1 10 12 https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Hercules_Guided_by_Virtue/Annibale_Carracci_Ercole_guidato_dalla_Virtu_Palazzo_Sampieri_Bologna.png 858e22284de2ace5a62c8bc5dead8471 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen 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. 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 Hercules Guided by Virtue Creator An entity primarily responsible for making the resource Annibale Carracci Source A related resource from which the described resource is derived Cordellier, Dominique. “Guido Reni’s ‘Separation of Day and Night.’” The Burlington Magazine 129, no. 1007 (1987): 81–82. http://www.jstor.org/stable/882779. Eugenio Riccomini, L'Ercole trionfante. I tre Carracci a Casa Sampieri, Bologna, 2006. Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Annibale Carracci Ercole guidato dalla Virtù, Palazzo Sampieri Bologna.png," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Annibale_Carracci_Ercole_guidato_dalla_Virt%C3%B9,_Palazzo_Sampieri_Bologna.png&oldid=573951464 (accessed December 10, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1593-94 Contributor An entity responsible for making contributions to the resource Jenny Chen Type The nature or genre of the resource Fresco 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 Sampieri, Bologna Description An account of the resource The Palazzo Sampieri frescoes are a set of paintings by Annibale, Agostino and Ludovico Carracci in the Palazzo Sampieri in Bologna. They form the last surviving collection of works by the three artists. Hercules Guided by Virtue is the ceiling fresco of the Palazzo Sampieri. The scheme was commissioned by Astorre Sampieri, young abbot of Santa Lucia di Roffeno, member of a powerful family which had been promoted to senatorial rank in 1590.He had arrived back in the city shortly before commissioning the work from the three artists, already noted for their Life of Aeneas and Lives of Jason and Medea frescoes at the Palazzo Fava and their Scenes from the Foundation of Rome frescoes at the Palazzo Magnani,both in Bologna. Those schemes were all friezes, but at the Palazzo Sampieri they planned three large ceiling scenes and three large scenes over fireplaces in each room.The reasons for this choice are unknown - Astore Sampieri may have wanted something different from the norm or the low rooms may simply not have lent themselves to friezes. None of the three artists had previous experience of the "sottinsù" (upside-down) technique the scheme would require, but Annibale and Agostino had frequently seen and admired examples of it in palazzi and churches in Venice by artists such as Veronese and Tintoretto, artists personally known to Agostino. https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/St._Michael_Vanquishing_Satan/707px-Le_Grand_Saint_Michel_by_Raffaello_Sanzio_from_C2RMF_retouched.jpeg c1a2b18a8ec461277bdeab8eac728942 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen 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. 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 St. Michael Vanquishing Satan Creator An entity primarily responsible for making the resource Raphael Source A related resource from which the described resource is derived Anderson-Riedel, Susanne. “A French Raphael: Alexandre Tardieu’s Engraving after Raphael’s St. Michael Vanquishing Satan (1806).” Art in Print 6, no. 1 (2016): 27–30. https://www.jstor.org/stable/26408644. Vasari, Giorgio, and Jill Burke. The Life of Raphael. The J. Paul Getty Museum, 2018. Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Le Grand Saint Michel, by Raffaello Sanzio, from C2RMF retouched.jpg," Wikimedia Commons, the free media repository, https://en.wikipedia.org/wiki/File:Le_Grand_Saint_Michel,_by_Raffaello_Sanzio,_from_C2RMF_retouched.jpg (accessed December 9, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1518 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 268 cm × 160 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 The Louvre, Paris, France Description An account of the resource St. Michael Vanquishing Satan is created by the Italian High Renaissance artist Raphael. The painting was commissioned by Pope Leo X. In the painting, the archangel Michael standing on top of Satan's back with his right foot, while holding a spear in his hands. It is a large-scale and mature version of a subject he had earlier treated in the youthful miniature called St. Michael. Both works have been located in the Louvre in Paris since 1667. This painting has symbolic meaning within the Christian religion as it symbolizes God triumphing over evil. Raphael had a gift for creating images that