3 10 149 https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Dog_with_a_Biscuit_and_a_Chinese_Cup/Dog_with_a_Biscuit_and_a_Chinese_Cup.jpg f6bcdec55be8b603c0e8b9ee5a736c72 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting; tempera on vellum Physical Dimensions The actual physical size of the original image 27.5 cm x 39.5 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dog with a Biscuit and a Chinese Cup Description An account of the resource Dog with a Biscuit and a Chinese Cup was painted by Giovanna Garzoni in 1648. The work is a tempera painting on vellum that measures 27.5 x 39.5 centimeters [1]. Between the years 1642 to 1651, Garzoni worked as a court artist for the Medici Grand Dukes in Florence [2]. This particular painting was commissioned by Vittoria della Rovere, Grand Duchess of Tuscany and wife of Grand Duke Ferdinando II de’Medici [3]. This still life painting depicts a small English lap dog perched on a red tablecloth-covered table next to a Chinese cup and two biscuits. Two house flies sit atop the biscuits that are surrounded by crumbs. The inclusion of the house flies suggest that this still life scene is a brief moment captured in time. Dog with a Biscuit and a Chinese Cup demonstrates a common practice of Garzoni’s, depicting contrasts between the exotic and the common. The English lap dop and the Chinese cup are foreign elements that indicate the reach of the Medici family beyond Italy’s borders, enabling the collecting of animals and objects from other countries [4]. The white porcelain cup is ornamented with paintings of shadowless butterflies and plants reminiscent of traditional Ming dynasty ceramic painting. Garzoni’s imitation of the Ming dynasty painting style further demonstrates a distinction between exotic and common. Garzoni’s flat depiction of nature shown in the cup contrasts with the highly realistic rendering of the houseflies on the biscuits. The differences in painting methods showcase Garzoni’s understanding of the varying painting practices she encountered, including the shadowless Chinese painting and the trompe l’oeil painting common in Europe. Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived [1] Giovanna Garzoni. Dog with a Biscuit and a Chinese Cup. Images, n.d. <a href="https://jstor.org/stable/community.14497273" target="_blank" rel="noreferrer noopener">https://jstor.org/stable/community.14497273</a>. [2] "Garzoni, Giovanna." Benezit Dictionary of Artists. 31 Oct. 2011; Accessed 12 Oct. 2021. <a href="https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00071138" target="_blank" rel="noreferrer noopener">https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00071138</a>. [3] “Canina Con Biscotti e Tazza Cinese Di Giovanna Garzoni - Finestre Sull'Arte, Podcast Di Storia Dell'Arte.” Finestre sull'Arte. Finestre sull'Arte, October 1, 2014. <a href="https://www.finestresullarte.info/operadelgiorno/2014/297-giovanna-garzoni-canina-con-biscotti-e-tazza-cinese.php" target="_blank" rel="noreferrer noopener">https://www.finestresullarte.info/operadelgiorno/2014/297-giovanna-garzoni-canina-con-biscotti-e-tazza-cinese.php</a>. [4] Barker, Sheila, and Sheila Barker. “The Universe of Giovanna Garzoni. Art, Mobility, and the Global Turn in the Geographical Imaginary.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 16–29. Sillabe, 2020. Date A point or period of time associated with an event in the lifecycle of the resource 1648 Contributor An entity responsible for making contributions to the resource Kayla Marr Type The nature or genre of the resource Painting; tempera on vellum Publisher An entity responsible for making the resource available Commissioned by Vittoria della Rovere. Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y., <a href="http://www.artres.com/c/htm/Home.aspx" target="_blank" rel="noreferrer noopener">http://www.artres.com/c/htm/Home.aspx</a>, <a href="http://www.scalarchives.com" target="_blank" rel="noreferrer noopener">http://www.scalarchives.com</a> Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource 27.5 x 39.5 cm Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Pitti, Galleria Palatina, Florence, Italy, Inv. 1890 n. 4770 Relation A related resource <a href="https://baroque.dahvc.org/fall-2021/items/show/229" target="_blank" title="Dish with Decoration of Oxen and Cherry Blossoms" rel="noreferrer noopener">Dish with Decoration of Oxen and Cherry Blossoms</a> dog garzoni painting still life https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Self-portrait_as_Apollo/Self.jpg d55134c1bfa6324bcf194ff8da7a3ea0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting; tempera on parchment, laid down on linen Physical Dimensions The actual physical size of the original image 42 x 33 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Self-portrait as Apollo Subject The topic of the resource Giovanna Garzoni's Self-portrait as Apollo Description An account of the resource Giovanna Garzoni's Self-portrait as Apollo. Signed on the instrument: “Giovanna Garzoni F” Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived Garrard, Mary D. “Intersections in the Careers of Artemisia Gentileschi