1 10 14 https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Giovanni_Garzoni_Proposal_Exhibit_Map/ExhibitMapExample.png 2c2d8c5273221ff64d46584e0ac01823 https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Giovanni_Garzoni_Proposal_Exhibit_Map/Exhibit_Map.png a2b18bbb7e8c425105b2d5f9243b1016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital mock-up of exhibit proposal Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanni Garzoni Proposal Exhibit Map Description An account of the resource This is an example of what the map for the publicly-facing Giovanni Garzoni proposal would look like. The interactive map could be displayed on a large scale in a museum. We propose an online or in-person interactive map exhibit displaying the various geographic locations that inspired Giovanna Garzoni’s artwork. Locations relevant to Garzoni’s work would have a pinpoint indicated on the map, which would provide viewers with a broader understanding of the sources of Garzoni’s inspiration and travels. The map would allow visitors to click on a specific location and see Garzoni’s artworks relating to the area selected. For example, Garzoni painted a portrait miniature of Zaga Christ, an Ethiopian traveller, that Christ is suspected to have commissioned as a gift to the French court [1]. This portrait would be a clickable popup linked to Ethiopia on the map. Furthermore, this proposal would build on previous scholarship mapping Garzoni’s travels, namely “<a href="https://hcvis.dukedh.org/garzoni/">The Global Imagination of Giovanna Garzoni</a>,” which has been developed by Dana Hogan in partnership with the <a href="https://dahvc.org/">Wired! Lab for Digital Art History and Visual Culture</a> at Duke University. The above example is just one of many anecdotes of the global influence on Garzoni’s art. The interactive map would be created using software like MapBox for a more customizable interface that could be imported to any platform. To maximize accessibility, the map would be posted to a mobile-friendly website, and publicized through social media. The map would also be an interactive touchscreen exhibit occupying the space of a digital wall in a museum or educational space. Creating an interactive map accessible through many formats allows viewers to visualize the global influence on Garzoni’s work through an engaging exploration. Creator An entity primarily responsible for making the resource Kayla Marr Date A point or period of time associated with an event in the lifecycle of the resource 2021 Contributor An entity responsible for making contributions to the resource Kayla Marr Source A related resource from which the described resource is derived [1] Wpengine. “Giovanna Garzoni's 17th-Century Miniature Portrait of Zaga Christ.” Art Herstory. Art Herstory, September 25, 2021. <a href="https://artherstory.net/giovanna-garzonis-portrait-of-zaga-christ-%E1%B9%A3agga-kr%C7%9Dstos/" target="_blank" rel="noreferrer noopener">https://artherstory.net/giovanna-garzonis-portrait-of-zaga-christ-%E1%B9%A3agga-kr%C7%9Dstos/</a>. Hogan, Dana. “The Travels of Giovanna Garzoni:” The Global Imagination of Giovanna Garzoni. Wired! Lab for Digital Art History and Visual Culture at Duke University. Accessed 2021. <a href="https://hcvis.dukedh.org/garzoni/">https://hcvis.dukedh.org/garzoni/</a>. exhibit garzoni interactive map online proposal Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marvellously gifted’: Giovanna Garzoni’s first visit to the Medici court Creator An entity primarily responsible for making the resource Sheila Barker Source A related resource from which the described resource is derived Barker, Sheila. “‘Marvellously gifted’: Giovanna Garzoni’s first visit to the Medici court.” Burlington Magazine 160 (2018): 654-59. Publisher An entity responsible for making the resource available The Burlington Magazine Date A point or period of time associated with an event in the lifecycle of the resource 2018 Contributor An entity responsible for making contributions to the resource Meena Gudapati Rights Information about rights held in and over the resource The Burlington Magazine Format The file format, physical medium, or dimensions of the resource PDF of article Type The nature or genre of the resource Document Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Online, The Burlington Magazine Description An account of the resource Barker's article posits evidence based hypotheses about the art of Garzoni's career, and provides a primary source telling of Garzoni's youth. Garzoni was an acting artist even at adolescence, thought to have had her first patron, Grand Duchess Maria Magdalena as a child. Garzoni's trip