evoked divinity in a subtle way and was known being skillful at creating space within his compositions as well as movement captured at a stand still. In the painting, Michael stands on top of the devil with one leg while holding up his spear to deliver a strike to his head. His wings are depicted open while the devil's are closed signifying defeat. The ideal figures that he would create were done so not to overpower the image, but with grace and reservation. Author George B. Rose claims that, "Even though color wasn’t his expertise, Raphael always used it appropriately. His use of lines were masterful and had a decorative quality to them. Raphael had great skill in portraying space through his compositions and it wasn’t always tied to having a distant background. Regardless of the sense of space created, Raphael had an ability to juxtapose the vastness of nature with man’s dominion over it. Man is always dominant, and the land is subservient to man's will." Here man is portrayed as the master through the image of Michael and Satan is the subservient creature. https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Fortuna_with_a_Purse/Guido_Reni_-_Fortuna_with_a_purse_[1636].jpeg 98724437325185dc65ecbfd20223c607 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen 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. 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 Fortuna with a Purse Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Guido Reni - Fortuna with a purse (1636).jpg," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Guido_Reni_-_Fortuna_with_a_purse_(1636).jpg&oldid=310684049 (accessed December 1, 2021). Date A point or period of time associated with an event in the lifecycle of the resource circa 1636 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 152 × 130 cm Type The nature or genre of the resource Painting Description An account of the resource The painting is an entirely autograph work by Guido Reni. It is a work of exceptional importance not only on account of its composition, which being especially pleasing, was immediately well received, but also for the extraordinarily high quality of the painting. Reni is known to have painted two versions of the Fortuna, showing, in both, the allegorical female figure full-length, holding a scepter and palm in her left hand, as she flies mid-air over the globe, with her hair playfully tugged back by Cupid behind her. The versions differ in only one detail: in one, she holds a crown in her right hand, in the other a purse. The intriguing story of how the two versions came about is told by Reni’s biographers Filippo Baldinucci and Carlo Cesare Malvasia. Baldinucci recounts that he saw Fortuna, holding a crown, in Florence in the collection of Monsignor Jacopo Altoviti, before going on to detail the circumstances of the commission. Reni had first painted Fortuna with a Purse for the Abbate Giovanni Carlo Gavotti and had handed it over to him with a request that it was not to be shown to the public as it was not finished to his satisfaction. Reni’s wishes were not granted however - the picture was exhibited without his permission in one of the grandest porticoes of Bologna on one of the most important feast days. Infuriated, Reni returned home and requested to be brought to his rooms a copy which he knew to have been painted by Antonio Gerola, il Veronese, on behalf of Monsignor Altoviti. This he completely reworked, painting a crown in the hand of Fortune in place of the purse to great acclaim, even, in Baldinucci’s eyes, surpassing Gavotti’s picture. Source A related resource from which the described resource is derived Pepper, Stephen, and Denis Mahon. “Guido Reni’s ‘Fortuna with a Purse’ Rediscovered.” The Burlington Magazine 141, no. 1152 (1999): 156–63. http://www.jstor.org/stable/888409. Pepper, D. Stephen. 1984. Guido Reni: a complete catalogue of his works with an introductory text. New York: New York University Press. https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Hippomenes_and_Atalanta/Hippomenes_and_Atalanta.jpg 5a6e290377e2c516839f2f64f7e57737 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen 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. 