and Giovanna Garzoni.” Art Herstory. Art Herstory, September 25, 2021. https://artherstory.net/two-of-a-kind-garzoni-and-gentileschi/. Date A point or period of time associated with an event in the lifecycle of the resource circa 1618-1620 Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource Palazzo del Quirinale, Rome. Format The file format, physical medium, or dimensions of the resource 42 x 33 cm Type The nature or genre of the resource Painting; tempera on parchment, laid down on linen Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Segretariato Generale della Repubblica, Palazzo del Quirinale, Rome, Italy Publisher An entity responsible for making the resource available Garrard, Mary D. “Intersections in the Careers of Artemisia Gentileschi and Giovanna Garzoni.” Art Herstory. Art Herstory, September 25, 2021. https://artherstory.net/two-of-a-kind-garzoni-and-gentileschi/. garzoni painting self-portrait tempera https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Dish_with_Decoration_of_Oxen_and_Cherry_Blossoms/Dish_with_Decoration_of_Oxen_and_Cherry_Blossoms.jpg 09ad0aa99d163ea450a1e7cb6d4c0db2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Ceramic dish Physical Dimensions The actual physical size of the original image Height 7.9 cm; Diameter 35.9 cm; Diameter of foot: 22.5 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dish with Decoration of Oxen and Cherry Blossoms Subject The topic of the resource Comparison object to Giovanna Garzoni's <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/giovanna-garzoni/item/227" target="_blank" rel="noreferrer noopener">Dog with a Biscuit and a Chinese Cup</a> Description An account of the resource Dish with Decoration of Oxen and Cherry Blossoms relates to Giovanna Garzoni’s Dog with a Biscuit and a Chinese Cup as an example of the type of ceramic ware that Garzoni came into contact with and depicted in her artwork. As a court artist for the Medici family, Garzoni had access to the Medici family’s vast collection of objects from around the world, including Ming-era porcelain [5]. The presence of Chinese-style objects can be seen in several Garzoni still life paintings, including Dog with a Biscuit and a Chinese Cup. This particular porcelain dish is similar in subject matter and stylistic rendering to the cup pictured in Garzoni’s Dog with a Biscuit and a Chinese Cup. Both the dish and the cup are white porcelain and include depictions of nature, with both featuring butterflies and flowering plants as subjects. Additionally, the painting method utilized in Garzoni’s painting of the cup is similar to the style of painting seen in the Ming-era dish. The ornamentation on Garzoni’s Chinese cup demonstrates the great care and detail she took to emulate the painting style characteristic of Ming-era porcelain. Dish with Decoration of Oxen and Cherry Blossoms is a porcelain dish made during the Ming dynasty (1368-1644) sometime between 1615 and 1630 [6]. The dish’s height is 7.9 cm, its diameter is 35.9 cm, and the diameter of the dish’s foot is 22.5 cm. The dish is characterized as Jingdezhen (a city located in the northeastern Jiangxi province of China) porcelain based on the method of painting, which involves porcelain painted in underglaze cobalt blue over white slip [7]. The cobalt blue glaze is used in two-dimensional depictions of nature, including oxen, cherry blossoms, plants, and butterflies around the dish. Creator An entity primarily responsible for making the resource Artist/maker unknown, Chinese Source A related resource from which the described resource is derived [5] Barker, Sheila, and Sheila Barker. “The Universe of Giovanna Garzoni. Art, Mobility, and the Global Turn in the Geographical Imaginary.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 16–29. Sillabe, 2020. [6] Dish with Decoration of Oxen and Cherry Blossoms. Images, n.d. <a href="https://jstor.org/stable/community.18400505">https://jstor.org/stable/community.18400505</a>. [7] Britannica, T. Editors of Encyclopaedia. "Jingdezhen." Encyclopedia Britannica, November 30, 2017. <a href="https://www.britannica.com/place/Jingdezhen">https://www.britannica.com/place/Jingdezhen</a>. Publisher An entity responsible for making the resource available The Metropolitan Museum of Art Dish with Decoration of Oxen and Cherry Blossoms. Images, n.d. <a href="https://jstor.org/stable/community.18400505" target="_blank" rel="noreferrer noopener">https://jstor.org/stable/community.18400505</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1615-1630; Ming dynasty (1368-1644) Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource The Metropolitan Museum of Art Purchase, 2006 Benefit Fund, 2007 2007.295 Format The file format, physical medium, or dimensions of the resource Height 7.9 cm; Diameter 35.9 cm; Diameter of foot: 22.5 cm Type The nature or genre of the resource Ceramic dish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art, New York City, United States of America Relation A related resource <a href="https://baroque.dahvc.org/fall-2021/items/show/227" target="_blank" title="Dog with a Biscuit and a Chinese Cup" rel="noreferrer noopener">Dog