Diana of the Hunt", "Alt_Title" : "", "Obj_Title" : "Diana of the Hunt", "Series_Title" : "", "Disp_Maker_1" : "Michel Dorigny", "Sort_Artist" : "Dorigny, Michel", "Disp_Dimen" : "44.6 cm x 41 cm (17 9/16 in. x 16 1/8 in.)", "Disp_Height" : "44.6 cm", "Disp_Width" : "41 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on canvas", "Support" : "", "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" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Could go in mythology section. (FC:jb 4/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1099.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1099.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1099.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1099.tif", "IsPrimary" : "1", "_SurrogateID" : "4506", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16316, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16316", "Disp_Access_No" : "2017.901", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1680", "_Disp_Start_Dat" : "1675", "_Disp_End_Date" : "1685", "Disp_Title" : "The Annunciation", "Alt_Title" : "", "Obj_Title" : "The Annunciation", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Beinaschi", "Sort_Artist" : "Beinaschi, Giovanni Battista", "Disp_Dimen" : "46.6 cm x 35.6 cm (18 3/8 in. x 14 in.)", "Disp_Height" : "46.6 cm", "Disp_Width" : "35.6 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" : "Conservation, condition issues: needs to be cleaned 2+ if cleaned. (FC:jb 4/14/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.901.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.901.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.901.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.901.tif", "IsPrimary" : "1", "_SurrogateID" : "3430", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16359, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16359", "Disp_Access_No" : "2017.1072", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1625 - 1650", "_Disp_Start_Dat" : "1625", "_Disp_End_Date" : "1650", "Disp_Title" : "Portrait of a Man", "Alt_Title" : "", "Obj_Title" : "Portrait of a Man", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Francesco Curradi", "Sort_Artist" : "Curradi, Attributed to Francesco", "Disp_Dimen" : "54.61 cm x 41.28 cm (21 1/2 in. x 16 1/4 in.)", "Disp_Height" : "54.61 cm", "Disp_Width" : "41.28 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Judging from the sitter’s dress—a collar with lace trim and a hairstyle of loose curls—we can date this painting between 1625 and 1650, about when both these styles were in fashion. Flat collars would be replaced by the neckcloth, a strip of lace or muslin twisted around the neck and tied at the throat. In the latter half of the century, natural hair would be traded for wigs. Francesco Curradi, a Florentine draftsman and painter, appears to have reused this sitter’s face for figures in other paintings, including the archangel Michael in the "Vision of Saint Philip Benizi" at the church of Santa Maria dei Servi in Siena. When viewed under ultraviolet light, the painting shows signs of retouching, particularly in the sitter’s original lace collar, which was likely enhanced after losses from age and cleaning. ", "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, conservation issues: needs to be cleaned. 2+ if cleaned. Could go in portrait gallery (FC:jb 4/14/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1072.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1072.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1072.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1072.tif", "IsPrimary" : "1", "_SurrogateID" : "3443", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16369, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16369", "Disp_Access_No" : "2017.1203", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1671", "_Disp_Start_Dat" : "1666", "_Disp_End_Date" : "1676", "Disp_Title" : "Mercury Transforming Chelone into a Turtle", "Alt_Title" : "", "Obj_Title" : "Mercury Transforming Chelone into a Turtle", "Series_Title" : "", "Disp_Maker_1" : "Filippo Lauri", "Sort_Artist" : "Lauri, Filippo", "Disp_Dimen" : "59 cm x 71.2 cm (23 1/4 in. x 28 1/16 in.)", "Disp_Height" : "59 cm", "Disp_Width" : "71.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Mercury, here seen in his winged hat, invited all gods, humans, and animals to his father Jupiter’s wedding to the goddess Juno. Everyone came, except the nymph Chelone, who mocked the union. Enraged by her arrogance, Mercury threw Chelone’s house into the river and turned her into a turtle. This painting diverges from the popular version of the story and presents Juno as the protagonist who condemns Chelone. Mercury occupies a secondary place behind the seated Jupiter. Cupid, the god of love, evokes the nuptial context of the scene, which is also highlighted by the youthful features of Jupiter and Juno. The oval shape of the canvas likely indicates that it was a decorative painting to be placed over a doorway or a window. Filippo Lauri was renowned for depicting landscapes, architecture, flowers, and animals to embellish important palaces in Rome. ", "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" : "Pair with Lauri''s Venus and Adonis (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1203.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1203.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1203.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1203.tif", "IsPrimary" : "1", "_SurrogateID" : "2748", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16370, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16370", "Disp_Access_No" : "2017.1205", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1671", "_Disp_Start_Dat" : "1666", "_Disp_End_Date" : "1676", "Disp_Title" : "Venus and Adonis", "Alt_Title" : "Cupid Shooting Arrows at Lovers; Diana and Actaeon?", "Obj_Title" : "Venus and Adonis", "Series_Title" : "", "Disp_Maker_1" : "Filippo Lauri", "Sort_Artist" : "Lauri, Filippo", "Disp_Dimen" : "59 cm x 71.2 cm (23 1/4 in. x 28 1/16 in.)", "Disp_Height" : "59 cm", "Disp_Width" : "71.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Ovid’s "Metamorphoses" tells the tragic love story of Venus and Adonis. The goddess was so enamored of the handsome hunter that she even dressed herself like a huntress and wandered in the woods with him. But their love affair came to an abrupt end, when a boar killed Adonis. He had disregarded Venus’ warning about ferocious animals. Mourning her lover’s death, the goddess turned his blood into the anemone flower. Filippo Lauri enhances the drama of the moment when Venus falls in love with Adonis. Cupid’s arrow inflames her with passion for Adonis, who is lying under a myrtle tree. (The tree evokes his birth from the myrtle into which his mother Myrrha transformed.) His spear and hunting dogs prefigure the confrontation with the boar, and his reclining pose foreshadows his death. In the background is the swan-drawn chariot that Venus would drive to rush back to the dying youth. By combining these visual clues from different parts of the narrative, the artist reminds the viewer of the entire story.", "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" : "Pair with Lauri''s Mercury Transforming... (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1205.