2 10 149 https://www.baroque.dahvc.org/fall-2021/files/original/Rome_Casa_dei_Filippini_Floor_Plan_of_the_Third_Floor/maruscelliOratory.jpg b77328720073a7aee25dcda3bf27fb96 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 Rome, Casa dei Filippini, Floor Plan of the Third Floor Creator An entity primarily responsible for making the resource Paolo Maruscelli Source A related resource from which the described resource is derived Maruscelli, Paolo, "Rome, Casa dei Filippini, Floor Plan of the Third Floor". Vienna: Albertina, 1636-37. https://sammlungenonline.albertina.at/?query=search=/record/objectnumbersearch=[AZRom278]&showtype=record Publisher An entity responsible for making the resource available Congregation of the Oratory Date A point or period of time associated with an event in the lifecycle of the resource 1636-37 Contributor An entity responsible for making contributions to the resource Kyle Campbell Format The file format, physical medium, or dimensions of the resource 35x28.4 cm Type The nature or genre of the resource pencil drawing on paper Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Albertina, Vienna, Austria https://www.baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Flowers_in_a_Vase_Decorated_with_Reliefs/GiuseppeRecco-Vase.jpeg 35ba188bdacd2230a2a091a43b1b10d5 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 Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr 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; oil on canvas Physical Dimensions The actual physical size of the original image 256.5 x 201 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 Flowers in a Vase Decorated with Reliefs Description An account of the resource <h2>The Artist</h2> Giuseppe Recco was born into an intergenerational family workshop of still-life painters in 1634 in Naples [1]. Much of what is known about Giuseppe comes from Bernardo De Dominici’s Vite dei pittori, scultori ed architetti napoletani, which was published between 1742 and 1745 [2]. De Dominici knew Giuseppe personally, and he was known to occasionally exaggerate or distort Giuseppe’s achievements. Giuseppe’s father, <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giacomo-recco" target="_blank" rel="noreferrer noopener">Giacomo Recco</a> (1603-1654), is considered one of the founders of still-life painting in Naples starting in the 1630s [3]. Within the Recco family workshop, it is likely that Giuseppe would have also worked with his assumed uncle, <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giovan-battista-recco" target="_blank" rel="noreferrer noopener">Giovan Battista Recco</a> [4]. Claudia Salvi argues that Giuseppe’s uncle Giovan Battista likely influenced his paintings of food and dead animals, which are similar in styles to Giovan Battista’s own compositions [5]. It is in the Recco workshop, where <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/paolo-porpora" target="_blank" rel="noreferrer noopener">Paolo Porpora</a> also trained, where Giuseppe honed his painting skills and developed his painting style that has earned him much renown [6]. Giuseppe’s paintings demonstrate his mastery of a broad range of painting subjects, including flowers, marine fauna, vegetables, fruit, and kitchen items. Giuseppe Recco’s paintings varied in size and price range. Furthermore, Giuseppe’s work exemplifies Neapolitan still-life painting with his use of objects placed against a dark background or dark interior. The contrast between the sharp lighting on the objects and the dark background add to the dramatic and decadent characteristic of Neapolitan still-life paintings. Giuseppe’s biographer, Bernardo De Dominici, argued that Giuseppe had gained high social prestige amongst aristocrats and bourgeois members of Naples. As stated by De Dominici, Giuseppe’s still-life paintings became highly sought after, as he had powerful patrons including the Marchese de los Vélez, viceroy of Naples from 1675 to 1682, and the Marchese del Carpio, viceroy of Naples from 1683 to 1687 [7]. De Dominici also claimed that Giuseppe had also become knighted and invited to paint for Charles II in Spain in 1695. However, Giuseppe died in 1695 shortly after the challenging journey to Alicante. De Dominici made bold claims of Giuseppe’s reputation, which some scholars dispute due to the lack of documentation to confirm his claims [8]. <h2>Flowers in a Vase Decorated with Reliefs</h2> Flowers in a Vase Decorated with Reliefs painted by Giuseppe Recco is part of a pair of paintings commissioned by John Cecil, the fifth Earl of