with a Biscuit and a Chinese Cup</a> ceramics chinese ming porcelain https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_di_Trevi/Trevi_Fountain.jpeg 817e7057c9e1649f253e52fed7f49dbd https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_di_Trevi/Fontana_di_Trevi_2.jpeg e15318944dd1d9716b3ce0caf85ce3b1 https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_di_Trevi/fontana_di_trevi_3.jpeg 258022e9c035e46d30c9ca9ae89acaac 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 di Trevi Description An account of the resource The Trevi Fountain was originally commissioned in 1629 by Pope Urban VIII to replace an older fountain on the same spot. This fountain was commissioned to Gian Lorenzo Bernini, yet was left unfinished as Pope Urban VIII died in 1644. The fountain was ordered for this spot, as water from the Acqua Vergine came to an end at this location. The fountain remained unfinished until Pope Clement XII commissioned Nicola Salvi to create the new fountain in 1732. Salvi died before being able to finish the fountain and Giuseppe Panini became the ultimate architect to work on the fountain, ultimately finishing the project in 1762. The Trevi Fountain rests on the intersection of three streets and takes its name from “Tre Vie” meaning three ways. The fountain itself is remarkable in design. The central piece of Neptune/Oceanus was created by Pietro Bracci and stands impressively over the Piazza. He is atop a chariot pulled by sea horses and two figures of Tritons accompany him. Additionally, he is accompanied by the personifications of Abundance and Health. The Trevi Fountain stands proudly as an icon for the city of Rome and for all of Italy. The impressive fountain goes through 2,823,800 cubic feet of water everyday, roughly equivalent to 21,123,490 gallons of water, which is enough to fill 32 olympic sized swimming pools. In 2014-2015, it underwent a major period of reconstruction with funding from the brand Fendi in order to preserve the fountain. The Trevi Fountain is such a powerful iconography of the city, that it has its own myth that surrounds it. If you throw one coin into the fountain you will return to Rome, two coins means you return and find love, and three coins means you return, find love, and marry. All of the coins thrown into the fountain are donated to charity. This fountain is incredibly important for Roman life. As a central point of the city, it served as a gathering place, thus drawing in large crowds to the area. The history of the fountain is much debated, with limited documentation and differing ideas on whose ideas were actually used for the fountain. Analyzing the history of the Trevi Fountain is important, as this provides examples of how the fountain was constructed and on what basis. There was a competition for the design of the fountain, showing a desire for only the best to be represented. The Trevi Fountain was finished quite late and thus needed to create something unique that was unprecedented. Thus, Salvi chose a grandiose scale in which to create his fountain, allowing for a new centerpiece to be given to Rome. In relation to other fountains, the Trevi Fountain is on a much larger scale and thus is imposing. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Nicola Salvi Giuseppe Panini Source A related resource from which the described resource is derived Cooke, Hereward Lester. “The Documents Relating to the Fountain of Trevi.” The Art Bulletin 38, no. 3 (1956): 149–73. https://doi.org/10.2307/3047657. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Pinto, John A. The Trevi Fountain. Roma, Italy: E. de Rosa, 1999. 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. Publisher An entity responsible for making the resource available Pope Urban VIII Pope Clement XII Date A point or period of time associated with an event in the lifecycle of the resource 1762 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Travertine, 26 meters high by 49 meters wide Type The nature or genre of the resource Fountain and 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_della_Barcaccia/Fontana_della_Barcaccia.jpeg 04f7a2109e4bf56a5dffdfbef48d4abe https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_della_Barcaccia/fontana_della_barcaccia_2.jpeg bd12459c723d0538fb95cbe2707dac27 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 della Barcaccia Description An account of the resource The Fontana della Barcaccia or the Fountain of the Old Boat was commissioned by Pope Urban VIII in 1627. He chose Pietro Bernini and his son, Gian Lorenzo Bernini, to create a fountain at this location. The duo created a fountain that pays homage to the flood of the Tiber River in 1598 that occurred in Rome. During the flood, the streets were underwater, and the only way to navigate was by boat. Following the flood, a boat was supposedly found in the middle of the square at the Piazza di Spagna. This was the inspiration for the Bernini men to create their fountain. The fountain was finished in 1629, The fountain itself consists of a boat submerged partially underwater. The boat is filled with water and has two spouts on either side of the boat where water