{ "objects" : [ { "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" : 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. 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