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 Hippomenes and Atalanta Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Museo Nacional del Prado, "Hippomenes and Atalanta," https://www.museodelprado.es/en/the-collection/art-work/hippomenes-and-atalanta/b136eb8b-c3f1-4787-935b-0003ed114220 (accessed November 28, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1618 - 1619 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 206 × 279 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 Museo Nacional del Prado, Madrid, Spain Description An account of the resource This work features two naked bodies in basically sideways motion, and its subject is the race between the man-resisting girl Atalanta and her ardent suitor, Hippomenes; he has thrown a golden apple to distract her, and she is stooping to pick it up. Reni's trick is to make one figure the next stage of the other: Atalanta will soon rejoin the race. This is a scene of pure human action. It's composed of little more than two naked bodies in motion. But the action is complicated. The subject of the picture is a girl-taming story from Ovid. The wild, chaste, boyish Atalanta is a champion runner and man-refuser. She will only marry a husband who can out-race her. Many try, and the losers die. But Hippomenes prays to Venus, and the love goddess gives him three golden apples, which he tosses behind him whenever Atalanta overtakes. She retains apparently a feminine weakness for shiny things, and each time she drops back to pick up the apple. Hippomenes wins. The race runs across the picture. Its onward direction is left to right. There's a suggestion (mainly in Hippomenes' forward leg) that they're also running somewhat towards us. The idea is presumably to moderate the impression of a frieze, which might have felt a bit naive to Reni. But it's a token gesture: the dominant sense of movement in both figures is definitely sideways, and the picture probably needs the simplicity and clarity of a frieze layout, to bring off its elegant complications. Hippomenes' mixed action is handled neatly. The straight sloping length of his right leg and side press him onward. His backward- casting right arm works at the same time as a speed-trail, flying behind him, picking up on the fluttering drapery - and with both figures the drapery has a dynamic function. Atalanta's temporary backtrack is a virtuoso accomplishment. It's partly a matter of balance. Unlike Hippomenes, her stride is without forward momentum. She stoops low towards the left, but her left leg keeps its footing on the ground behind her. Having picked up the apple, she won't continue leftward, her weight will fall back on to this leg, which establishes a counterweight and a counter- direction. She may have suspended her racing, but this left foot stays pointing the other way, indicating her intended and imminent turn, pulling her back into the race. Source A related resource from which the described resource is derived Lubbock, Tom. "Atalanta and Hippomenes (c.1612)." Independent (2007): 30. https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/scholarly-journals/atalanta-hippomenes-c-1612/docview/1035856264/se-2?accountid=10598. Pepper, D. Stephen. Guido Reni: a complete catalogue of his works with an introductory text. New York: New York University Press, 1984. https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Palla_della_Peste/Guido_Reni_061.jpeg 56f13ed743aa7a70f80f80786c2bfa6f 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen 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. 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 Palla della Peste Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Guido Reni 061.jpg," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Guido_Reni_061.jpg&oldid=588864124 (accessed December 1, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1631-1632 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 382 × 242 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 Pinacoteca Nazionale di Bologna, Bologna, Italy Description An account of the resource The Pala della Peste (Altarpiece of the Bubonic Plague) depicts the Madonna and Child in Glory with the Patron Saints of Bologna: Petronius, Francis, Ignatius, Francis Xavier, Proculus of Bologna, and Florian. The Madonna and child are in the superior portion. The infant blesses with his right hand, while the left hand holds a flowering sprig. Around the couple, cherubim are active draping flowers, holding rosaries and scapulars, and crowning the Virgin with a floral crown. In the scene below, the seven saints implore for Bologna, depicted at the bottom center. Charles Borromeo, recently canonized, at the left was known for his work among the pestilent of Milan. Beside him standing is St Proculus of Bologna, a martyred Roman soldier, holding a sword and palm leaf (symbol of Martyrdom). Across the canvas, the armored St Florian holds a halberd and palm leaf. Kneeling below are: St Petronius with a bishop's mitre at his feet; St Francis in a cassock, and to the right are two Jesuit saints, Francis Xavier with the palm leaf pointing to him, and the founder of the order St Ignatius of Loyola. St. Dominic kneeling with the lily of purity on the right. The structure of the painting follows the formal arrangement, exemplified by a late 16th-century canvas by Annibale Carraci in the Pinacoteca of Bologna. The style recalls the earthy coloring of Ludovico Carracci. Source A related resource from which the described resource is derived Mahon, Denis, and Stephen Pepper. “Guercino and Reni: Reflections on the Interpretation of Documents and Paintings.” The Burlington Magazine 139, no. 1128 (1997): 178–87. http://www.jstor.org/stable/887393. Pepper, D. Stephen. 