leaks into the basin below. The boat is constantly being refilled with water pumped out of the faces on either side of the boat and with a spring in the middle of the fountain. The water seems to trickle down the whole piece in a way; it is not this grandiose display of high rising water, but rather a smaller flow. The Baroque piece is crafted out of travertine, a type of limestone that is vastly abundant in the area. It is one of the first major works for Gian Lorenzo Bernini, who would eventually go on to design churches, fountains, and larger pieces of art that would become renowned. The Fontana della Barcaccia is found at the foot of the Spanish Steps. This positioning transforms the fountain into an iconographic piece of Rome. It’s position allows it to be frequented by tourists and popularized. The fountain is very important for the city, as it has such a rich history to it and is recognizable as a piece of Rome. The fountain has been vandalized in 2007 and 2015, but has undergone restoration periods after each vandalization. The shape of the fountain is important to its creation, as ship fountains have been around for a long period of time. Ships have been used as symbols of not only water, but of life voyages, and additionally ones of hope. While the fountain was not mandated to be one of a ship, the Bernini men chose to create one such fountain. Boats have also been symbols of christianity, from Noah’s Ark to the Navicella. Commissioned by the Pope, the boat was most likely chosen as a symbol of many things, one of the major ones being christianity and the dominance of the church. Being constructed before the Spanish Steps in the same piazza, this fountain was most likely the focal point of the piazza, creating a conversation and enacting a quieter dominance of the region. The Piazza di Spagna was also home to the Spanish embassy, so it is possible that the Fontana della Barcaccia was seen as an homage to the Spanish and their efforts with promoting Catholicism. Creator An entity primarily responsible for making the resource Pietro Bernini Gian Lorenzo Bernini Source A related resource from which the described resource is derived The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Hibbard, Howard, and Irma Jaffe. “Bernini’s Barcaccia.” The Burlington Magazine 106, no. 733 (1964): 159–75. http://www.jstor.org/stable/874272. 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. Publisher An entity responsible for making the resource available Pope Urban VIII Date A point or period of time associated with an event in the lifecycle of the resource 1629 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Travertine 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/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Piante_Varie/45883317.jpg cc951f1ef991ed86ae2e635a5c2da8b8 https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Piante_Varie/45883319.jpg a2c951f2d44904a4b50d688cf4716cf7 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Piante Varie Description An account of the resource This is a collection of drawings of various plants all done by Garzoni (1650). Known for her still-life pieces, Garzoni hones in on the individual plant, examining shape and form of real plant anatomy. This book contains 50 different plants that Garzoni drew. Each plant is drawn with scientific accuracy and is similar to that of a scientific observation journal, where scientists go into the field and examine species. By working for families of power such as the Medici, Garzoni is able to flex her attention to detail by drawing and painting exotic plants that many others would not have access to. Each piece is accompanied by its species, so that they may be identified at later viewing. Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived Garzoni, Giovanna. “Giovanna Garzoni.” Harvard Mirador Viewer. Accessed October 12, 2021. https://iiif.lib.harvard.edu/manifests/view/drs:45882947$16i. Lambert, Craig. “Centuries of Flowers.” Harvard Magazine, August 30, 2016. https://www.harvardmagazine.com/2013/11/centuries-of-flowers. Rare Book Digitization Project. “[Piante Varie].” Dumbarton Oaks, August 19, 2020. https://www.doaks.org/resources/rare-books/piante-varie. Date A point or period of time associated with an event in the lifecycle of the resource 1650 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Paper Book Type The nature or genre of the resource Drawings in book Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Dumbarton Oaks Research Library, Harvard University, Washington D.C., United States https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Flora_ouero_Cultura_di_fiori/Screen_Shot_2021-10-11_at_9.22.32_PM.png fada59819bb5b8cd894252fccc957f7e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flora, ouero, Cultura di fiori Description An account of the resource Anna Maria Vaiani is another female artist who did floral designs. In Giovanni Battista Ferrari’s piece on gardening, Flora, ouero, Cultura di fiori, (1638) Vaiani etched many of the floral designs. Like Garzoni, her designs played on anatomy of plants with elements of whimsy, to create pieces that were dynamic and alluring. Vaiani learned etching from her father, Alessandro Vaiani. She is known for her botanical etchings, much like the one presented in this book. Both Vaiani and Garzoni led lives as pioneers, where they were some of the first women to create these botanically accurate pieces, that brought inspiration for not only other female artists, but also male artists to explore this approach. Creator An entity primarily responsible for making the resource Anna Maria Vaiani Giovanni Battista Ferrari Source A related resource from which the described resource is derived “Anna Maria Vaiani ?