4 10 149 https://www.baroque.dahvc.org/fall-2021/files/original/Esther_and_Ahasuerus_/Screen_Shot_2021-10-12_at_10.25.17_PM.png cc18494bfd7051a2b53eb1503001ff98 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 Esther and Ahasuerus Subject The topic of the resource Religion/Mythology Creator An entity primarily responsible for making the resource Paolo Caliari, dit Veronese (Verona,1528 - Venice, 1588) Benedetto Caliari (Verona, 1538 - Verona, 1598) School of Italy Source A related resource from which the described resource is derived Metmuseum.org. Accessed October 13, 2021. https://www.metmuseum.org/art/collection/search/436453. Paolo Caliari, dit Veronese, Benedetto Caliari, and Italie. “Esther Et Assuérus.” Musée du Louvre, September 13, 2021. https://collections.louvre.fr/en/ark:/53355/cl010061270. “Paolo Veronese Paintings, Bio, Ideas.” The Art Story. Accessed October 13, 2021. https://www.theartstory.org/artist/veronese-paolo/. Publisher An entity responsible for making the resource available Patron: Louis XIV, King of France Commissioner/Archaeologist: Everhard Jabach Date A point or period of time associated with an event in the lifecycle of the resource C. 1500-1600 Contributor An entity responsible for making contributions to the resource Rebecca Boss Rights Information about rights held in and over the resource © 2019 RMN-Grand Palais (Louvre museum) / Adrien Didierjean Relation A related resource Title: Esther before Ahasuerus Artist: Artemisia Gentileschi (Italian, born Rome 1593–died Naples 1654 or later) Medium: Oil on canvas Dimensions: 82 in. × 8 ft. 11 3/4 in. (208.3 × 273.7 cm) Classification: Paintings Credit Line: Gift of Elinor Dorrance Ingersoll, 1969 Accession Number: 69.281 Format The file format, physical medium, or dimensions of the resource Oil on Canvas 206 × 334 cm Measured without accessory Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Currently at the Musée du Louvre, Paris Department of Paintings On Display in Gallery 711, Aile Denon, Level 1 Owned by the State of France Description An account of the resource Considered one of the most notable late Renaissance masters, Veronese’s Esther and Ahasuerus illustrates both the Old Testament story and his mastery of large-scale compositions set amidst the grandiose backdrop of Venetian architecture [1]. Although, this piece in particular seems to stray from his usual landscapes, as Veronese is typically known for his achievements as a colorist (seen in pieces such as Crowning of Esther (1556), or The Wedding at Cana (1563), as he rendered fluid tones and chiaroscuro techniques to capture lush scenes [2]. Here, however, the scene seems to be encrusted in gold, overlaid with a mustard hue, a color fit for the regal throne room of the King of Persia, Ahasuerus. The biblical story says that Ahasuerus’ new queen, Esther, was secretly a jew. After the King ordered for a massacre of all jews in the Persian empire, Esther illegally rushed before him, risking her life in an attempt to save her people. In this painting, we are caught in the midst of this moment. On the left, Esther’s worrisome expression seems to emanate throughout her body, as she rests slightly limp against the figure of her maiden. On the right, Ahasuerus sits tall on his throne, covered in gold-toned cloth and embellished in various jewels. The men who are seated on benches that flank the dais are levels lower than the King, asserting his superiority. Some exchange glances with one another while others stare in a disapproving manner at the Queen. The subtle foreshortening effect that Veronese is known to employ is visible here, particularly in Esther’s form, as she is the only figure facing toward the spectator, although she looks at the ground within the frame. Artemisia Gentileschi later created a very similar rendition of this scene around 1630, likely influenced by the work of Veronese [3]. It is important to note the different manner in which she portrays the King. Veronese falls in line with the conventional depiction of the story where Ahasuerus is shown in a staunch, unyielding posture. Artemisia strays from this image, showing him to wear extravagant garments that cover him in a disorganized manner. During the period, this garb was most heavily associated with comedic, theatrical characters [4], placing Esther in a superior position as a ruler, and by extension, placing all women in this position as well. Despite the influence Veronese had on Gentileschi in creating Esther before Ahasuerus, her rendition has undoubtedly become more important in the vein of art history.<br /><br />1. “Paolo Veronese Paintings, Bio, Ideas.” The Art Story. Accessed October 13, 2021. https://www.theartstory.org/artist/veronese-paolo/. <br />2. Art Story, ““Paolo Veronese Paintings, Bio, Ideas.” <br />3. Metmuseum.org. Accessed October 13, 2021. https://www.metmuseum.org/art/collection/search/436453.