1984. Guido Reni: a complete catalogue of his works with an introductory text. New York: New York University Press. Puglisi, Catherine R. "Guido Reni's "Pallione Del Voto" and the Plague of 1630." The Art Bulletin 77, no. 3 (Sep 01, 1995): 403. https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/scholarly-journals/guido-renis-pallione-del-voto-plague-1630/docview/1296212601/se-2?accountid=10598. https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/The_Separation_of_Night_from_Day/NTI_KLA_1481201.jpeg da8e3144fb8f34067b5fe5365dd9e0b6 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen 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. 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 Separation of Night from Day Description An account of the resource The Separation of Night from Day happens in the story of the Creation. A winged celestial being or spirit, who has variously been called Dawn or Twilight, separates two figures with two wands. Day, a scantily clad young man, moves swiftly towards the light, holding aloft a flaming red cloak, and looking back over his shoulder in the direction of Night from whom he has just withdrawn. Night, a woman, partially enveloped in clouds, raises her star-studded mantle as if to cover her nakedness, and gazes in the direction of retreating Day. This detached fresco is one of the earliest works by Reni, and one of very few by him in that medium. It was originally on a curved ceiling in the main saloon in Palazzo Zani, 56 via Santo Stefano, in Bologna, but was taken down, using a novel technique, strappo, or detaching the paint-infused plaster from the plaster behind, and reapplying it to canvas. In organizing the airy, cloudy space within a quadrilobe frame, and in showing a heroic male nude with a female figure caught in a swirl of drapery, Reni seems to have been emulating Annibale Carracci's Hercules guided by Virtue painted on a ceiling in Palazzo Zampieri, Bologna in 1593. The idea of representing time in movement while seizing on just one recurs magisterially in his 1614 decoration The Aurora in the Palazzo Pallavicini. This work demonstrates that Reni was working out a composition of simple, eloquent precision, where no figure overlaps another, and where the protagonists, rather than filling the space in depth, operate firmly on the surface plane. He was to exploit this technique of dynamic narrative - opting for lateral movement rather than recession - in many of the great works of his maturity, including Hippomenes and Atalanta. Creator An entity primarily responsible for making the resource Guido Reni Source A related resource from which the described resource is derived Cordellier, Dominique. “Guido Reni’s ‘Separation of Day and Night.’” The Burlington Magazine 129, no. 1007 (1987): 81–82. http://www.jstor.org/stable/882779. Sitwell, Christine. "The reinstatement of the separation of night and day by Guido Reni in the library at Kingston Lacy". ICON news (London) (1749-8988), (4), p. 53. Publisher An entity responsible for making the resource available ARTUK, "The Separation of Night from Day," https://artuk.org/discover/artworks/the-separation-of-night-from-day-100488# (accessed November 28, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1598 - 1599 - circa 1600 Contributor An entity responsible for making contributions to the resource Jenny Chen Rights Information about rights held in and over the resource This image can be used for non-commercial research or private study purposes, and other UK exceptions to copyright permitted to users based in the United Kingdom under the Copyright, Designs and Patents Act 1988, as amended and revised. Any other type of use will need to be cleared with the rights holder(s). Format The file format, physical medium, or dimensions of the resource 426.5 x 382.5cm Type The nature or genre of the resource Fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Trust, Kingston Lacy, Wimborne Minster, Dorset BH21 4EA England https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Aurora/Guido_Reni_-_L_Aurora_di_Guido_Reni_nelle_arti_decorative.jpg 96d27039835cc073bfa83efd0dd83d21 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen 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. 