-1655.” Gonville & Caius, December 4, 2019. https://www.cai.cam.ac.uk/discover/library/online-exhibitions/her-book/printers/anna-maria-vaiani-1655. Ferrari, Giovanni Battista, Flora, ouero, Cultura di fiori, Rome: Pier. ‘Ant. Facciotti, 1638, Lisa Unger Baskin Collection, Rubenstein Rare Book & Manuscript Library, Duke University. Accessed October 07, 2021, https://exhibits.library.duke.edu/exhibits/show/baskin/item/3987 “Flora, Ouero, Cultura Di Fiori.” Duke Library Exhibits. Accessed October 13, 2021. https://exhibits.library.duke.edu/items/show/3987. Publisher An entity responsible for making the resource available Pier. ‘Ant. Facciotti Date A point or period of time associated with an event in the lifecycle of the resource 1638 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Paper book, pen, etching Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Lisa Unger Baskin Collection, Duke University, Durham, United States Type The nature or genre of the resource Etching in a book https://www.baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/A_Cat_Stealing_Fish/A_Cat_Stealing_Fish.jpeg c4c7c0cda68303d88dce6a8eabdbf147 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 96.5 x 128.3 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 A Cat Stealing Fish 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> </ol> Publisher An entity responsible for making the resource available The Metropolitan Museum of Art Artist: Giuseppe Recco (Italian, Neapolitan, 1634-1695). A Cat Stealing Fish. Images, n.d. <a href="https://jstor.org/stable/community.18615314" target="_blank" rel="noreferrer noopener">https://jstor.org/stable/community.18615314</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1667-1669 Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource The Metropolitan Museum of Art Purchase, 1871 71.17 Format The file format, physical medium, or dimensions of the resource 96.5 x 128.3 cm 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 The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028 Description An account of the resource <h2>A Cat Stealing Fish </h2> A Cat Stealing Fish was painted by Giuseppe Recco between 1667 and 1669. This painting displays Giuseppe’s immense talent at rendering dimly lit spaces and reflections of surfaces and textures within the space. This work is an oil painting on a canvas measuring 96.5 by 128.3 centimeters. The painting depicts a cat caught in the middle of taking an octopus tentacle away in its mouth. The cat is crouching on a crate surrounded by various fish and hammered copper wares that appear to have been pushed to the ground by the cat. The scene appears to be in a dark alleyway or interior room, with sharp lighting focusing on the cat. The lighting in the painting shows off Recco’s ability to realistically render a number of surfaces, including the iridescent scales of the fish and the metallic surfaces of the hammered copper illuminated in the dark scene. A Cat Stealing Fish demonstrates Recco’s skillful painting technique representative of Neapolitan still-life painting during the Baroque period. Furthermore, Recco painted the seaweed in the lower left corner of the painting into the shape of his initials (G R). <h2>A Cat Stealing Fish </h2> A Cat Stealing Fish was painted by Giuseppe Recco between 1667 and 1669. This painting displays Giuseppe’s immense talent at rendering dimly lit spaces and reflections of surfaces and textures within the space. This work is an oil painting on a canvas measuring 96.5 by 128.3 centimeters. The painting depicts a cat caught in the middle of taking an octopus tentacle away in its mouth. The cat is crouching on a crate surrounded by various fish and hammered copper wares that appear to have been pushed to the ground by the cat. The scene appears to be in a dark alleyway or interior room, with sharp lighting focusing on the cat. The lighting in the painting shows off Recco’s ability to realistically render a number of surfaces, including the iridescent scales of the fish and the metallic surfaces of the hammered copper illuminated in the dark scene. A Cat Stealing Fish demonstrates Recco’s skillful painting technique representative of Neapolitan still-life painting during the Baroque period. Furthermore, Recco painted the seaweed in the lower left corner of the painting into the shape of his initials (G R). giuseppe recco neapolitan oil on canvas painting still life Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Protofeminist Insects of Giovanna Garzoni and Maria Sibylla Merian Description An account of the