1 10 14 https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Dog_with_a_Biscuit_and_a_Chinese_Cup/Dog_with_a_Biscuit_and_a_Chinese_Cup.jpg f6bcdec55be8b603c0e8b9ee5a736c72 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 Painting; tempera on vellum Physical Dimensions The actual physical size of the original image 27.5 cm x 39.5 cm 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 Dog with a Biscuit and a Chinese Cup Description An account of the resource Dog with a Biscuit and a Chinese Cup was painted by Giovanna Garzoni in 1648. The work is a tempera painting on vellum that measures 27.5 x 39.5 centimeters [1]. Between the years 1642 to 1651, Garzoni worked as a court artist for the Medici Grand Dukes in Florence [2]. This particular painting was commissioned by Vittoria della Rovere, Grand Duchess of Tuscany and wife of Grand Duke Ferdinando II de’Medici [3]. This still life painting depicts a small English lap dog perched on a red tablecloth-covered table next to a Chinese cup and two biscuits. Two house flies sit atop the biscuits that are surrounded by crumbs. The inclusion of the house flies suggest that this still life scene is a brief moment captured in time. Dog with a Biscuit and a Chinese Cup demonstrates a common practice of Garzoni’s, depicting contrasts between the exotic and the common. The English lap dop and the Chinese cup are foreign elements that indicate the reach of the Medici family beyond Italy’s borders, enabling the collecting of animals and objects from other countries [4]. The white porcelain cup is ornamented with paintings of shadowless butterflies and plants reminiscent of traditional Ming dynasty ceramic painting. Garzoni’s imitation of the Ming dynasty painting style further demonstrates a distinction between exotic and common. Garzoni’s flat depiction of nature shown in the cup contrasts with the highly realistic rendering of the houseflies on the biscuits. The differences in painting methods showcase Garzoni’s understanding of the varying painting practices she encountered, including the shadowless Chinese painting and the trompe l’oeil painting common in Europe. Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived [1] Giovanna Garzoni. Dog with a Biscuit and a Chinese Cup. Images, n.d. <a href="https://jstor.org/stable/community.14497273" target="_blank" rel="noreferrer noopener">https://jstor.org/stable/community.14497273</a>. [2] "Garzoni, Giovanna." Benezit Dictionary of Artists. 31 Oct. 2011; Accessed 12 Oct. 2021. <a href="https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00071138" target="_blank" rel="noreferrer noopener">https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00071138</a>. [3] “Canina Con Biscotti e Tazza Cinese Di Giovanna Garzoni - Finestre Sull'Arte, Podcast Di Storia Dell'Arte.” Finestre sull'Arte. Finestre sull'Arte, October 1, 2014. <a href="https://www.finestresullarte.info/operadelgiorno/2014/297-giovanna-garzoni-canina-con-biscotti-e-tazza-cinese.php" target="_blank" rel="noreferrer noopener">https://www.finestresullarte.info/operadelgiorno/2014/297-giovanna-garzoni-canina-con-biscotti-e-tazza-cinese.php</a>. [4] 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. Date A point or period of time associated with an event in the lifecycle of the resource 1648 Contributor An entity responsible for making contributions to the resource Kayla Marr Type The nature or genre of the resource Painting; tempera on vellum Publisher An entity responsible for making the resource available Commissioned by Vittoria della Rovere. Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y., <a href="http://www.artres.com/c/htm/Home.aspx" target="_blank" rel="noreferrer noopener">http://www.artres.com/c/htm/Home.aspx</a>, <a href="http://www.scalarchives.com" target="_blank" rel="noreferrer noopener">http://www.scalarchives.com</a> 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 27.5 x 39.5 cm 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, Galleria Palatina, Florence, Italy, Inv. 1890 n. 4770 Relation A related resource <a href="https://baroque.dahvc.org/fall-2021/items/show/229" target="_blank" title="Dish with Decoration of Oxen and Cherry Blossoms" rel="noreferrer noopener">Dish with Decoration of Oxen and Cherry Blossoms</a> dog garzoni painting still life https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Self-portrait_as_Apollo/Self.jpg d55134c1bfa6324bcf194ff8da7a3ea0 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 Painting; tempera on parchment, laid down on linen Physical Dimensions The actual physical size of the original image 42 x 33 cm 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 Self-portrait as Apollo Subject The topic of the resource Giovanna Garzoni's Self-portrait as Apollo Description An account of the resource Giovanna Garzoni's Self-portrait as Apollo. Signed on the instrument: “Giovanna Garzoni F” Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived Garrard, Mary D. “Intersections in the Careers of Artemisia Gentileschi and Giovanna Garzoni.” Art Herstory. Art Herstory, September 25, 2021. https://artherstory.net/two-of-a-kind-garzoni-and-gentileschi/. Date A point or period of time associated with an event in the lifecycle of the resource circa 1618-1620 Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource Palazzo del Quirinale, Rome. Format The file format, physical medium, or dimensions of the resource 42 x 33 cm Type The nature or genre of the resource Painting; tempera on parchment, laid down on linen Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Segretariato Generale della Repubblica, Palazzo del Quirinale, Rome, Italy Publisher An entity responsible for making the resource available Garrard, Mary D. “Intersections in the Careers of Artemisia Gentileschi and Giovanna Garzoni.” Art Herstory. Art Herstory, September 25, 2021. https://artherstory.net/two-of-a-kind-garzoni-and-gentileschi/. garzoni painting self-portrait tempera https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Dish_with_Decoration_of_Oxen_and_Cherry_Blossoms/Dish_with_Decoration_of_Oxen_and_Cherry_Blossoms.jpg 