Exeter (1648–1700) in 1684 [18]. This oil on canvas painting, which measures 256.5 by 201 centimeters, was acquired by the British consul George Davies in Naples on behalf of the fifth Earl for 400 ducats, for the pair of paintings, in 1684 [19]. Flowers in a Vase Decorated with Reliefs is an example of Giuseppe’s international reach and mastery of a range of subjects. During his 1684 visit to Naples, the fifth Earl commissioned several still life paintings from Giuseppe [20]. As part of a pair of paintings, this composition’s price of 200 ducats shows the great economic valuation of Giuseppe’s paintings. The Earl also commissioned more still life paintings, two large paintings of fish and four smaller paintings including fish and game, in 1685 from Giuseppe after this piece [21]. Claudia Salvi suggests that Giuseppe painted in various genres and adjusted his painting style to the taste of particular patrons [22]. This painting is reminiscent in style to Flemish or Dutch still life paintings of decadent bouquets. In the pair of paintings, the large vases are decorated in reliefs that depict mythological scenes. This relief includes figures of Perseus and Andromeda, while the other painting in the pair includes Lapiths and Centaurs. Vividly colored and detailed flowers fill the vase in the foreground. The painting is decadent and brilliant in color, with the setting appearing to be the interior of a grand palace. The vase is situated in a room with a table draped in a red satin cloth and another satin cloth on the ground amidst more flowers. Behind the vase, there is an ornamental parapet with a few more smaller pots of flowers. The background of the painting looks out to a landscape of hills and a cloudy sky. This painting creates a bountiful and rich scene suitable to the tastes of the Earl. Creator An entity primarily responsible for making the resource Giuseppe Recco Source A related resource from which the described resource is derived Works Cited <ol> <li> Forgione, Gianluca. “Giuseppe Recco.” Essay. In Dizionario Biografico Degli Italiani 86, 86:690–93. Roma: Istituto della Enciclopedia Italiana, 2016. </li> <li> “Giuseppe Recco - A Cat Stealing Fish.” Metmuseum.org. The Metropolitan Museum of Art. Accessed October 13, 2021. <a href="https://www.metmuseum.org/art/collection/search/437376">https://www.metmuseum.org/art/collection/search/437376</a>. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> Damian Véronique. “Giovan Battista Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 34–35. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Giordano, Luca, and Giuseppe Recco. “The Riches of the Sea with Neptune, Tritons and Two Nereids.” AGSA. Art Gallery of South Australia, January 1, 1684. <a href="https://www.agsa.sa.gov.au/collection-publications/collection/works/the-riches-of-the-sea-with-neptune-tritons-and-two-nereids/27349/">https://www.agsa.sa.gov.au/collection-publications/collection/works/the-riches-of-the-sea-with-neptune-tritons-and-two-nereids/27349/</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> “Giuseppe Recco: A Still Life Painting.” Giuseppe Recco. | Burghley Collections. Burghley House Preservation Trust Limited. <a href="https://collections.burghley.co.uk/collection/giuseppe-recco/">https://collections.burghley.co.uk/collection/giuseppe-recco/</a>. </li> <li> "Giuseppe Recco: A Still Life Painting.” Giuseppe Recco. | Burghley Collections. Burghley House Preservation Trust Limited. <a href="https://collections.burghley.co.uk/collection/giuseppe-recco/">https://collections.burghley.co.uk/collection/giuseppe-recco/</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li>Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007</li> </ol> Image "Giuseppe Recco: A Still Life Painting.” Giuseppe Recco. | Burghley Collections. Burghley House Preservation Trust Limited. <a href="https://collections.burghley.co.uk/collection/giuseppe-recco/">https://collections.burghley.co.uk/collection/giuseppe-recco/</a>. Contributor An entity responsible for making contributions to the resource Kayla Marr Format The file format, physical medium, or dimensions of the resource 256.5 x 201 cm Publisher An entity responsible for making the resource available "Giuseppe Recco: A Still Life Painting.” Giuseppe Recco. | Burghley Collections. Burghley House Preservation Trust Limited. <a href="https://collections.burghley.co.uk/collection/giuseppe-recco/">https://collections.burghley.co.uk/collection/giuseppe-recco/</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1684 Rights Information about