resource Giovanna Garzoni and Maria Sibylla Merian lived two unusual lives for female artists at the time. Both of them left their husbands and both are renowned for their work in still lifes. Yet this article argues that their most powerful connector is how they portray insects within their pieces. At the time, entomology was making massive discoveries and many of these tore down the previous patriarchal views that were had about the animal kingdom. Garzoni and Merian presented insects as more than just species to study, but rather active and dynamic creatures that had life. Furthermore, Steinkraus argues that they both acknowledge the matriarchal hierarchies discovered within insects like bee hives, presenting these insects as powerful and perhaps pushing forth an ideology of feminism from their portrayal of bugs. Creator An entity primarily responsible for making the resource Emma Steinkraus Source A related resource from which the described resource is derived Steinkraus, Emma. “The Protofeminist Insects of Giovanna Garzoni and Maria Sibylla Merian.” Art Herstory, August 9, 2019. https://artherstory.net/protofeminist-insects-in-art/. Publisher An entity responsible for making the resource available Art Herstory Date A point or period of time associated with an event in the lifecycle of the resource August 9, 2019 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Article Type The nature or genre of the resource Article Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Digital Resource https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_del_Tritone/fontana_del_tritone.jpeg 6160baf54b5d56f5d276cc257e744a2a https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_del_Tritone/fontana_del_tritone_2.jpeg e3296a65912579a5b974750dbd9e43c8 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 Tritone Description An account of the resource The Fontana del Tritone stands in the middle of the Piazza Barberini. This fountain takes water from the Acqua Felice in order to create this beautiful and powerful piece of art. The fountain was commissioned by Pope Urban VIII, and was the last commissioned piece that Gian Lorenzo Bernini was to accomplish for the Pope before the Pope’s death in 1644. The fountain was completed between 1642 and 1643, in homage to the Barberini family of which Pope Urban VIII was a member. The fountain was built to provide water from the aqueduct to the people as well, with an innovative twist. The free-standing design of the fountain was relatively new to the city scape and thus altered the focal landscape of Rome. The fountain rises into the sky with the god Triton sitting atop of it in a merman state. He is blowing a conch shell with water spouting from the conch into the basin below them. He is held up by dolphins, with which lie the papal keys and the Barberini family bees. This piece pays great homage to Pope Urban VIII and his family, as they were frequent patrons for Bernini. This iconic fountain of Rome creates quite the visual spectacle as water sprays skywards from the conch and the viewers’ eyes are drawn up to the massive figure of Triton resting on a shell. Overtime, the context of the Fontana del Tritone has been greatly altered. At the time of construction, it was surrounded by many buildings with fewer floors, so that it was seen as a grandiose display of power, and from far away. Nowadays, there are many taller buildings that surround the piazza and tower over the fountain. Yet, the fountain is still seen as an impressive Baroque display. The fountain has undergone many restorations since its establishment in the piazza. One such restoration occurred in 1932, when the workers revealed the original statue from underneath so many layers of grime that citizens believed the statue to be a replica. The Fontana del Tritone greatly conversed with its landscape and the other fountains in nearby areas. The fountain has been argued to be a commentary on the victory of the Thirty Years’ War and Catholic dominance. Additionally, the fountain is paying homage to the life of Urban VIII, with the symbol of a god representing the immortality of Urban VIII and the Barberini’s legacy on Rome and the world. While this may be an interesting choice as it is not a Christian symbol, it can represent the dominance of Rome and reinvigorate the power of the Roman Empire. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini 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. “Fontana Del Tritone.” Fontana del Tritone by Gian Lorenzo Bernini. Accessed October 13, 2021. http://www.gianlorenzobernini.org/fontana-del-tritone/. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Gray, Gustave Le, and Firmin-Eugène Le Dien. “Bernini’s Triton Fountain, Ca. 1852–53.” City of the Soul, 2016, 102–4. https://doi.org/10.2307/j.ctv1xx9k9w.36. 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. Publisher An entity responsible for making the resource available Pope Urban VIII Date A point or period of time associated with an event in the lifecycle of the resource 1643 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Travertine 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