to the Medici court in Florence also happened at a young (undetermined) age. Scholars hypothesize that this visit to the court prior to 1625 was when Garzoni encountered several arts influential to her life and work including Ligozzi, notable for scientific depictions of natural objects, and Artemisia Gentileschi. The article features a direct translation of a letter about Garzoni from Cristofano Bronzini to the Tuscan court. He describes he describes as "being about 15 years old, and who was born in [the] fortunate century of 1605." He goes on to praise her heavily not only on her visual art, but for her singing, beauty, calligraphy, and "grace and tenderness." Bronzini discusses how Garzoni paints miniatures on vellum with subject matter of "festoons, plant leaves, flowers, fruits and various animals." Bronzini's description of Garzoni shows that even at the early age of 15, Garzoni had already found her focus in both media and subject matter in art. She was recognized at an early age, and as a result made visits to courts in numerous countries through her long career lending a global influence on her art. Encountering artists in the Medici court and beyond, Garzoni was more fortunate than other women artists in her access to mentors. https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Still_Life_with_Fruit_on_a_Stone_Ledge_/Fruit_Caravaggio.jpeg 021156a773cae5b2fbf88d4448dc10bc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still Life with Fruit on a Stone Ledge Description An account of the resource "Still Life with Fruit on a Stone Ledge," oil on a 105 x 84cm canvas dated to around 1603, depicts various fruits including grapes, pomegranates, watermelon, and more sitting atop a stone ledge [1]. The painting is thought to have been created in Caravaggio's personal residence [2]. The painting features Caravaggio's iconic theatrical diagonal lighting, adding a thrust of motion to still objects. Several of the fruits, such as the melons, are sliced and spilling out almost as if they are moving. No single fruit is in focus; instead a variety of fruits in different shapes, sizes, and colors comprise the image. Contrastingly, Garzoni's "Plate of Figs" focuses on a singular produce and embraces the stillness. Caravaggio's use of oil paints allows for strongly pigmented, glossier colors adding a dramatic feel to his painting, while the use of gouache in Garzoni's piece retains a matte finish and utilizes texture from water lends it a more grounded, natural appearance. Similarly, the significantly larger size of Caravaggio's still life adds to its theatrical grandiose feel as compared to Garzoni's miniature. Caravaggio's still life is more representative of themes during the Baroque period at large, while Garzoni's use of medium, painting style, and focus creates a more naturalistic message. [1] “Still Life with Fruit on a Stone Ledge.” Still Life with Fruit on a Stone Ledge by Caravaggio. Caravaggio.net. Accessed October 14, 2021. http://www.caravaggio.net/still-life-with-fruit-on-a-stone-ledge/. [2] De Groft, Aaron, ed. “Caravaggio Still Life with Fruit on a Stone Ledge.” Papers of the Muscarelle Museum of Art 1 (2010): 1–160. Creator An entity primarily responsible for making the resource Michelangelo Merisi da Caravaggio Source A related resource from which the described resource is derived De Groft, Aaron, ed. “Caravaggio Still Life with Fruit on a Stone Ledge.” Papers of the Muscarelle Museum of Art 1 (2010): 1–160. “Still Life with Fruit on a Stone Ledge.” Still Life with Fruit on a Stone Ledge by Caravaggio. Caravaggio.net. Accessed October 14, 2021. http://www.caravaggio.net/still-life-with-fruit-on-a-stone-ledge/. “ArtsViewer.com.” Caravaggio, picture Still Life with Fruit on a Stone Ledge 1605-1610 | ArtsViewer.com. Accessed October 14, 2021. http://artsviewer.com/caravaggio-40.html. Publisher An entity responsible for making the resource available The Fitzwilliam Museum Date A point or period of time associated with an event in the lifecycle of the resource 1603 Contributor An entity responsible for making contributions to the resource Meena Gudapati Rights Information about rights held in and over the resource Denver Art Museum Format The file format, physical medium, or dimensions of the resource Oil on canvas, 105 x 84cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Denver Art Museum, Denver, USA https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Plate_of_Figs/figs2.jpeg bad064c83e1344cf49728e25b84dbca6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Plate of Figs Description An account of the resource "Plate of Figs" is painted with bodycolor (gouache) on vellum on a 25 x 32.5 cm