rights held in and over the resource Burghley Collections. Burghley House Preservation Trust Limited. Type The nature or genre of the resource oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Burghley House, Burghley Collections, Stamford, UK. https://www.baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Watermelon_melon_grapes_apples_pomegranates_peaches_figs_and_quinces_in_a_landscape/Ruoppolo-FruitStillLife.jpeg ce7a3b46f1d57786eb215dc5c19d8549 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 Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr 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; oil on canvas Physical Dimensions The actual physical size of the original image 101 x 154 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 Watermelon, melon, grapes, apples, pomegranates, peaches, figs and quinces in a landscape Creator An entity primarily responsible for making the resource Giovan Battista Ruoppolo Source A related resource from which the described resource is derived Works Cited <ol> <li> Middione, Roberto. "Ruoppolo, Giovanni Battista." Grove Art Online. 2003. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.00</a><a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501">01/oao-9781884446054-e-7000074501</a>. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Dominici, Bernardo De', Fiorella Sricchia Santoro, and Andrea Zezza. Vite De' Pittori, Scultori e Architetti Napoletani. Napoli: Paparo, 2003. </li> <li> Dominici, Bernardo De', Fiorella Sricchia Santoro, and Andrea Zezza. Vite De' Pittori, Scultori e Architetti Napoletani. Napoli: Paparo, 2003. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Middione, Roberto. "Ruoppolo, Giovanni Battista." Grove Art Online. 2003. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501</a>. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> “Giovanni Battista Ruoppolo.” Sothebys.com. <a href="https://www.sothebys.com/en/auctions/ecatalogue/2018/master-paintings-n09875/lot.57.html">https://www.sothebys.com/en/auctions/ecatalogue/2018/master-paintings-n09875/lot.57.html</a>. </li> <li> Damian Véronique, and Gerard Labrot. “Neapolitan Still Life: New Demands on the Sense of Sight.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 28–30. Paris, France: Galerie Canesso, 2007. </li> </ol> Image “Giovanni Battista Ruoppolo.” Sothebys.com. <a href="https://www.sothebys.com/en/auctions/ecatalogue/2018/master-paintings-n09875/lot.57.html">https://www.sothebys.com/en/auctions/ecatalogue/2018/master-paintings-n09875/lot.57.html</a>. Contributor An entity responsible for making contributions to the resource Kayla Marr Description An account of the resource <div class="exhibit-block layout-text"> <h2>The Artist</h2> Giovan Battista Ruoppolo was born in Naples in 1629 [1]. Giovan Battista’s father, Francesco Ruoppolo, was a majolica painter, and scholars such as Ulisse Prota-Giurleo assume that Giovan Battista might have worked in his father’s majolica workshop where one of Giovan Battista’s elder brothers also worked [2]. As a member of the majolica workshop, Giovan Battista may have painted designs of fish, birds, or fruits [3]. It was under Paolo Porpora’s training where Giovan Battista is assumed to have begun his venture in still life painting. Biographer Bernardo de Dominici claims that Ruoppolo was trained in Naples by <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/paolo-porpora" target="_blank" rel="noreferrer noopener">Paolo Porpora</a> prior to Porpora’s travels to Rome [4]. De Dominici claims that Giovan Battista quickly surpassed Porpora’s skill and began to specialize in the painting of fruits, particularly grapes [5]. However, there is currently no existing documentation that confirms that Giovan Battista was Porpora’s pupil [6]. Furthermore, uncertainty regarding attribution of Giovan Battista’s work exists because of his shared initials, “GBR,” with <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giovan-battista-recco" target="_blank" rel="noreferrer noopener">Giovan Battista Recco</a>, another Neapolitan still life painter contemporary to Ruoppolo. However, Giovan Battista Ruoppolo’s particular specialization in painting fruits differentiates him from Recco, who appeared to have been more inclined towards marine life paintings. In De Dominici’s account of Giovan Battista’s life, he claims that members of the aristocracy and wealthy class of Naples were keen to collect Giovan Battista’s work [7]. Furthermore, De Dominici credits Giovan Battista with collaborating on four of the fourteen paintings