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1205.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1205.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1205.tif", "IsPrimary" : "1", "_SurrogateID" : "2749", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16374, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16374", "Disp_Access_No" : "2017.1217", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1628-1630", "_Disp_Start_Dat" : "1628", "_Disp_End_Date" : "1630", "Disp_Title" : "Pastoral Landscape", "Alt_Title" : "", "Obj_Title" : "Pastoral Landscape", "Series_Title" : "", "Disp_Maker_1" : "Claude Lorrain", "Sort_Artist" : "Lorrain, Claude", "Disp_Dimen" : "61.4 cm x 88.2 cm (24 3/16 in. x 34 3/4 in.)", "Disp_Height" : "61.4 cm", "Disp_Width" : "88.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting portrays two shepherds in love, their grazing flocks, and a soft light bathing an Italian palace. As an early pastoral by Claude Lorrain, it combines his sketches of the Roman countryside with imagery from ancient art and poetry, which idealized the shepherd’s life as being one of serenity and peace. Claude roamed the hills and pastures surrounding the city and created carefully observed landscapes that demonstrate the harmonious relationships between humans and nature, a theme apparent in this painting: two lovers embrace, a palace emerges from a natural rock formation, and a town rests on a tree-lined ridge.", "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" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues (FC:jb 4/2/15) Pair with Poussin landscape (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1217.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1217.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1217.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1217.tif", "IsPrimary" : "1", "_SurrogateID" : "2592", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16384, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16384", "Disp_Access_No" : "2017.1030", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1645-1650", "_Disp_Start_Dat" : "1645", "_Disp_End_Date" : "1650", "Disp_Title" : "Saint Christina", "Alt_Title" : "", "Obj_Title" : "Saint Christina", "Series_Title" : "", "Disp_Maker_1" : "Bernardo Cavallino", "Sort_Artist" : "Cavallino, Bernardo", "Disp_Dimen" : "63.5 cm x 50.8 cm (25 in. x 20 in.)", "Disp_Height" : "63.5 cm", "Disp_Width" : "50.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : ""The Golden Legend" relates that Christina was a beautiful young woman of noble birth in ancient Rome, who was persecuted for her Christian faith. She refused to worship pagan idols, which led her father and the judges of the town to torture her in various ways. They had asps and serpents attack her, threw her into a furnace, and cut out her tongue. She endured all of them but was eventually martyred with two arrows that pierced her heart and her side. For this reason the saint is often represented with an arrow and a palm branch, the symbol of martyrdom. Bernardo Cavallino, one of the leading painters in seventeenth-century Naples, renders Christina’s beauty with feathery brushwork in the depiction of her face, which is emphasized against the dark neutral background. Her parted lips, tilted head, and delicate hand gesture add to the sensuality with which the artist depicted his imagined portraits of female saints.", "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" : "Needs more light May have been cropped Good frame Conservation issues, canvas coming apart at the bottom left (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1030.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1030.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1030.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1030.tif", "IsPrimary" : "1", "_SurrogateID" : "2734", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16386, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16386", "Disp_Access_No" : "2017.1352", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Saint Agatha", "Alt_Title" : "", "Obj_Title" : "Saint Agatha", "Series_Title" : "", "Disp_Maker_1" : "Pacecco de Rosa (Francesco de Rosa)", "Sort_Artist" : "Rosa (Francesco de Rosa), Pacecco de", "Disp_Dimen" : "63.4 cm x 53 cm (24 15/16 in. x 20 7/8 in.)", "Disp_Height" : "63.4 cm", "Disp_Width" : "53 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "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" : "Bottom of a medallion hang. (FC:jb 4/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1352.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1352.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1352.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1352.tif", "IsPrimary" : "1", "_SurrogateID" : "4849", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16387, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16387", "Disp_Access_No" : "2017.1367", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1615", "_Disp_Start_Dat" : "1610", "_Disp_End_Date" : "1620", "Disp_Title" : "Orpheus Charming the Beasts", "Alt_Title" : "", "Obj_Title" : "Orpheus Charming the Beasts", "Series_Title" : "", "Disp_Maker_1" : "Sinibaldo Scorza", "Sort_Artist" : "Scorza, Sinibaldo", "Disp_Dimen" : "65.5 cm x 100.2 cm (25 13/16 in. x 39 7/16 in.)", "Disp_Height" : "65.5 cm", "Disp_Width" : "100.2 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, 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 (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1367.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1367.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1367.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1367.tif", "IsPrimary" : "1", "_SurrogateID" : "2651", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16388, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16388", "Disp_Access_No" : "2017.1244", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1670", "_Disp_Start_Dat" : "1665", "_Disp_End_Date" : "1675", "Disp_Title" : "Pan and Daphnis", "Alt_Title" : "", "Obj_Title" : "Pan and Daphnis ", "Series_Title" : "", "Disp_Maker_1" : "Pieter Mulier the younger", "Sort_Artist" : "Mulier the younger, Pieter", "Disp_Dimen" : "65.6 cm x 49.3 cm (25 13/16 in. x 19 7/16 in.)", "Disp_Height" : "65.6 cm", "Disp_Width" : "49.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The beautiful young man holding a panpipe is Daphnis, a Sicilian herdsman and son of Mercury, the god of commerce. It was thought that Daphnis invented pastoral music and that his good looks enchanted many, including Pan, the god of shepherds, flocks, and the wild. Pan wandered the mountains and fields of Arcadia, playing his panpipe, often in lustful chases after nymphs and young men. Here, Pan teaches Daphnis how to play the panpipe as he makes an advance in the guise of instruction. Likely modeled on one of the ancient Roman sculptures discovered in the Renaissance, this painting echoes the ideals of the pastoral lifestyle filled with music and love. Pieter Mulier adds a contemporary touch to the scene through the inclusion of a viol, a string instrument popular in his time.", "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" : "Dutch", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Would pair well with Lauri works (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1244.