09ad0aa99d163ea450a1e7cb6d4c0db2 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 Ceramic dish Physical Dimensions The actual physical size of the original image Height 7.9 cm; Diameter 35.9 cm; Diameter of foot: 22.5 cm 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 Dish with Decoration of Oxen and Cherry Blossoms Subject The topic of the resource Comparison object to Giovanna Garzoni's <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/giovanna-garzoni/item/227" target="_blank" rel="noreferrer noopener">Dog with a Biscuit and a Chinese Cup</a> Description An account of the resource Dish with Decoration of Oxen and Cherry Blossoms relates to Giovanna Garzoni’s Dog with a Biscuit and a Chinese Cup as an example of the type of ceramic ware that Garzoni came into contact with and depicted in her artwork. As a court artist for the Medici family, Garzoni had access to the Medici family’s vast collection of objects from around the world, including Ming-era porcelain [5]. The presence of Chinese-style objects can be seen in several Garzoni still life paintings, including Dog with a Biscuit and a Chinese Cup. This particular porcelain dish is similar in subject matter and stylistic rendering to the cup pictured in Garzoni’s Dog with a Biscuit and a Chinese Cup. Both the dish and the cup are white porcelain and include depictions of nature, with both featuring butterflies and flowering plants as subjects. Additionally, the painting method utilized in Garzoni’s painting of the cup is similar to the style of painting seen in the Ming-era dish. The ornamentation on Garzoni’s Chinese cup demonstrates the great care and detail she took to emulate the painting style characteristic of Ming-era porcelain. Dish with Decoration of Oxen and Cherry Blossoms is a porcelain dish made during the Ming dynasty (1368-1644) sometime between 1615 and 1630 [6]. The dish’s height is 7.9 cm, its diameter is 35.9 cm, and the diameter of the dish’s foot is 22.5 cm. The dish is characterized as Jingdezhen (a city located in the northeastern Jiangxi province of China) porcelain based on the method of painting, which involves porcelain painted in underglaze cobalt blue over white slip [7]. The cobalt blue glaze is used in two-dimensional depictions of nature, including oxen, cherry blossoms, plants, and butterflies around the dish. Creator An entity primarily responsible for making the resource Artist/maker unknown, Chinese Source A related resource from which the described resource is derived [5] 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. [6] Dish with Decoration of Oxen and Cherry Blossoms. Images, n.d. <a href="https://jstor.org/stable/community.18400505">https://jstor.org/stable/community.18400505</a>. [7] Britannica, T. Editors of Encyclopaedia. "Jingdezhen." Encyclopedia Britannica, November 30, 2017. <a href="https://www.britannica.com/place/Jingdezhen">https://www.britannica.com/place/Jingdezhen</a>. Publisher An entity responsible for making the resource available The Metropolitan Museum of Art Dish with Decoration of Oxen and Cherry Blossoms. Images, n.d. <a href="https://jstor.org/stable/community.18400505" target="_blank" rel="noreferrer noopener">https://jstor.org/stable/community.18400505</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1615-1630; Ming dynasty (1368-1644) Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource The Metropolitan Museum of Art Purchase, 2006 Benefit Fund, 2007 2007.295 Format The file format, physical medium, or dimensions of the resource Height 7.9 cm; Diameter 35.9 cm; Diameter of foot: 22.5 cm Type The nature or genre of the resource Ceramic dish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art, New York City, United States of America Relation A related resource <a href="https://baroque.dahvc.org/fall-2021/items/show/227" target="_blank" title="Dog with a Biscuit and a Chinese Cup" rel="noreferrer noopener">Dog with a Biscuit and a Chinese Cup</a> ceramics chinese ming 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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 Piante Varie Description An account of the resource This is a collection of drawings of various plants all done by Garzoni (1650). Known for her still-life pieces, Garzoni hones in on the individual plant, examining shape and form of real plant anatomy. This book contains 50 different plants that Garzoni drew. Each plant is drawn with scientific accuracy and is similar to that of a scientific observation journal, where scientists go into the field and examine species. By working for families of power such as the Medici, Garzoni is able to flex her attention to detail by drawing and painting exotic plants that many others would not have access to. Each piece is accompanied by its species, so that they may be identified at later viewing. Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived Garzoni, Giovanna. “Giovanna Garzoni.” Harvard Mirador Viewer. Accessed October 12, 2021. https://iiif.lib.harvard.edu/manifests/view/drs:45882947$16i. Lambert, Craig. “Centuries of Flowers.” Harvard Magazine, August 30, 2016. https://www.harvardmagazine.com/2013/11/centuries-of-flowers. Rare Book Digitization Project. “[Piante Varie].” Dumbarton Oaks, August 19, 2020. https://www.doaks.org/resources/rare-books/piante-varie. 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 Jacob Carnes Format The file format, physical medium, or dimensions of the resource Paper Book Type The nature or genre of the resource Drawings in book Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Dumbarton Oaks Research Library, Harvard University, Washington D.C., United States 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 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/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 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/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 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