created for the 1684 Corpus Domini exhibition commissioned by Marchese del Caprio, Viceroy of Naples from 1683 to 1687 [8]. Giovan Battista’s inclusion in this significant artististic project suggests the high renown that his still life works were held. Giovan Battista contributed to these large-scale paintings with his depiction of fruits, flowers, grapes, vegetables, and animals that complemented the figures created by history painters [9]. </div> <div class="exhibit-block layout-text"> <h2>Watermelon, melon, grapes, apples, pomegranates, peaches, figs and quinces in a landscape</h2> Watermelon, melon, grapes, apples, pomegranates, peaches, figs and quinces in a landscape is an oil on canvas painting created by Giovan Battista Ruoppolo [10]. The painting measures 101 by 154 centimeters. The painting includes a highly realistic depiction of fruits and details such as the dust on grapes. The spread includes a freshly sliced watermelon, which scholars such as Gerard Labrot characterize as a signature element of Ruoppolo’s work [11]. </div> Publisher An entity responsible for making the resource available Anonymous sale, New York, Sotheby's, 13 October 1989, lot 178 (as Circle of Ruoppolo) Image “Giovanni Battista Ruoppolo.” Sothebys.com. https://www.sothebys.com/en/auctions/ecatalogue/2018/master-paintings-n09875/lot.57.html. Date A point or period of time associated with an event in the lifecycle of the resource unknown Type The nature or genre of the resource painting; oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Private collection. https://www.baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Vase_of_Flowers/GiacomoRecco.jpg 31327c2e3cfa3287f67b65f66b37efa9 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 Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr 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; oil on canvas Physical Dimensions The actual physical size of the original image 67 x 50 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 Vase of Flowers Creator An entity primarily responsible for making the resource Giacomo Recco Source A related resource from which the described resource is derived Works Cited <ol> <li> Middione, Roberto. “Recco Family.” Oxford Art Online, 2003. <a href="https://doi.org/10.1093/gao/9781884446054.article.t071027">https://doi.org/10.1093/gao/9781884446054.article.t071027</a>. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> Middione, Roberto. “Recco Family.” Oxford Art Online, 2003. <a href="https://doi.org/10.1093/gao/9781884446054.article.t071027">https://doi.org/10.1093/gao/9781884446054.article.t071027</a>. </li> <li> Damian Véronique, and Nicola Spinosa. “‘Natura in Posa’ in Seventeenth-Century Naples: Progress and Setbacks in Research.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 8–13. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique, and Nicola Spinosa. “‘Natura in Posa’ in Seventeenth-Century Naples: Progress and Setbacks in Research.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 8–13. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique, and Nicola Spinosa. “‘Natura in Posa’ in Seventeenth-Century Naples: Progress and Setbacks in Research.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 8–13. Paris, France: Galerie Canesso, 2007. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> </ol> Image RKD. “Giovanni Battista Recco: Still Life with Fish and Oysters.” RKD – Netherlands Institute for Art History. RKD, October 31, 2019. <a href="https://rkd.nl/explore/images/295775">https://rkd.nl/explore/images/295775</a>. Publisher An entity responsible for making the resource available FONDAZIONE FEDERICO ZERI - Università di Bologna - piazzetta Giorgio Morandi, 2 - 40125 Bologna - Partita IVA: 10561041004 Date A point or period of time associated with an event in the lifecycle of the resource 1626 Contributor An entity responsible for making contributions to the resource Kayla Marr Description An account of the resource <div class="exhibit-block layout-text"> <h2>The Artist</h2> Giacomo Recco was born in Naples in 1603 and is considered to be one of the founders of still life painting in Naples during the 17th century. Giacomo is known for specializing in painting flower subjects and as being inspired by Mannerist art of the late 16th century [1]. Scholars such as Raffaello Causa, believe it is likely that Giacomo was influenced by the works of Flemish artists such as Jan Brueghel, who was present in Naples around 1590 [2]. Scholars also suggest that the naturalism present in the work of Caravaggio, who