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1244.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1244.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1244.tif", "IsPrimary" : "1", "_SurrogateID" : "2658", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16400, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16400", "Disp_Access_No" : "2017.1305", "_AccNumSort1" : "", "Disp_Create_DT" : "1680s", "_Disp_Start_Dat" : "1680", "_Disp_End_Date" : "1680", "Disp_Title" : "An Allegory with Figures in a Garden Setting", "Alt_Title" : "", "Obj_Title" : "An Allegory with Figures in a Garden Setting", "Series_Title" : "", "Disp_Maker_1" : "Domenico Piola", "Sort_Artist" : "Piola, Domenico", "Disp_Dimen" : "71.76 cm x 93.98 cm (28 1/4 in. x 37 in.)", "Disp_Height" : "71.76 cm", "Disp_Width" : "93.98 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Piola was, with his pupil Gregorio De Ferrari, the leading painter in Genoa during the second half of the seventeenth century. With the catalyst of Pietro da Cortona’s High Baroque cycles, in a manner so fluent as to seem automatic, Piola managed to generalize the lessons of Rubens and Van Dyck’s dynamic naturalism and translate them into the grand scale decoration of the native Genoese tradition. Few palaces in Genoa and scarcely a church in Liguria lack a work with the undulating rhythms, variegated modelling, and softly modulated light that are his trademarks. Piola’s works may not be the most resolute in structure or deep in characterization, but they convey a ease, even a joy, that are estimable and historically significant. Here, a beautiful young woman is interrupted by an aged, winged male who holds an hourglass and scythe in one hand and presents a flower with the other. The subject is related in basic elements and composition to a common Baroque allegory, Time revealing Truth. In fact, the explicit vanity of plaiting hair, the implicit one of a mirror, the futile gesture of the little boy, and the flower shift the meaning to the short duration, the precariousness, of physical beauty. In its suave rhythms and decorative amplitude, the painting exemplifies Piola’s mature style. ", "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" : "Medallion, possibly with other garden pictures (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1305.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1305.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1305.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1305.tif", "IsPrimary" : "1", "_SurrogateID" : "2638", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16406, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16406", "Disp_Access_No" : "2017.1177", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1680-1685", "_Disp_Start_Dat" : "1680", "_Disp_End_Date" : "1685", "Disp_Title" : "Holy Family with the Young Saint John the Baptist", "Alt_Title" : "", "Obj_Title" : "Holy Family with the Young Saint John the Baptist", "Series_Title" : "", "Disp_Maker_1" : "Bartolomeo Guidobono", "Sort_Artist" : "Guidobono, Bartolomeo", "Disp_Dimen" : "72.3 cm x 58.2 cm (28 7/16 in. x 22 15/16 in.)", "Disp_Height" : "72.3 cm", "Disp_Width" : "58.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Lovely in description, sweet in disposition, and careful in craft, Bartolomeo Guidobono’s work is a distinctive variation upon the grand manner of late seventeenth-century Genoese painting. His style arose from his first training and lifelong collaboration in the family business of fine porcelain painting. Its larger context is the Genoese taste for Netherlandish painting that goes back to the fifteenth century. After a series of trips to Emilia, Guidobono shifted this already delicate style toward the soft contour, luminous color, and gentleness of Correggio. Later he would reconcile it with the large rhythms and efficient manufacture of Domenico Piola. This "Holy Family" is a beautiful compendium of Guidobono’s early style. Its matrix is surely Genoese, with the figural group suggested by Piola and the pure hues reminiscent of Baciccio. Instead, the grain of light, amplitude of the figures, and tenderness reveal the recent debt to Correggio. Most impressive, however, are the refined drawing and meticulous finish, practically those of a miniature painting. In few other works of Guidobono is the craft more sustained or the reflection of his first activity more apparent. This unorthodox petite manière also anticipates the prettiness of the Rococo and the developing relation of the Genoese school to the French. In fact, the painting was at one time attributed to the eighteenth-century French painter Jean-Baptiste Le Prince.", "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/2017.1177.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1177.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1177.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1177.tif", "IsPrimary" : "1", "_SurrogateID" : "2620", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16410, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16410", "Disp_Access_No" : "2017.1279", "_AccNumSort1" : "", "Disp_Create_DT" : "1640s", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1640", "Disp_Title" : "Musical Party in a Garden", "Alt_Title" : "", "Obj_Title" : "Musical Party in a Garden", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Passeri", "Sort_Artist" : "Passeri, Giovanni Battista", "Disp_Dimen" : "73.7 cm x 99 cm (29 in. x 39 in.)", "Disp_Height" : "73.7 cm", "Disp_Width" : "99 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "With its open courtyard littered with fragments of ancient sculpture and bathed in Mediterranean light, the setting here is typical of a garden on the outskirts of Rome. The gentleman at right in contemporary attire introduces the viewer to the party. The woman in the blue mantle, the man in the orange tunic, and the semiclad piper seem engaged in a musical performance of classical inspiration. The group of women in modern costume accompanies them on a spinet. At left two servants ready a table for dining. The meaning of the scene is ambiguous. It may be an Italian version of popular garden scenes depicting the prodigal son as he squanders “his wealth in wild living” (Luke 15). It may also reflect the ideal of a Roman pleasure garden where the classical past and the fashionable present are harmoniously brought together. This pictorial riddle corresponds to Giovanni Battista Passeri’s intellectual character; he was not only a painter but also a writer who authored a collection of biographies of thirty-six painters that offers a lively account of the Italian art scene of the seventeenth century. The Blanton’s painting is one of the very few surviving paintings by the artist. ", "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" : "Pair with Cerquozzi", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1279.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1279.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1279.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1279.tif", "IsPrimary" : "1", "_SurrogateID" : "2632", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16412, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16412", "Disp_Access_No" : "2017.1326", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1653", "_Disp_Start_Dat" : "1648", "_Disp_End_Date" : "1658", "Disp_Title" : "Holy Family", "Alt_Title" : "", "Obj_Title" : "Holy Family", "Series_Title" : "", "Disp_Maker_1" : "Mattia Preti", "Sort_Artist" : "Preti, Mattia", "Disp_Dimen" : "74.3 cm x 63.5 cm (29 1/4 in. x 25 in.)", "Disp_Height" : "74.3 cm", "Disp_Width" : "63.