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 Aurora Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Guido Reni - L'Aurora di Guido Reni nelle arti decorative.jpg," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Guido_Reni_-_L%27Aurora_di_Guido_Reni_nelle_arti_decorative.jpg&oldid=475059556 (accessed December 1, 2021). Creator An entity primarily responsible for making the resource Guido Reni Date A point or period of time associated with an event in the lifecycle of the resource circa 1612-1614 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 280 × 700 cm Type The nature or genre of the resource Fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Casino Rospigliosi Pallavicini, Rome, Italy Description An account of the resource The Aurora is a large Baroque ceiling fresco painted in 1614 by Guido Reni for the Casino, or garden house, adjacent to the Palazzo Pallavicini-Rospigliosi, in Rome. The casino and the fresco were commissioned by the Cardinal Scipione Borghese. The Aurora displayed within a painted frame and depicts from right to left, Aurora (the goddess of dawn) in a golden billowing dress with her garlands flies over a dim-lit landscape, leading a blond Apollo in his horse-drawn chariot, surrounded by a chain of female "hours", bringing light to the world. It could also be described as the Triumph of Apollo led by the Aurora. Above the quadriga, in the sky, flies the putto Phosphorus (morning star) with a torch. Zephyrs blow winds at either end. The Aurora belongs to Guido Reni’s second manner as it was passing into the latest phase, when his tones grew silvery and gray and his women became insipid and pretty. The fresco uses classic forms and warm, agreeable color. Reni’s treatment of the small, limp hands indicates a decadence from the heroic and noble women, to whom the old masters gave energized, shapely large hands. The style of the work is classically restrained and mimics poses from ancient Roman sarcophagi, that were on display in the cardinal's collection. The chariot procession recalls the central fresco in The Loves of the Gods, painted by Annibale Carracci in the Farnese Palace, which depicts the Triumph of Bacchus and Ariadne; however, here there is far more classical sobriety in a restricted number of figures, with little emotion, without overemphasizing muscular anatomy, and hearkening beyond mannerism back to a high-renaissance restraint. There is little attention to the perspective. From the seventeenth-century on, Reni’s figures were praised for the “airs of the heads,” a notion with astrological and medical connotations, while the papal physician and art critic Giulio Mancini described Reni’s manner as “spirited,” a term suggestive of the airy movement Reni so powerfully represented in his Aurora[1]. Source A related resource from which the described resource is derived Clark, Anthony M. “A Late, Great Guido Reni.” The Art Institute of Chicago Quarterly 54, no. 2 (1960): 3–7. http://www.jstor.org/stable/4119872. Gage, Frances. " Air, Wind, Sun, Spirit", Nuncius 32, 3 (2017): 658-682, doi: https://doi.org/10.1163/18253911-03203007. Rowe, G. M. E. "THE MASTERPIECES OF PAINTING.: III. THE AURORA. GUIDO RENI." Congregationalist (1891-1901), Feb 23, 1893, 297, https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/magazines/masterpieces-painting/docview/124233812/se-2?accountid=10598. https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Penitent_Magdalene/Guido_Reni_-_The_Penitent_Magdalene_-_Google_Art_Project.jpeg cc8e88511c95a7e637b9e8d21e243714 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen 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. 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 Penitent Magdalene Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Guido Reni - The Penitent Magdalene - Google Art Project.jpg," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Guido_Reni_-_The_Penitent_Magdalene_-_Google_Art_Project.jpg&oldid=595044812 (accessed December 1, 2021). Date A point or period of time associated with an event in the lifecycle of the resource ca. 1635 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 90.8 x 74.3 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 The Walters Art Museum, Baltimore, Maryland, United States Description An account of the resource According to Christian tradition, after meeting Christ, Mary Magdalene regretted her former sinful ways. The claims that Mary Magdalene was a prostitute leading a promiscuous way of life before meeting Jesus and repenting of her sinful ways, are completely