board. The miniature was created as a part of Garzoni's series "Twenty Small Paintings on Vellum" for Ferdinando II, Grand Duke of Tuscany. Each painting in the series focuses on a specific fruit or vegetable as its focus. Miniatures from the series are presently on display at the Palazzo Pitti [1]. Garzoni demonstrates mastery of her medium with the dynamic lighting and blending she uses to bring vibrancy to still life. Nicknamed the "illustrious miniaturist" for her technique with tempera on vellum [2], her layering and precise brush strokes create a luminous style. The illustration-style leaves mirror the scientific quality in her botanical images. Utilizing a limited pallet, Garzoni creates a clear focus on the figs compared to other still life pieces of the era. Depicting imperfections like the withering parts of the leaves and the cracks in the figs add an aura of realism and dimension to a misleadingly monotonous subject. The matte finish of gouache adds to the naturalism of the piece: as a water-based medium, gouache inherently carries more natural qualities compared to the more theatrical richness of oil paint. [1] “Giovanna Garzoni (Italian, 1600-1670), a Plate of Figs.” Arader Galleries. Accessed October 14, 2021. https://aradergalleries.com/products/giovanna-garzoni-italian-1600-1670-a-plate-of-figs. [2] Kren, Emil, and Daniel Marx. Plate of figs by Garzoni, Giovanna. Web Gallery of Art. Accessed October 14, 2021. https://www.wga.hu/html_m/g/garzoni/figs2.html. Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived Giovanna Garzoni. c. 1651-62. Plate of Figs. painting. Place: Galleria Palatina. https://library-artstor-org.proxy.lib.duke.edu/asset/SCALA_ARCHIVES_1039613648. “Giovanna Garzoni (Italian, 1600-1670), a Plate of Figs.” Arader Galleries. Accessed October 14, 2021. https://aradergalleries.com/products/giovanna-garzoni-italian-1600-1670-a-plate-of-figs. Kren, Emil, and Daniel Marx. Plate of figs by Garzoni, Giovanna. Web Gallery of Art. Accessed October 14, 2021. https://www.wga.hu/html_m/g/garzoni/figs2.html. Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource 1661-1662 Contributor An entity responsible for making contributions to the resource Meena Gudapati Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Bodycolor on vellum, 24 x 25 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Pitti, Florence, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Barker, Sheila, and Sheila Barker. “The Universe of Giovanna Garzoni. Art, Mobility, and the Global Turn in the Geographical Imaginary.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 16–29. Sillabe, 2020. Creator An entity primarily responsible for making the resource Sheila Barker Publisher An entity responsible for making the resource available Sillabe (Printed by Genesi, Città di Castello) Date A point or period of time associated with an event in the lifecycle of the resource 2020 Contributor An entity responsible for making contributions to the resource Kayla Marr Format The file format, physical medium, or dimensions of the resource 21 x 25 cm Type The nature or genre of the resource Essay Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Palazzo Pitti, Florence, Italy Description An account of the resource Sheila Barker’s essay, “The Universe of Giovanna Garzoni. Art, Mobility, and the Global Turn in the Geographical Imaginary” provides an examination of the influences that shaped Giovanna Garzoni’s life, career, and art. Barker argues that Garzoni’s work was greatly influenced by her ability to travel and have contact with foreign people, objects, and places. Barker describes Garzoni as a “universal artist” who was capable of working in varied media and creating artwork in many different genres. Furthermore, Barker suggests that Garzoni’s artwork showcases Garzoni’s inspiration from places around the world. Garzoni’s “universal” artistry and her interest in the world can be seen in Garzoni’s ability to combine the unfamiliar with the familiar and explore various geographic areas through her work. Throughout the essay, Barker discusses evidence including Garzoni’s notebooks, letters, and artworks. The essay includes several color images of Garzoni’s work and artworks by other artists from which she may have drawn inspiration. Overall, this essay provides significant scholarship on the topic of geographic influences on Giovanna Garzoni’s work. Subject The topic of the resource Annotated bibliography entry Source A related resource from which the described resource is derived Barker, Sheila, and Sheila Barker. “The Universe of Giovanna Garzoni. Art, Mobility, and the Global Turn in the Geographical Imaginary.