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "With a close-up view of the three figures against an austere background, the painting focuses on the intimate moment shared by Mary, Joseph, and the infant Jesus. Light comes from the top left, illuminating Mary’s graceful young face and elegant hands. At the same time it accentuates the weathered and wrinkled features of Joseph. This contrast between the two figures reflects the tradition that emphasizes Mary’s virginity by stressing Joseph’s advanced age and improbability of fathering a child. The foreshortening of Jesus’ body and the cropping of the Mary and Joseph figures imply the extension of the pictorial space beyond the canvas, which has the effect of including the viewer in the scene as a participant. ", "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/2017.1326.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1326.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1326.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1326.tif", "IsPrimary" : "1", "_SurrogateID" : "2643", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16416, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16416", "Disp_Access_No" : "2017.1212", "_AccNumSort1" : "", "Disp_Create_DT" : "1638-1644", "_Disp_Start_Dat" : "1638", "_Disp_End_Date" : "1644", "Disp_Title" : "Saint Agatha", "Alt_Title" : "", "Obj_Title" : "Saint Agatha", "Series_Title" : "", "Disp_Maker_1" : "Lorenzo Lippi", "Sort_Artist" : "Lippi, Lorenzo", "Disp_Dimen" : "75.7 cm x 64.1 cm (29 13/16 in. x 25 1/4 in.)", "Disp_Height" : "75.7 cm", "Disp_Width" : "64.1 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Until recently this painting was attributed to Orazio Riminaldi, an early follower of Caravaggio working out of Pisa. After careful examination and comparisons to other works by Lorenzo Lippi, The Blanton has once again identified it as by the hand of the Florentine master––an attribution made by William Suida when the painting first entered his collection. Lippi shied away from the highly decorative grandeur typical of the time and adopted a clear, pure style resulting in a subtle, dramatic aesthetic. Vague in substance and dreamy in mood, the subject holds a mild erotic charge and suggests the decadence of the city’s culture. This extraordinary painting exhibits Lippi’s unusual palette, his typical facial types––articulated with careful, compact modeling––and his soft, thinly veiled drapery. He renders the early Christian martyr in a traditional manner, accompanied by the instrument of her torture and its result, her severed breasts. Transfixing the viewer with a glance that is at once vulnerable and provocative, she challenges the viewer to sort out devout sympathy from prurient curiosity. Her attributes are so vivid that the usual boundary between the symbolic and the actual breaks down. In this context, with the inherently beautiful handling of the medium, the image is a memorable combination of pungent realism and subtle transgression. ", "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/2017.1212.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1212.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1212.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1212.tif", "IsPrimary" : "1", "_SurrogateID" : "2750", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16421, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16421", "Disp_Access_No" : "2017.1017", "_AccNumSort1" : "", "Disp_Create_DT" : "late 17th century", "_Disp_Start_Dat" : "1667", "_Disp_End_Date" : "1699", "Disp_Title" : "Jacob Asking for Laban", "Alt_Title" : "", "Obj_Title" : "Jacob Asking for Laban", "Series_Title" : "", "Disp_Maker_1" : "Francesco Castiglione", "Sort_Artist" : "Castiglione, Francesco", "Disp_Dimen" : "78 cm x 84 cm (30 11/16 in. x 33 1/16 in.)", "Disp_Height" : "78 cm", "Disp_Width" : "84 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Fleeing for his life, Jacob seeks refuge with his uncle, Laban, living in “the land of the people of the east.” While Jacob discusses Laban’s whereabouts with shepherds, all the animals in the foreground gaze intently at the viewer. They take center stage, not the humans. Francesco Castiglione follows after his father, Giovanni Benedetto Castiglione, who showcased animals within biblical narratives. In fact, the goat and cattle in the foreground are likely copied from one of his father’s paintings. The work also represents the Genoese fondness for animals in artwork, a taste stimulated by Northern European genre painting and depictions of keenly observed animals. During the early seventeenth century, Dutch and Flemish artists, along with others throughout Europe, moved to Genoa to meet its large demand for art, especially decoration of palaces owned by the city’s wealthy families.", "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/2017.1017.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1017.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1017.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1017.tif", "IsPrimary" : "1", "_SurrogateID" : "2586", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16425, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16425", "Disp_Access_No" : "2017.995", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Death of Rachel", "Alt_Title" : "", "Obj_Title" : "The Death of Rachel", "Series_Title" : "", "Disp_Maker_1" : "Antonio Carneo", "Sort_Artist" : "Carneo, Antonio", "Disp_Dimen" : "81.3 cm x 106.7 cm (32 in. x 42 in.)", "Disp_Height" : "81.3 cm", "Disp_Width" : "106.7 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" : "See how it looks next to green Madonna. (FC:jb 4/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.995.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.995.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.995.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.995.tif", "IsPrimary" : "1", "_SurrogateID" : "9132", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16438, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16438", "Disp_Access_No" : "2017.919", "_AccNumSort1" : "", "Disp_Create_DT" : "1620s", "_Disp_Start_Dat" : "1620", "_Disp_End_Date" : "1620", "Disp_Title" : "Danaë", "Alt_Title" : "", "Obj_Title" : "Danaë", "Series_Title" : "", "Disp_Maker_1" : "Jacques Blanchard", "Sort_Artist" : "Blanchard, Jacques", "Disp_Dimen" : "93.4 cm x 128.4 cm (36 3/4 in. x 50 9/16 in.)", "Disp_Height" : "93.4 cm", "Disp_Width" : "128.4 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" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation. Candidate for medallion hang. Louis Waldman: better than other Blanchard. (FC:jb 4/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.919.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.919.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.919.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.919.tif", "IsPrimary" : "1", "_SurrogateID" : "2669", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.919-pre.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.919-pre.