unfounded, and not supported by the canonical gospels. Nevertheless, the idea of a strong woman offering redemption was a powerful image, and the revival of the cult of Mary Magdalene during the late 16th-17th centuries was accompanied with numerous depictions in a variety of styles, of which, Guido Reni's is a personal favourite. In the painting, the beautiful Magdalene with her ivory skin and long golden hair turns her gaze toward heaven. Her cross and the skull suggests that she is meditating on the brevity of life and the salvation made possible by Christ's death. Reni’s idealized and classical style was influenced by ancient sculpture and by the Renaissance artist Raphael (1483-1520). This influence is visible in the Magdalene's rounded and even features. They are painted so smoothly that the strokes seem to disappear. In contrast, the drapery is depicted with the broad and energetic strokes, which are more typical of 17th-century painting. Images of female saints, sometimes depicted in a seductive manner, were very popular among some artists and patrons in the 17th century. Reni painted many versions of this composition. The composition is simple, striking, and powerful. Magdalene lifts her soft face toward the heavens, illuminated by a divine shaft of light. Her hair flows with power over her right shoulder. She clutches a hand to her breast in a show of humility as her robes drape and swirl. Depicting the cross above the skull could be a symbolic representation of the triumph of the divine over death. Placing the erect cross between her fingers could be a nod to her supposed lascivious former life which she is now turning away from, fixing her gaze toward god in the opposite direction. Reni's depiction is a masterpiece, and a subtle show of the power of both Christianity, and the Baroque. Source A related resource from which the described resource is derived Brady, Aoife. “The Studio of Guido Reni from 1620 to 1630: Formulating Compositions.” Getty Research Journal, no. 12 (2020): 1–28. https://www.journals.uchicago.edu/doi/pdf/10.1086/708313. Mahon, Denis, and Stephen Pepper. “Guercino and Reni: Reflections on the Interpretation of Documents and Paintings.” The Burlington Magazine 139, no. 1128 (1997): 178–87. http://www.jstor.org/stable/887393. “Penitent Magdalene.” Walters Art Museum, https://art.thewalters.org/detail/40183/the-penitent-magdalene-2/ https://www.baroque.dahvc.org/fall-2021/files/original/Reinterpreting_the_Bible_Guido_Reni_s_religious_paintings/Saint_Sebastian/Saint_Sebastian.jpg 890edcd7fe605f83cc7003cc29f768e2 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen 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. 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 Saint Sebastian Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Museo Nacional del Prado, "Saint Sebastian," https://www.museodelprado.es/en/the-collection/art-work/saint-sebastian/d98d334e-a7f4-44eb-9d7c-7cfc689a6d5b (accessed November 28, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1617 - 1619 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 170 × 133 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 Museo Nacional del Prado, Madrid, Spain Description An account of the resource Guido Reni uses one of his most iconic compositions in this work. Sebastian was a Roman soldier who suffered martyrdom for his Christian faith under the reign of Diocletian and Maximian at the end of the third century. He became a patron saint of the city of Rome, and his cult became popular throughout Europe since he was invoked in times of plague. Sebastian is usually depicted to be bound to a tree and shot with arrows in what turned out to be a first failed attempt at killing him[1]. Reni painted innumerable images - at least seven - of the saint which attempted to make visible his powerful faith - a triumphant faith which survived overwhelming odds. Four of these works are located in Auckland City Art Gallery, New Zealand; Musee du Louvre, Paris; Museo de Prado, Madrid; and Museo de Arte de Ponce, Puerto Rico[2]. They show the saint with his hands tied behind his back with slight variations. When polyester film sheets with the outline of the torso of each work are overlaid, the outlines are almost identical. Although the canvas measurements differ and the number of tiny figures in the middle ground on the right-hand side vary in number from three to four, it is suggested that they have stemmed from the same cartoon[2]. In this work, Reni paints the flesh tones with great skill over a reddish-brown ground. He uses a dense criss-crossing of strokes of ivory white in the highlighted areas, such as the shoulders and chest, whereas he