briefly lived in Naples near the end of his life, was an influence in Giacomo’s compositions [3]. Although Giacomo was one of the first Neapolitan still-life painters and father to one of the most highly regarded 17th century still life painters, <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giuseppe-recco" target="_blank" rel="noreferrer noopener">Giuseppe Recco</a>, much of the identity of Giacomo still remains highly uncertain. There are few works that can be attributed to Giacomo for certain, and many of the works that have been attributed to Giacomo have been on a stylistic basis [4]. For example, Giacomo’s Vase of Flowers is his only painting that has been dated, dated 1626. It is likely that Giacomo established the Recco family workshop, which his son Giuseppe and future members of the Recco family would eventually work [5]. Within Giacomo’s workshop, he trained another notable Neapolitan still life painter: <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/paolo-porpora" target="_blank" rel="noreferrer noopener">Paolo Porpora</a>. A 1632 contract between Giacomo and Angela Cantalena, mother of Porpora, confirms that Porpora became a pupil of Giacomo’s starting at the age of 15 [6]. As suggested by Nicola Spinosa, the lack of information of Giacomo’s life also complicates the attribution of Giacomo’s most well-known pupil, Porpora [7]. </div> <div class="exhibit-block layout-text"> <h2>Vase of Flowers</h2> Vase of Flowers was created by Giacomo Recco in 1626, and it is the only painting of his that has been dated [8]. This oil on canvas painting measures 67 by 50 centimeters and is signed “G.R.” This single vase arrangement of flowers is richly decorated and likely influenced by sixteenth-century decoration of the Mannerist style. Although unfortunately pictured in black and white, we are unable to appreciate the colors used in the painting. The painting appears symmetrically balanced and highly organized with an unnatural lighting hitting the painting and the vase. </div> Rights Information about rights held in and over the resource FONDAZIONE FEDERICO ZERI - Università di Bologna - piazzetta Giorgio Morandi, 2 - 40125 Bologna - Partita IVA: 10561041004 Type The nature or genre of the resource painting; oil on canvas https://www.baroque.dahvc.org/fall-2021/files/original/Bernini_s_Mythological_Sculptures/Self-Portrait_as_a_Young_Man/yeahhhhh.jpg d89f153c718da7fad9803a60e201c4b3 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 Bernini's Mythological Sculptures Description An account of the resource Gian Lorenzo Bernini is considered to be one of the important artists from the Baroque period and is considered to be one of the most influential artists of all time. He was born in Naples in 1598 and from a young age was considered gifted in the arts. He was just eleven years old when his father, sculptor Pietro Bernini, brought him as a prodigy to Pope Paul V Borghese. His marble sculptures are his most celebrated works with groundbreaking biblical works like the “David” and “The Ecstacy of St. Theresa.” However, many of his most renowned sculptures, which encompass an earlier point in his career, include his mythological sculptures. Many of these sculptures depicted Green and Roman myths. During the baroque period, alongside several biblical works, we see a large number of mythological artworks– a continuity from the Renaissance period. Bernini’s works are no exception. His mythological sculptures are famous for their dynamic composition and emotional storytelling. Bernini was heavily inspired by many of the myths included in Ovid’s Metamorphoses. This collection explores ten notable mythological sculptures by Bernini and tackles to understand why Bernini was so intrigued by these myths and how he was able to communicate these myths through sculpture. Furthermore, on a broader scale, this collection will also explore the use of mythology in the Counter-Reformation period and its place in Baroque art. Contributor An entity responsible for making contributions to the resource Sofia Silvosa Creator An entity primarily responsible for making the resource Sofia Silvosa Source A related resource from which the described resource is derived Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Bacchi, Andrea, and Anna Coliva. Bernini. Milano: Officina Libraria srl, 2017. Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993. Strunck, Christina. "The poisoned present. A new reading of Gianlorenzo Bernini's Rape of Proserpina." (2014): 185-201. Dickerson, Claude Douglas, Anthony Sigel, Ian Wardropper, Andrea Bacchi, Tomaso Montanari, Steven F. Ostrow, and A. Lawrence Jenkens. Bernini: Sculpting in Clay. New York: The Metropolitan Museum of Art, 2012. Victoria and Albert Museum, Online Museum. “Bernini's Neptune and Triton.” 'Neptune and Triton' by Gianlorenzo Bernini. Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Telephone +44 (0)20 7942 2000. Email vanda@vam.ac.uk, August 22, 2013. http://www.vam.ac.uk/content/articles/n/berninis-neptune-and-triton/ Collier, William. “New Light on Bernini’s Neptune and Triton.” Journal of the Warburg and Courtauld Institutes 31 (1968): 438–40. https://doi.org/10.2307/750654. Date A point or period of time associated with an event in the lifecycle of the resource 1598-1680 Type The nature or genre of the resource Sculptures 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 a Young Man Description An account of the resource Gian Lorenzo Bernini's oil painting self-portrait. This is one of Bernini's most famous paintings. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived Wittkower, Rudolf. Gian Lorenzo Bernini: The Sculptor of the Roman Baroque. London: The Phaidon Press, 1966. Dickerson, Claude Douglas, Anthony Sigel, Ian Wardropper, Andrea Bacchi, Tomaso Montanari, Steven F. Ostrow, and A. Lawrence Jenkens. Bernini: Sculpting in Clay. New York: The Metropolitan Museum of Art, 2012. Montagu, Jennifer. “Bernini and the Unity of the Visual Arts.” The Burlington Magazine 124, no. 949 (1982): 240–43. http://www.jstor.org/stable/880696. Publisher An entity responsible for making the resource available Unknown patron. Self-portrait as a young man by Bernini, Gian Lorenzo. Accessed December 7, 2021. https://www.wga.hu/html_m/b/bernini/gianlore/painting/selfpor1.html. Date A point or period of time associated with an event in the lifecycle of the resource 1623 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 38 x 30 cm Type The nature or genre of the resource Oil on Canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Villa_Borghese/villa-borghese-jpg_header-107934.jpeg 0110603a6b240472f65e9e20029c6d7e 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 Villa Borghese Description An account of the resource This picture depicts Cardinal Borghese's iconic villa which houses many of Bernini's iconic works. Creator An entity primarily responsible for making the resource Flamino Ponzio, Antonio Asprucci and Giovanni Vasanzio. Source A related resource from which the described resource is derived Musement Publisher An entity responsible for making the resource available Cardinal Scipione Borghese Date A point or period of time associated with an event in the lifecycle of the resource 1633 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 197.7 acres Type The nature or genre of the resource Architectural sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_del_Moro/Fontana_del_Moro.jpeg e45472772934bf0fe648c65faa2ea7cc https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_del_Moro/Fontana_del_Moro_2.jpeg 61f0b255b0afe46e4bbb08d3104b94db 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 Roman Fountains Contributor An entity responsible for making contributions to the resource Jacob Carnes 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 Fontana del Moro Description An account of the resource Located on the opposite side of the Piazza Navona as the Fontana del Nettuno, the Fontana del Moro creates a highly interesting dialogue. The Fontana del Moro, while not as famous as the central Fontana dei Quattro Fiumi in the Piazza Navona, manages to create an important story to be read across the piazza. Built by Giacomo della Porta in 1575, the fountain served as a relatively simple sculpture. The second fountain built in the Piazza Navona, the Fontana del Moro served to directly mimic the Fontana del Nettuno. Commissioned by Pope Gregory XIII, the fountain was relatively simple upon its initial creation. Consisting of a smaller basin atop a large basin, the fountain created a beautiful sense of flow. The basins are crafted from pietra santa, which is the same marble used in the doorway of Saint Peter’s. The fountain, similar to the Fontana del Nettuno, is much larger horizontally than it is vertically. These two fountains thus contrast the obelisk that towers over the piazza in the Fontana dei Quattro Fiumi. Four faces sit atop the wall of the upper basin, each flanked by fish and dolphins, spewing water from the top basin into the lower one. The upper basin also consists of four tritons, blowing into seashells causing water to spew