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 16–29. Sillabe, 2020. Language A language of the resource English https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Annotated_Bibliography_Entry_The_Not-So-Still_Lifes_of_Giovanna_Garzoni_by_Mary_D._Garrard/book.jpg 8b3fb9037d931a3f3bebdba476946ae4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Annotated Bibliography Entry: "The Not-So-Still Lifes of Giovanna Garzoni" by Mary D. Garrard Description An account of the resource Garrard D., Mary. “The Not-So-Still Lifes of Giovanna Garzoni.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 62-77. Sillabe, 2020. Mary D. Garrard's essay within Sheila Barker's catalogue discusses the work of Giovanna Garzoni (1600-1670), an Italian Baroque painter who is known for her impactful still life works. Garrard states that although Garzoni is famous for her still lifes, she also created religious works for Charles Emanuel II and Christine de France when she was working in Turin. Garrard also outlines many of Garzoni's tendencies and symbolisms throughout her works. For example, her attention to detail with fruits such as figs contain allusions to male and female genitalia, which illustrate and underscore the power of sexual reproduction in plants and animals. Garrard also believes that Garzoni's inclusion of brown spots are intentional symbols of natural decaying. This source proceeds to compare the work of Garzoni with that of Fede Galizia (1578-1630), another Italian still life painter. This source asserts Galizia as the creator of this still life movement, but acknowledges that Garzoni included more variety in her fruit subjects. Garrard takes note of the geographic contexts of these works, discussing Garzoni's time in Florence with the Medici, and Galizia's time in Milan and the Lombardy region of Italy more broadly. This source discusses still life works from different Baroque artists, including many of Garzoni's works, such as "A Plate of Figs" and "Still Life with Birds and Fruit", Galizia's works such as "Peaches on a Stand, with Apples and Jasmine", and also the works of Caravaggio, like his "Basket of Fruit". Garrard's inclusion of other Italian still lifes provides historical and artistic context to Garzoni's pieces that this exhibit explores. Creator An entity primarily responsible for making the resource Mary D. Garrard (Edited by Sheila Barker) Source A related resource from which the described resource is derived Mary D. Garrard. “The Not-So-Still Lifes of Giovanna Garzoni.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 62-77. Sillabe, 2020. Publisher An entity responsible for making the resource available Sillabe (Printed by Genesi, Città di Castello) Date A point or period of time associated with an event in the lifecycle of the resource 2020 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Format The file format, physical medium, or dimensions of the resource 21 cm by 25 cm Language A language of the resource English and Italian Type The nature or genre of the resource Book and Exhibit Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Uffizi Galleries, Florence, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/A_Crystal_Fruit_Stand_with_Peaches_Quinces_and_Jasmine/fruit_and_jasmine.jpeg c5aa9e709ddc27ef611873462460aeef Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Crystal Fruit Stand with Peaches, Quinces, and Jasmine Description An account of the resource This oil on canvas still life painting is the earliest still life with a clear, concrete creation date, and is Galizia's first signed one [1]. Different sources refer to this painting by slightly different names from the most common name used in the Omeka title, but all have the same meaning. For example, Segal refers to it as "Glass tazza with peaches, jasmine flowers, and apples", while Garrard refers to it as "Peaches on a Stand, with Apples and Jasmine". It depicts peaches and a jasmine flower plant in a glass tazza with vine leaves, and three green apples below, with one being opened with just half remaining. This work represents Fede Galizia's tendencies to place her fruit subjects in glass bowls, with only 1 or 2 varieties of fruit, and placing her viewer on a slightly elevated viewpoint [2]. Galizia is believed to have worked towards efficacy as opposed to variety, desiring to truly hone-in her paintings to achieve intended outcomes. Her attention to detail differentiates her hand from her followers, and is displayed with her intricate use of glazing to create a gentle browning and "greenish aureole" inside the apple [3]. There is a dark background, which is contrasted with the brightness of the white jasmine leaves, and light-shaded