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.919-pre.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.919-pre.tif", "IsPrimary" : "0", "_SurrogateID" : "10339", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16441, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16441", "Disp_Access_No" : "2017.1033", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1640", "_Disp_Start_Dat" : "1635", "_Disp_End_Date" : "1645", "Disp_Title" : "Portrait of a Widow", "Alt_Title" : "Portrait of a Lady Holding a Book", "Obj_Title" : "Portrait of a Widow", "Series_Title" : "", "Disp_Maker_1" : "Carlo Ceresa", "Sort_Artist" : "Ceresa, Carlo", "Disp_Dimen" : "95.8 cm x 78.5 cm (37 11/16 in. x 30 7/8 in.)", "Disp_Height" : "95.8 cm", "Disp_Width" : "78.5 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" : "FC and JP like the head but details are lost in the garment (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1033.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1033.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1033.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1033.tif", "IsPrimary" : "1", "_SurrogateID" : "2736", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16446, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16446", "Disp_Access_No" : "2017.1363", "_AccNumSort1" : "", "Disp_Create_DT" : "17th century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "Saint James the Greater at the Battle of Clavijo", "Alt_Title" : "", "Obj_Title" : "Saint James the Greater at the Battle of Clavijo", "Series_Title" : "", "Disp_Maker_1" : "Johann Heinrich Schönfeld", "Sort_Artist" : "Schönfeld, Johann Heinrich", "Disp_Dimen" : "99 cm x 127.8 cm (39 in. x 50 5/16 in.)", "Disp_Height" : "99 cm", "Disp_Width" : "127.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Mounted on a white stallion and clad in armor, James the Greater charges toward fleeing enemies. According to legend, James miraculously appeared at the fictional ninth-century Battle of Clavijo, where he helped the outnumbered Spaniards vanquish the Moors. For this reason, Saint James the Greater, or Santiago in Spanish, was venerated as the patron saint of Spain. The legend of the battle had a particular resonance in the sixteenth and seventeenth centuries, as the political and military conflict with the Ottoman Turks in the Mediterranean stoked European fear of Muslims. The red cross on the knight-saint’s breastplate is the insignia of the Order of Santiago, founded in the twelfth century to protect pilgrims to Santiago de Compostela, Spain, and to defend Christendom.", "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" : "German", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Title here needs to be changed. Likely Saint James. Shoul be Saint James Vanquishing the Moores? (FC:jb 5/13/15) Could be upstairs in a Northen European section, could be paired Needs a frame Quality, rarity make this 1 (FC:jb 5/13/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1363.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1363.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1363.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1363.tif", "IsPrimary" : "1", "_SurrogateID" : "4850", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16447, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16447", "Disp_Access_No" : "2017.1327", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1657-1659", "_Disp_Start_Dat" : "1657", "_Disp_End_Date" : "1659", "Disp_Title" : "The Martyrdom of Saint Catherine of Alexandria", "Alt_Title" : "", "Obj_Title" : "Martyrdom of Saint Catherine of Alexandria", "Series_Title" : "", "Disp_Maker_1" : "Mattia Preti", "Sort_Artist" : "Preti, Mattia", "Disp_Dimen" : "100.5 cm x 75 cm (39 9/16 in. x 29 1/2 in.)", "Disp_Height" : "100.5 cm", "Disp_Width" : "75 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting represents the moment just before Saint Catherine’s beheading. After the spiked wheels broke into pieces and failed to kill her, the executioner’s sword swings to end her life. As she looks up and prays, an angel descends to crown her with laurel and to give her the palm of martyrdom. The angle of foreshortening suggests that the image was to be viewed from below. This work served as an oil sketch for a painting of the same subject in the ceiling of the church of San Pietro a Maiella in Naples. Between mid-1657 and early 1659 Mattia Preti executed a series of five paintings that represent scenes from the life of Saint Catherine and another five from the life of Saint Peter Celestine, to whom the church is dedicated. For the final version in Naples, the artist departed from the composition in the Blanton’s painting: figures are added on the left, right, and bottom center, and the architectural background is minimized. ", "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" : "Higher up but only raised about a foot, if too high we could lose details; should be raised with caution (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1327.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1327.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1327.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1327.tif", "IsPrimary" : "1", "_SurrogateID" : "2642", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16452, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16452", "Disp_Access_No" : "2017.890", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1703-1704", "_Disp_Start_Dat" : "1703", "_Disp_End_Date" : "1704", "Disp_Title" : "Madonna and Child with Saint Anne Appearing to Pope Paul V", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with Saint Anne Appearing to Pope Paul V", "Series_Title" : "", "Disp_Maker_1" : "Antonio Balestra", "Sort_Artist" : "Balestra, Antonio", "Disp_Dimen" : "109.22 cm x 102.24 cm (43 in. x 40 1/4 in.)", "Disp_Height" : "109.22 cm", "Disp_Width" : "102.24 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is a capital example of Balestra’s style in its first moments of full synthesis. The diagonal armature and regular construction of its compositions are clichés of late-century Roman altarpieces, and passages like the figure of Pope Paul are so controlled that they suggest an actually Roman hand. But the complication of certain tones and the personality of other passages, like the figure of Saint Zeno, betray Venetian authorship. Featuring Zeno, the patron saint of Verona, and Paul V, the early 17th-century pope who asserted eccelesiastical authority against a defiant Venice, this picture along with its pair was surely conceived as a pendant for an orthodox setting, perhaps a cleric’s private residence, in Balestra’s native city.", "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 to be cleaned. Pair with 25.1999. Medallion hang or on either side of a door. (FC:jb 4/14/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.890.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.890.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.890.