<br />4. Locker, Jesse. <i>Artemisia Gentileschi: The Language of Painting</i>. New Haven: Yale University Press, 2015. <div></div> <p></p> https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Still_Life_with_Birds_and_Fruit/birds_and_fruit.png b00632dea6de5472729f289b993a7b6b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still Life with Birds and Fruit Description An account of the resource Giovanna Garzoni painted this magnificent still-life in 1650, towards the middle/beginning of the latter-half of her career. This painting was originally thought to be created by Jacobo Ligozzi, but is now accurately credited to Garzoni [1]. Art critics believe this work was created for the Medici family, who sponsored much of Garzoni's work and showcased them throughout their villas, and valued paintings including botanical and ornithological subjects [2]. Garzoni's work is an innovative blend of art and science, combining her artistic skills with an understanding of botany [3]. This work contains a bee-eater and three goldfinches exploring and probing various fruits around them, all contained on an earth-toned ground with a plain solid background. The fruits are a pear, a peach, two plums, and a fig. This painting is particularly interesting because it combines aspects of her other works. For example, the fig resembles those from her work "A Plate of Figs" (1655-1662). Mary D. Garrard believes that Garzoni's figs in both works resemble male genitalia in order to highlight the magic of sexual reproduction that is present among humans, animals, and plants [1]. Garzoni's goldfinches exploring the possibilities of eating the fruits resemble the bird in "China Bowl with Figs, a Bird, and Cherries" (1651-1662), who is striking and eating a fig. It is also important to note Garzoni's selection of materials. Her preferred medium was tempera on vellum, and she used vellum with graphite and watercolor instead of the traditional oil and canvas. Garzoni's use of vellum allows the work to be more luminous and bright [4]. This makes Garzoni's plants appear more natural and textured. Garzoni's work appears noticeably better-lit than Galizia's, and this reflects the differences between using vellum and canvas. Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived [1] Mary D. Garrard. “The Not-So-Still Lifes of Giovanna Garzoni.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 62-77. Sillabe, 2020. [2] Tomasi, Lucia Tongiorgi, and Gretchen A. Hirschauer. The Flowering of Florence: Botanical Art for the Medici. Washington (D.C.): National Gallery of Art, 2002. [3] Harris, Ann Sutherland. “Italian Still Life. New York.” The Burlington Magazine 125, no. 965, August 1983. [4] “Farewell to Fall with Giovanna Garzoni's Still Lifes.” Italian Ways, December 20, 2018. https://www.italianways.com/farewell-to-fall-with-giovanna-garzonis-still-lifes/. [5] “'The Greatness of the Universe' in the Art of Giovanna Garzoni: Uffizi Galleries.” Gallerie degli Uffizi. Accessed October 13, 2021. https://www.uffizi.it/en/events/the-greatness-of-the-universe-in-the-art-of-giovanna-garzoni. [6] Anonymous. “Still Life with Birds and Fruit.” Cleveland Museum of Art, October 8, 2021. https://www.clevelandart.org/art/1955.140. [7] Wpengine, and Name *. “A Review of the Uffizi's June 2020 Exhibition of Art by Giovanna Garzoni.” Art Herstory, September 20, 2021. https://artherstory.net/giovanna-garzoni-uffizi-exhibition-review-june2020/. Publisher An entity responsible for making the resource available The Medici family sponsored many of Garzoni's still life paintings, and is thought to have sponsored this. Date A point or period of time associated with an event in the lifecycle of the resource 1650 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Format The file format, physical medium, or dimensions of the resource Watercolor with graphite, heightened with lead white on vellum, 25.7 cm x 41.6 cm Type The nature or genre of the resource Drawing with watercolor Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cleveland Museum of Art, Cleveland, Ohio, U.S.A. Rights Information about rights held in and over the resource Public domain https://www.baroque.dahvc.org/fall-2021/files/original/Lavinia_Fontana_s_Work_and_Comparison_Pieces/Portrait_of_a_Nun/HMPS_SCAG_3-001.jpg 112e42dca76d6472f549b6df31a22b2e 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 Lavinia Fontana's Work and Comparison Pieces Description An account of the resource A swath of work by Lavinia Fontana and other comparative artists.. Her powerful and bold depictions of female noblewomen, biblical figures, and self portraiture contrast her contemporaries. Through such juxtaposition, Fontana emerges as a representation and an advocate for women's equality in the arts. Creator An entity primarily responsible for making the resource Lavinia Fontana Source A related resource from which the described resource is derived TODO Publisher An entity responsible for making the resource available TODO Date A point or period of time associated with an event in the lifecycle of the resource 1552 - 1614 Contributor An entity responsible for making contributions to the resource M Greenstein, E Henne, J Chen, K Campbell Format The file format, physical medium, or dimensions of the resource mixed, jpg, oil, copper