paints the half-shadows in thin and transparent glazes over the ground. Reni's distinctive silvery flesh tones intensify the saint's almost impenetrable aura of piety and devotion. His ecstatic pose is closely based on Michelangelo's Rebellious Slave, who like Sebastian, searches the heavens for strength and support in his time of trial. Source A related resource from which the described resource is derived Finaldi, G., Guido Reni 'Saint Sebastian' En:. Italian masterpieces from Spain's royal court, Museo del Prado, National Gallery of Victoria Thames & Hudson, 2014, p.102 Hillary, Sarah, and Mary Kisler. “Auckland’s St Sebastian by Guido Reni.” Journal of the Institute of Conservation 32, no. 2 (September 2009): 205–18. doi:10.1080/19455220903059818. Spear, Richard E., The Divine Guido. Religion, Sex, Money and Art in the World, Yale University Press, New Haven - Londres, 1997, pp. 374. https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/The_Archangel_Michael_Defeating_Satan/Guido_Reni_031.jpeg 44bc179e3d425def0a8262576fdf07d1 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen 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. 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 Archangel Michael Defeating Satan Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Guido Reni 031.jpg," Wikimedia Commons, the free media repository, https://en.wikipedia.org/wiki/File:Guido_Reni_031.jpg (accessed November 28, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1636 Contributor An entity responsible for making contributions to the resource Jenny Chen Rights Information about rights held in and over the resource The work of art depicted in this image and the reproduction thereof are in the public domain worldwide. The reproduction is part of a collection of reproductions compiled by The Yorck Project. The compilation copyright is held by Zenodot Verlagsgesellschaft mbH and licensed under the GNU Free Documentation License. Format The file format, physical medium, or dimensions of the resource 293 × 202 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 Santa Maria della Concezione, Rome, Italy Description An account of the resource “The Archangel Michael” is one of Guido’s most famous works painted in his second manner when he was strongly under Raphael’s influence. The single devotional figures of the Archangel Michael usually depict him as combining the characters of captain of the heavenly host and conqueror of the powers of hell. According to Jameson, this piece by Guido is the only similar representation of St. Michael that can be compared with that by Raphael in the Louvre[1]. In this work, the Archangel in blue cuirass, red mantle, and violet scarf is poised on out-spread wings, placing his foot on the head of Lucifer. The archangel holds a sword in one hand and a chain in the other, with which he is about to hit the demon into the bottomless pit. The Archangel’s head has blended masculine and feminine graces, with the serene purity of brow and flow of the golden hair surely suggesting divinity. Compared with Raphael’s Saint Michael Vanquishing Satan of 1518, both works have similar compositions in that they both place the subjects in a diagonal position to create a certain thrust in the scene. The Archangels in both paintings share similar appearances and clothes. In Reni’s work, the Archangel’s attitude is the first to strike the audience and is criticized because the grace is somewhat mannered, while Raphael’s Archangel does not invoke the audience to think about the attitude. Although both works create dynamic feelings of movements through the depiction of the flying cloaks and hair, Reni boldly uses large areas of pink and red to create a visual clue that guides the viewers’ eyes. Reni also simplified the background into unified brown and black, which creates contrast with the highlight on the Archangel. Moreover, while Raphael’s Lucifer is obviously non-human shown by the horns, hair, and strange facial features, Reni’s depiction of Lucifer is less demonized and more humanized with a head that is almost indistinguishable from a human adult. As a result, Raphael’s Lucifer seems to be hopelessly resisting, while Reni’s Lucifer seems to be suffering in deep pain and even sympathetic. Source A related resource from which the described resource is derived Masters in Art: A Series of Illustrated Monographs. Boston: Bates & Guild, 1903. Motuzas, Alfonsas (2016). "The Folk Piety of Saints Archangels Michael, Gabriel and Raphael in Lithuania". LOGOS-VILNIUS (0868-7692), (86), p. 138. Pepper, D. Stephen. 1984. Guido Reni: a complete catalogue of his works with an introductory text. New York: New York University Press.