{ "objects" : [ { "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. 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It displays all the Mannerist characteristics for which the master was known, including vivid colors, compressed space, and contorted figures disproportionate to their surroundings. Wtewael based this work on Abraham Bloemart’s painting of the same subject, which he likely saw in an engraved reproduction. This kind of artistic borrowing through intermediary prints and subsequent copying of one’s own work helped spread new ideas about style and ideology to a wider audience.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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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. 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