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.890.tif", "IsPrimary" : "1", "_SurrogateID" : "2604", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16453, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16453", "Disp_Access_No" : "2017.891", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1703-1704", "_Disp_Start_Dat" : "1703", "_Disp_End_Date" : "1704", "Disp_Title" : "Saint Zeno Healing a Possessed Woman", "Alt_Title" : "", "Obj_Title" : "Saint Zeno Healing a Possessed Woman", "Series_Title" : "", "Disp_Maker_1" : "Antonio Balestra", "Sort_Artist" : "Balestra, Antonio", "Disp_Dimen" : "109.22 cm x 102.24 cm (43 in. x 40 1/4 in.)", "Disp_Height" : "109.22 cm", "Disp_Width" : "102.24 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is a capital example of Balestra’s style in its first moments of full synthesis. The diagonal armature and regular construction of its compositions are clichés of late-century Roman altarpieces, and passages like the figure of Pope Paul are so controlled that they suggest an actually Roman hand. But the complication of certain tones and the personality of other passages, like the figure of Saint Zeno, betray Venetian authorship. Featuring Zeno, the patron saint of Verona, and Paul V, the early 17th-century pope who asserted eccelesiastical authority against a defiant Venice, this picture along with its pair was surely conceived as a pendant for an orthodox setting, perhaps a cleric’s private residence, in Balestra’s native city.", "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 to be cleaned. Pair with 24.1999. Medallion hang or on either side of a door (FC:jb 4/14/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.891.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.891.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.891.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.891.tif", "IsPrimary" : "1", "_SurrogateID" : "2606", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16455, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16455", "Disp_Access_No" : "2017.918", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1634-1635", "_Disp_Start_Dat" : "1634", "_Disp_End_Date" : "1635", "Disp_Title" : "Charity", "Alt_Title" : "", "Obj_Title" : "Charity", "Series_Title" : "", "Disp_Maker_1" : "Jacques Blanchard", "Sort_Artist" : "Blanchard, Jacques", "Disp_Dimen" : "110.5 cm x 142.8 cm (43 1/2 in. x 56 1/4 in.)", "Disp_Height" : "110.5 cm", "Disp_Width" : "142.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Jacques Blanchard represents the personification of Charity as a woman breastfeeding a child and tending to two others around her. According to Cesare Ripa, the three children signify the tripling of Charity’s power when accompanied by Faith and Hope, the other theological virtues. Blanchard makes a creative departure from Ripa’s original text, however, by adding more children to illustrate charity in action: a boy assists a crying girl, and the infant on Charity’s lap reaches compassionately out to her. This scene reinforces a passage in the French edition of "Iconologia" that Charity “usually dwells among innocent and pure souls.” Regarded as a gifted colorist, he worked for King Louis XIV in Paris. The Blanton's painting is one of the few paintings by the artist in the United States.", "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" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Medallion (FC:jb 4/2/15) One of two Blanchards (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.918.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.918.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.918.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.918.tif", "IsPrimary" : "1", "_SurrogateID" : "2648", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16458, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16458", "Disp_Access_No" : "2017.1170", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1624-1625", "_Disp_Start_Dat" : "1624", "_Disp_End_Date" : "1625", "Disp_Title" : "Saint Mary Magdalene", "Alt_Title" : "", "Obj_Title" : "Saint Mary Magdalene", "Series_Title" : "", "Disp_Maker_1" : "Guercino (Giovanni Francesco Barbieri)", "Sort_Artist" : "Guercino (Giovanni Francesco Barbieri)", "Disp_Dimen" : "114.94 cm x 94.3 cm (45 1/4 in. x 37 1/8 in.)", "Disp_Height" : "114.94 cm", "Disp_Width" : "94.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Guercino's style, its optical intensity and sensory appeal, offered an alternative to the more schematic naturalism of Caravaggio and the early classicism of Annibale Carracci. Guercino, however, was reciprocally affected by those prevailing currents, as well as by the weight of the city’s earlier artistic traditions. Just as other painters like Giovanni Lanfranco and Pietro da Cortona began to explore and extend the possibilities of Guercino’s style, he tempered them. This painting is an excellent example of Guercino’s shift toward a less intuitive style in the aftermath of his sojourn in Rome. Transcending her contemplation of death and repentance of sins, the Magdalene looks heavenward in a rapture that is echoed by the shaft of light from the upper left. Because her figure derives from a painting of around 1619, a Raising of Lazarus in the Louvre, Guercino’s development is all the more apparent. The composition is more deliberate, its forms more constructed, his touch more measured. What painting may have lost in restless vitality, it has gained in solemn power. Later, however, these tendencies would lead to an ever more self-conscious, and nonetheless beautiful, approximation of Baroque classicism. When Guercino went to Rome in 1621-23, he brought with him the style of the Suida-Manning Collection’s exquisite Landscape, to the left. That style, its optical intensity and sensory appeal, offered an alternative to the more schematic naturalism of Caravaggio and the early classicism of Annibale Carracci. Guercino, however, was reciprocally affected by those prevailing currents, as well as by the weight of the city’s earlier artistic traditions. Just as other painters like Giovanni Lanfranco and Pietro da Cortona began to explore and extend the possibilities of Guercino’s style, he tempered them.", "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" : "Higher up (FC:jb 4/2/15) Medallion (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1170.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1170.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1170.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1170.tif", "IsPrimary" : "1", "_SurrogateID" : "2619", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16461, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16461", "Disp_Access_No" : "2017.1060", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1621", "_Disp_Start_Dat" : "1616", "_Disp_End_Date" : "1626", "Disp_Title" : "The Conversion of Saint Paul", "Alt_Title" : "", "Obj_Title" : "The Conversion of Saint Paul", "Series_Title" : "", "Disp_Maker_1" : "Daniele Crespi", "Sort_Artist" : "Crespi, Daniele", "Disp_Dimen" : "118.7 cm x 84.5 cm (46 3/4 in. x 33 1/4 in.)", "Disp_Height" : "118.7 cm", "Disp_Width" : "84.5 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Had Daniele 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 troubling intensity of the school’s first generation have been subjected to a more disciplined sense of design and a more predictable language of expression, reflecting the lessons of recent Florentine painting as well as the emerging Bolognese academy. The resulting style is original in its staging but legible in its action and noble in its feeling. This is one of Crespi’s most important early pictures. The general composition and its compression of space into a single plane derive from a low-relief sculpture designed by Cerano for the façade of the church of San Paolo Converso in Milan. The intricate rhythms and the palette depend more on Giulio Cesare Procaccini, another major figure of the first generation who was Crespi’s principal inspiration if not actual teacher. But the incisive drawing of Saint Paul, the exact modeling of his forms, and the memorable enunciation of the drama announce the fact and direction of a distinctive language. The Suida-Manning Collection includes a second outstanding picture by Crespi, "Ecce Homo" of about two years later.", "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/2017.1060.