surface that the subjects stand on. Galizia includes small discolored spots on the fruit, which are mirrored in Garzoni's works, which signify the decaying of these fruits [2]. Although they contain similar elements of the fruit depictions, Galizia's work lacks the radiant light source and birds of Garzoni's "Still Life with Birds and Fruit". Creator An entity primarily responsible for making the resource Fede Galizia Source A related resource from which the described resource is derived [1] Galizia, Fede. “A Crystal Fruit Stand with Peaches, Quinces, and Jasmine.” Obelisk Art History. Accessed October 13, 2021. https://arthistoryproject.com/artists/fede-galizia/a-crystal-fruit-stand-with-peaches-quinces-and-jasmine/. [2] Mary D. Garrard. “The Not-So-Still Lifes of Giovanna Garzoni.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 62-77. Sillabe, 2020. [3] Segal, Sam. “An Early Still Life by Fede Galizia.” The Burlington Magazine 140, no. 1140, March 1998. Publisher An entity responsible for making the resource available Stefano Bottari and Flavio Caroli catalogued much of Galizia's work Date A point or period of time associated with an event in the lifecycle of the resource 1607 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Oil on canvas painting, 31.2 cm by 42.5 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant This painting is in private collection, but has exhibited in the Cleveland Museum of Art (1992-2001) and the New York Metropolitan Museum of Art (2001-2015). https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Still_Life_with_Birds_and_Fruit/birds_and_fruit.png b00632dea6de5472729f289b993a7b6b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still Life with Birds and Fruit Description An account of the resource Giovanna Garzoni painted this magnificent still-life in 1650, towards the middle/beginning of the latter-half of her career. This painting was originally thought to be created by Jacobo Ligozzi, but is now accurately credited to Garzoni [1]. Art critics believe this work was created for the Medici family, who sponsored much of Garzoni's work and showcased them throughout their villas, and valued paintings including botanical and ornithological subjects [2]. Garzoni's work is an innovative blend of art and science, combining her artistic skills with an understanding of botany [3]. This work contains a bee-eater and three goldfinches exploring and probing various fruits around them, all contained on an earth-toned ground with a plain solid background. The fruits are a pear, a peach, two plums, and a fig. This painting is particularly interesting because it combines aspects of her other works. For example, the fig resembles those from her work "A Plate of Figs" (1655-1662). Mary D. Garrard believes that Garzoni's figs in both works resemble male genitalia in order to highlight the magic of sexual reproduction that is present among humans, animals, and plants [1]. Garzoni's goldfinches exploring the possibilities of eating the fruits resemble the bird in "China Bowl with Figs, a Bird, and Cherries" (1651-1662), who is striking and eating a fig. It is also important to note Garzoni's selection of materials. Her preferred medium was tempera on vellum, and she used vellum with graphite and watercolor instead of the traditional oil and canvas. Garzoni's use of vellum allows the work to be more luminous and bright [4]. This makes Garzoni's plants appear more natural and textured. Garzoni's work appears noticeably better-lit than Galizia's, and this reflects the differences between using vellum and canvas. Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived [1] Mary D. Garrard. “The Not-So-Still Lifes of Giovanna Garzoni.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 62-77. Sillabe, 2020. [2] Tomasi, Lucia Tongiorgi, and Gretchen A. Hirschauer. The Flowering of Florence: Botanical Art for the Medici. Washington (D.C.): National Gallery of Art, 2002. [3] Harris, Ann Sutherland. “Italian Still Life. New York.” The Burlington Magazine 125, no. 965, August 1983. [4] “Farewell to Fall with Giovanna Garzoni's Still Lifes.” Italian Ways, December 20, 2018. https://www.italianways.com/farewell-to-fall-with-giovanna-garzonis-still-lifes/. [5] “'The Greatness of the Universe' in the Art of Giovanna Garzoni: Uffizi Galleries.” Gallerie degli Uffizi. Accessed October 13, 2021. https://www.uffizi.it/en/events/the-greatness-of-the-universe-in-the-art-of-giovanna-garzoni. [6] Anonymous. “Still Life with Birds and Fruit.” Cleveland Museum of Art, October 8, 2021. https://www.clevelandart.org/art/1955.140. [7] Wpengine, and Name *. “A Review of the Uffizi's June 2020 Exhibition of Art