out of them. These four tritons were created by disciples of della Porta including Egidio Della Riviera, Taddeo Landini, Simone Moschini and Giacobbe Silla Longhi. The central figure of the fountain is what earned the fountain its name. It was added later, in 1653, by Bernini to create a more dynamic sculpture. The figure is said to represent an additional triton from Africa that is wrestling with a dolphin. The Fontana del Moro most likely had its addition of the central figure to counteract the grandiose Fontana dei Quattro Fiumi that was built just two years prior. All three of these fountains create dialogue that brings the viewer's eyes to the center and to the towering Fontana dei Quattro Fiumi. Each fountain has a distinctive role in this. The Fontana del Moro was established to counterbalance the piazza with the Fontana del Nettuno. The fountains were built to be relatively simple, yet decorative and magnificent in their simplicity. Only later on were each of the central figures added to the fountains. At times of the city’s history, the fountains were used as watering troughs for horses, along with providing water to the people. The fountains have always been important in their roles, with a range of purposes over history, most of them overlapping and intertwining. The Fontana del Moro remains an impressive fountain as it was in its foundation, establishing a sense of authority over the area and recalling the great triumphs of the Roman Empire through allusions to mythology. Creator An entity primarily responsible for making the resource Giacomo della Porta Gian Lorenzo Bernini Source A related resource from which the described resource is derived Bianco, Marcella. “Il Legame Tra Piazza Fontana e Il ‘Golpe Borghese’ Nelle Recenti Indagini Giudiziarie.” Studi Storici 41, no. 1 (2000): 37–60. Connors, Joseph. Alliance and Enmity in Roman Baroque Urbanism. Rome, Italy: Bibliotheca Hertziana, 1989. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Zucker, Paul. “Space and Movement in High Baroque City Planning.” Journal of the Society of Architectural Historians 14, no. 1 (1955): 8–13. https://doi.org/10.2307/987716. Publisher An entity responsible for making the resource available Pope Gregory XIII Date A point or period of time associated with an event in the lifecycle of the resource 1575 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Pietra Santa and marble Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Piazza Navona, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/The_Risen_Christ/Risen_Christ.png a4b5fb965cdbf74d1b1206061b7ed11c 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 Risen Christ Description An account of the resource Jesus Christ shown in contrapposto form carrying the cross. This work influenced Bernini's Aeneas, Anchises, and Ascanius masterpiece. Creator An entity primarily responsible for making the resource Michelangelo Publisher An entity responsible for making the resource available Roman patrician Metello Vari, Date A point or period of time associated with an event in the lifecycle of the resource 1519- 1521 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Rights Information about rights held in and over the resource © Scala, Florence/Fondo Edifici di Culto, Min. dell'Interno. Format The file format, physical medium, or dimensions of the resource 205 cm (81 in) Type The nature or genre of the resource Sculpture 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 sopra Minerva, Rome https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_dell_Acqua_Felice/Fontana_dell_acqua_felice.jpeg 153f1104fd043a5a099f753b5375da5f https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_dell_Acqua_Felice/fontana_dell_acqua_felice_2.jpeg 92a02b07a760c58f389bd5eab048b03a https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_dell_Acqua_Felice/fontana_dell_acqua_felice_3.jpeg 7028c8a877c31f97c31d1332c8122541 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 Roman Fountains Contributor An entity responsible for making contributions to the resource Jacob Carnes 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 Fontana dell'Acqua Felice Description An account of the resource The Fontana dell’Acqua Felice was revolutionary at its creation. It marks the terminal point of the Acqua Felice, restored by Pope Sixtus V. Originally the Acqua Alessandrina, the aqueduct was renamed by Pope Sixtus V after its restoration. At the time, the only water source for many of Rome’s citizens was the water from the Acqua Vergine. Thus, in Sixtus V’s many alterations