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1060.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1060.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1060.tif", "IsPrimary" : "1", "_SurrogateID" : "2593", "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" : 16465, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16465", "Disp_Access_No" : "2017.1384", "_AccNumSort1" : "", "Disp_Create_DT" : "1630s", "_Disp_Start_Dat" : "1630", "_Disp_End_Date" : "1630", "Disp_Title" : "The Assumption of Mary Magdalene", "Alt_Title" : "", "Obj_Title" : "The Assumption of Mary Magdalene", "Series_Title" : "", "Disp_Maker_1" : "Riccardo Taurini", "Sort_Artist" : "Taurini, Riccardo", "Disp_Dimen" : "127.7 cm x 105.3 cm (50 1/4 in. x 41 7/16 in.)", "Disp_Height" : "127.7 cm", "Disp_Width" : "105.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "According to "The Golden Legend," Mary Magdalene spent her last thirty years as a hermit in a cave in Sainte-Baume, a mountain ridge in southern France. Seven times a day angels carried her aloft to heaven, where she glimpsed her coming reward. The representation of this ecstatic scene emerged during the Counter-Reformation and became common in Baroque art as a way to encourage the veneration of saints in the Catholic Church. The pronounced foreshortening of the saint’s left foot and the angel figures indicates the painting was originally placed high above the viewer’s eye level, probably over an altar.", "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" : "Higher up (FC:jb 4/2/15) Condition / conservation issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1384.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1384.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1384.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1384.tif", "IsPrimary" : "1", "_SurrogateID" : "2735", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16466, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16466", "Disp_Access_No" : "2017.1424", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1620-1623", "_Disp_Start_Dat" : "1620", "_Disp_End_Date" : "1623", "Disp_Title" : "David with the Head of Goliath", "Alt_Title" : "", "Obj_Title" : "David with the Head of Goliath", "Series_Title" : "", "Disp_Maker_1" : "Claude Vignon", "Sort_Artist" : "Vignon, Claude", "Disp_Dimen" : "133.7 cm x 98 cm (52 5/8 in. x 38 9/16 in.)", "Disp_Height" : "133.7 cm", "Disp_Width" : "98 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting represents the victorious David with the severed head of Goliath, the giant Philistine warrior that he defeated with a sling. In David’s right hand is Goliath’s sword, which he used to cut off the giant’s head. The shepherd boy’s sumptuous headdress and clothes originally belonged to Jonathan, the son of King Saul, who took off his princely robes and gave them to the courageous young man as a token of affection. David is depicted as androgynous, which reflects an ideal of beauty for young men in the sixteenth and seventeenth centuries. Painted during Claude Vignon’s final years in Rome before his return to Paris, the work shows the French artist’s masterful interpretation of Caravaggio’s work. The strong shaft of light coming from the upper left increases the sense of drama in a seemingly calm scene by contrasting the beauty of the protagonist with the horror of the preceding event. ", "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" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1424.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1424.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1424.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1424.tif", "IsPrimary" : "1", "_SurrogateID" : "2670", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16467, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16467", "Disp_Access_No" : "2017.1434", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1626", "_Disp_Start_Dat" : "1621", "_Disp_End_Date" : "1631", "Disp_Title" : "Saint Cecilia", "Alt_Title" : "", "Obj_Title" : "Saint Cecilia", "Series_Title" : "", "Disp_Maker_1" : "Simon Vouet", "Sort_Artist" : "Vouet, Simon", "Disp_Dimen" : "134.1 cm x 98.2 cm (52 13/16 in. x 38 11/16 in.)", "Disp_Height" : "134.1 cm", "Disp_Width" : "98.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Cecilia, the patron saint of music and musicians, sits in front of a small organ. Clothed in a lush silk dress and a brocaded mantle, she gracefully turns to the two cherubs that appear to her. Soft golden light bathes the figure and the background, infusing the scene with heavenly atmosphere. Cecilia was a Christian martyr who lived in third-century Rome. She took a vow of virginity, and on her wedding night, she converted her groom Valerian, who in turn guided his brother Tiburtius to the Christian faith. Their beliefs were soon discovered by the authorities, which led to their martyrdom. Cecilia has been represented with a musical instrument since the fourteenth century, although her connection to music is tenuous at best. According to "The Golden Legend," the saint heard celestial music when she was praying to God to preserve her virginity. She sang, “Let my heart and my body be undefiled, O Lord, that I may not be confounded.” Depictions of female saints in rapture were popular in Rome in the 1620s. It is possible that Simon Vouet used his wife, the painter Virginia da Vezzo, as the model for the saint figure. They married in Rome in 1626, just before they left for France to serve King Louis XIII.", "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" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1434.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1434.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1434.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1434.tif", "IsPrimary" : "1", "_SurrogateID" : "2672", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16468, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16468", "Disp_Access_No" : "2017.1015", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1648-1649", "_Disp_Start_Dat" : "1648", "_Disp_End_Date" : "1649", "Disp_Title" : "The Angelic Consolation of Saint Francis", "Alt_Title" : "", "Obj_Title" : "The Angelic Consolation of Saint Francis", "Series_Title" : "", "Disp_Maker_1" : "Valerio Castello", "Sort_Artist" : "Castello, Valerio", "Disp_Dimen" : "136 cm x 101.3 cm (53 9/16 in. x 39 7/8 in.)", "Disp_Height" : "136 cm", "Disp_Width" : "101.3 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" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1015.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1015.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1015.