by Giovanna Garzoni.” Art Herstory, September 20, 2021. https://artherstory.net/giovanna-garzoni-uffizi-exhibition-review-june2020/. Publisher An entity responsible for making the resource available The Medici family sponsored many of Garzoni's still life paintings, and is thought to have sponsored this. Date A point or period of time associated with an event in the lifecycle of the resource 1650 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Format The file format, physical medium, or dimensions of the resource Watercolor with graphite, heightened with lead white on vellum, 25.7 cm x 41.6 cm Type The nature or genre of the resource Drawing with watercolor Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cleveland Museum of Art, Cleveland, Ohio, U.S.A. Rights Information about rights held in and over the resource Public domain Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Protofeminist Insects of Giovanna Garzoni and Maria Sibylla Merian Description An account of the resource Giovanna Garzoni and Maria Sibylla Merian lived two unusual lives for female artists at the time. Both of them left their husbands and both are renowned for their work in still lifes. Yet this article argues that their most powerful connector is how they portray insects within their pieces. At the time, entomology was making massive discoveries and many of these tore down the previous patriarchal views that were had about the animal kingdom. Garzoni and Merian presented insects as more than just species to study, but rather active and dynamic creatures that had life. Furthermore, Steinkraus argues that they both acknowledge the matriarchal hierarchies discovered within insects like bee hives, presenting these insects as powerful and perhaps pushing forth an ideology of feminism from their portrayal of bugs. Creator An entity primarily responsible for making the resource Emma Steinkraus Source A related resource from which the described resource is derived Steinkraus, Emma. “The Protofeminist Insects of Giovanna Garzoni and Maria Sibylla Merian.” Art Herstory, August 9, 2019. https://artherstory.net/protofeminist-insects-in-art/. Publisher An entity responsible for making the resource available Art Herstory Date A point or period of time associated with an event in the lifecycle of the resource August 9, 2019 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Article Type The nature or genre of the resource Article Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Digital Resource https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Flora_ouero_Cultura_di_fiori/Screen_Shot_2021-10-11_at_9.22.32_PM.png fada59819bb5b8cd894252fccc957f7e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flora, ouero, Cultura di fiori Description An account of the resource Anna Maria Vaiani is another female artist who did floral designs. In Giovanni Battista Ferrari’s piece on gardening, Flora, ouero, Cultura di fiori, (1638) Vaiani etched many of the floral designs. Like Garzoni, her designs played on anatomy of plants with elements of whimsy, to create pieces that were dynamic and alluring. Vaiani learned etching from her father, Alessandro Vaiani. She is known for her botanical etchings, much like the one presented in this book. Both Vaiani and Garzoni led lives as pioneers, where they were some of the first women to create these botanically accurate pieces, that brought inspiration for not only other female artists, but also male artists to explore this approach. Creator An entity primarily responsible for making the resource Anna Maria Vaiani Giovanni Battista Ferrari Source A related resource from which the described resource is derived “Anna Maria Vaiani ?-1655.” Gonville & Caius, December 4, 2019. https://www.cai.cam.ac.uk/discover/library/online-exhibitions/her-book/printers/anna-maria-vaiani-1655. Ferrari, Giovanni Battista, Flora, ouero, Cultura di fiori, Rome: Pier. ‘Ant. Facciotti, 1638, Lisa Unger Baskin Collection, Rubenstein Rare Book & Manuscript Library, Duke University. Accessed October 07, 2021, https://exhibits.library.duke.edu/exhibits/show/baskin/item/3987 “Flora, Ouero, Cultura Di Fiori.” Duke Library Exhibits. Accessed October 13, 2021. https://exhibits.library.duke.edu/items/show/3987. Publisher An entity responsible for making the resource available Pier. ‘Ant. Facciotti Date A point or period of time associated with an event in the lifecycle of the resource 1638 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Paper book, pen, etching Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Lisa Unger Baskin Collection, Duke University, Durham, United States Type The nature or genre of the resource Etching in a book