to the city, he restored the Acqua Felice and commissioned the Fontana dell’Acqua Felice. The construction of the aqueduct took multiple efforts, as there were many problems upon initial attempts. The fountain was constructed in 1587 by Domenico Fontana. The large fountain celebrates the transportation of water and the role of Sixtus V. The fountain itself is also called the Fountain of Moses due to the statue in the middle. The fountain consists of three equally sized archways inset into a wall. This fountain has a large basin at the bottom to collect the water, along with three smaller basins attached to the wall in between the three arches, from which the water pours. Above this smaller basin in the middle niche stands a towering statue of Moses created by Leonardo Sormani and Prospero da Brescia. Known for his biblical role of parting the red sea and striking a rock to enable the flow of water, Moses appears to be doing the latter, making the water appear. On the side niches, there are two etchings. They are believed to be either biblical in nature or relating to ancient Roman times and the founding of the Acqua Alessandrina. The Fontana dell’Acqua Felice highlights the power of the pope in many ways. Above the fountain there is an inscription dedicated to Sixtus V and the work he did. Not only did he commission the fountain, creating a magnificent spectacle and a piece of pride for the Catholic church, he also brought water to the people. In establishing the Acqua Felice, Pope Sixtus V exercised his power to help the Roman citizens that were without an easy water source. This fountain is a very important fountain. It created a standard that inspired the Fontana dell’Acqua Paola and the Fontana di Trevi. Both of these fountains harness the same styles and similar architecture as seen in the Fontana dell’Acqua Felice. This fountain takes a classical style and revamps it to fit in the Baroque era, with Christian imagery. Besides simply being a source of water for people, showing off the power of the pope, spreading Catholicism, and inspiring future churches, the Fontana dell’Acqua Felice also created a landmark for Rome. The fountain is massive, standing tall over the road in front of it. Surrounded by churches and modern political buildings, it is likely this church was placed in a highly populated area with moderate affluence. Creator An entity primarily responsible for making the resource Domenico Fontana Source A related resource from which the described resource is derived Connors, Joseph. Alliance and Enmity in Roman Baroque Urbanism. Rome, Italy: Bibliotheca Hertziana, 1989. Dennis, Kimberly. “Camilla Peretti, Sixtus V, and the Construction of Peretti Family Identity in Counter-Reformation Rome.” The Sixteenth Century Journal 43, no. 1 (2012): 71–101. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Zucker, Paul. “Space and Movement in High Baroque City Planning.” Journal of the Society of Architectural Historians 14, no. 1 (1955): 8–13. https://doi.org/10.2307/987716. Publisher An entity responsible for making the resource available Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 1587 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Granite and stone Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Sleeping_Hermaphrodite/D3j-0ijWwAEBkYh.jpg 8c2673dafec0d72e5a431206ae26b9a4 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 Sleeping Hermaphrodite Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Publisher An entity responsible for making the resource available Cardinal Scipione Borghese Date A point or period of time associated with an event in the lifecycle of the resource 1620 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Type The nature or genre of the resource Sculpture Description An account of the resource The” Hermaphrodite” sculpture is one of Gian Lorenzo Bernini’s most famous restoration works. The figure radiates ambiguous seductiveness and intrigue. Hermaphroditus is shown sleeping down but different angles of the piece reveal the figure’s male and female genitalia. Source A related resource from which the described resource is derived Kenseth, Joy. “Bernini’s Borghese Sculptures: Another View.” The Art Bulletin 63, no. 2 (1981): 191–210. https://doi.org/10.2307/3050112. Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993 Bacchi, Andrea, and Anna Coliva. Bernini. Milano: Officina Libraria srl, 2017. Format The file format, physical medium, or dimensions of the resource 169 cm (67 in) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Louvre, Paris, France