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1015.tif", "IsPrimary" : "1", "_SurrogateID" : "2730", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16470, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16470", "Disp_Access_No" : "2017.1306", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1680", "_Disp_Start_Dat" : "1675", "_Disp_End_Date" : "1685", "Disp_Title" : "An Allegory with Venus and Time", "Alt_Title" : "", "Obj_Title" : "An Allegory with Venus and Time", "Series_Title" : "", "Disp_Maker_1" : "Domenico Piola", "Sort_Artist" : "Piola, Domenico", "Disp_Dimen" : "154.1 cm x 113.6 cm (60 11/16 in. x 44 3/4 in.)", "Disp_Height" : "154.1 cm", "Disp_Width" : "113.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In this allegory, Time, with his hourglass, presents Venus, the goddess of love, with a mature rose, as if to remind her that earthly love is as fleeting as a rose’s bloom. In response, Venus reveals her higher identity as a symbol of enduring spiritual love and divine beauty, a concept that evolved from the rediscovery of the writings of Plato and other ancient philosophers during the Renaissance. Venus here has already disarmed her son Cupid, the god of erotic love, by breaking his bow’s string. He is now unable to enflame uncontrollable desires in people and gods by shooting arrows into them. Domenico Piola, the leading artist in Genoa in the second half of the seventeenth century, painted many ceiling frescoes for churches and palaces. Paintings predating 1684 like this one are especially rare, since French naval bombardments in May of that year destroyed most of Genoa, including Piola’s house and studio. ", "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/2017.1306.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1306.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1306.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1306.tif", "IsPrimary" : "0", "_SurrogateID" : "2639", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1306-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1306-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1306-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1306-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18067", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16525, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16525", "Disp_Access_No" : "2017.1346", "_AccNumSort1" : "", "Disp_Create_DT" : "1689-1706", "_Disp_Start_Dat" : "1689", "_Disp_End_Date" : "1706", "Disp_Title" : "Education of the Virgin", "Alt_Title" : "", "Obj_Title" : "Education of the Virgin", "Series_Title" : "", "Disp_Maker_1" : "Luisa Roldán", "Sort_Artist" : "Roldán, Luisa", "Disp_Dimen" : "43 x 45 x 36 cm (16 15/16 x 17 11/16 x 14 3/16 in.)", "Disp_Height" : "43 cm", "Disp_Width" : "45 cm", "Dimen_Extent" : "", "Medium" : "Polychrome terracotta", "Support" : "", "Disp_Medium" : "Polychrome terracotta", "Info_Page_Comm" : "The earliest documented female sculptor in Spain, Luisa Roldán (1652-1706) created sculptures for the king and queen among many other important Spanish patrons. In The Education of the Virgin, she captured a tender, everyday moment between the young Virgin Mary (future mother of Jesus Christ) and her parents, saints Anne and Joachim. Standing at Anne’s feet, Mary peers over her mother’s lap as they practice reading a religious text together. Joachim leans on the arm of Anne’s chair, observing and encouraging the lesson. By including both Mary’s mother and father in the miniature figural group, Roldán emphasized the important role that parents play in the spiritual and moral education their children. Although The Education of the Virgin serves as an earthly reminder that our parents are our first teachers, the many angels who wait on Mary and her family also confirm the religious significance of the subject and the exceptionality of the Virgin Mary within the Catholic tradition. In fact, painted on the cushion of the chair behind Anne’s back is an image of Anne and Joachim’s embrace at the Golden Gate, a moment that, according to non-Biblical Christian religious texts such as Jacopo da Voragine’s Golden Legend, occurred after the angel Gabriel announced to Joachim that Anne, his elderly wife, had immaculately conceived a child. Mary’s miraculous conception was an important Catholic theological point because, her soul having not been conceived through sexual intercourse, she was born without original sin (the innate tendency of all human beings to disobey God) and was therefore able to bear Christ, the Christian incarnation of God on earth. Roldán also referenced Mary’s birth at the bottom right corner of the sculpture, where a small, chubby angel presents a roll of fabric for swaddling Mary as a newborn, a birthing cushion for her mother Anne’s use during labor, and a woven basket filled with cloth that served as Mary’s bassinette--indeed, these elements also foreshadow Mary’s future role as mother of Christ. In this way, Roldán refers to three phases from the life of the young Virgin at once: her Immaculate conception, her angelically attended birth, and her upbringing by two devout people. The sculpture thus not only imagines a tender scene between parents and daughter but also affirms Mary’s extraordinary position within the Catholic tradition and her worthiness to become the mother of God. In the 1600s, this kind of small, painted terracotta (baked clay) sculpture would have been used in private devotion, usually placed on a table inside of the home, reminding its viewers both of the importance of obedience to one’s elders and to God as well as the need for parents to provide religious and moral education to their children, including girls. This is especially interesting given that, at this time, women were becoming increasingly literate and exercising greater (although still extremely limited) cultural and political authority than they had in earlier periods of Spain’s history. Also significant is that, until the modern era, women were not allowed access to professional artistic training and the few women who became artists almost always learned their craft from their fathers. The Education of the Virgin, which is an image of instruction between parent and child, may thus have had personal significance for Roldán, who was taught how to sculpt by her father, Pedro (1624-1699), an artist from Seville. Due to the fragile nature of terracotta, few of Roldán’s sculptures survive today. The Blanton’s example was conserved in 2019, which revealed that the top of each woman’s head has a small hole where a medal crown would have been inserted. Additionally, at Joachim’s feet are the four paws of a now-lost cat, which may have been competing with the book on Anne’s lap for Mary’s attention. Furthermore, Roldán may have roughened the patch of clay at the center-front of the composition to attach a small dog, which is included in a similar sculpture of the same subject that is now in a private collection in Spain. Even without these elements, Roldán’s Education of the Virgin is an important example of her late work, of which only about twenty examples still exist in the world. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Spanish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "JhP to do more research. 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