Type The nature or genre of the resource Paintings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant TODO 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 Physical Dimensions The actual physical size of the original image 68.5 x 53.3 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 Portrait of a Nun Description An account of the resource Sofonisba Anguissola, the artist of the portrait, was born into a financially struggling noble family with six siblings. She was known to utilize her family members as subjects of her early paintings (Murphy 2007). Indeed, the pictured individual is theorized to be Sofonisba’s only younger sister, Elena. Both Elena and Sofonisba attended art school under the tutelage of Bernadino Campi; however, as portrayed in the image, Elena did not pursue a career in the arts and rather devoted her life to religious study as a nun. The subject, dressed in a white religious habit, is placed in front of a simple, black background. This portrait exemplifies Sofonisba’s ability to operate within the societal expectations of female artists of her time. Sofonisba makes little use of vibrant colors, but rather adopts a more modest color palette reflecting the reserve of the subject. Moreover, the monochrome nature of the painting cannot be separated from Sofonisba’s expected decency as a female artist of the time. And yet while operating under such societal expectations, Sofonisba subtly lashes back against restrictions by portraying her sister in a lively, powerful manner. The subject’s upright posture exhumes confidence. This is coupled with her unwavering facial expression and piercing eye contact. The viewer cannot help but be drawn towards the subject’s face – placed in the upper center of the portrait. Moreover, the face is further accented by the apt use of the light contrast that livens the subject. The left side of the portrait is illuminated by an unseen light source, halving the subject’s face. This helps establish a clear tension between the light and dark facial portions. Through such contrast, the nun is characterized as having dueling sides or an internal conflict. Perhaps another subtle retort against the expected roles of women in society. Creator An entity primarily responsible for making the resource Sofonisba Anguissola Source A related resource from which the described resource is derived Anguissola, Sofonisba. “Portrait of a Nun.” Southampton, England: Southampton City Art Gallery, 1551. Southampton City Art Gallery. Southampton, England. Jacobs, Frederika H. “Woman’s Capacity to Create: The Unusual Case of Sofonisba Anguissola.” Renaissance Quarterly47, no. 1 (1994): 74–101. https://doi.org/10.2307/2863112. Murphy, Caroline P. “The Economics of the Woman Artist.” In Italian Women Artists from Renaissance to Baroque, ed. Vera Fortunati et al., 23–30. Milan: Skira, 2007. Robin, Diana Maury, and Anne R. Larsen. “Anguissola Sofonisba.” Essay. In Encyclopedia of Women in the Renaissance: Italy, France, and England, 14–18. Santa Barbara, CA: ABC-CLIO, 2007. Publisher An entity responsible for making the resource available Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1551 Contributor An entity responsible for making contributions to the resource Michael Greenstein Rights Information about rights held in and over the resource This image can be used for non-commercial research or private study purposes, and other UK exceptions to copyright permitted to users based in the United Kingdom under the Copyright, Designs and Patents Act 1988, as amended and revised. Any other type of use will need to be cleared with the rights holder(s). Format The file format, physical medium, or dimensions of the resource 68.5 x 53.3 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Southampton City Art Gallery https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/A_Crystal_Fruit_Stand_with_Peaches_Quinces_and_Jasmine/fruit_and_jasmine.jpeg c5aa9e709ddc27ef611873462460aeef Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Crystal Fruit Stand with Peaches, Quinces, and Jasmine Description An account of the resource This oil on canvas still life painting is the earliest still life with a clear, concrete creation date, and is Galizia's first signed one [1]. Different sources refer to this painting by slightly different names from the most common name used in the Omeka title, but all have the same meaning. For example, Segal refers to it as "Glass tazza with peaches, jasmine flowers, and apples", while Garrard refers to it as "Peaches on a Stand, with Apples and Jasmine". It depicts peaches and a jasmine flower plant in a glass tazza with vine leaves, and three green apples below, with one being opened with just half remaining. This work represents Fede Galizia's tendencies to place her fruit subjects in glass bowls, with only 1 or 2 varieties of fruit, and placing her viewer on a slightly elevated viewpoint [2]. Galizia is believed to have worked towards efficacy as opposed to variety, desiring to truly hone-in her paintings to achieve intended outcomes. Her attention to detail differentiates her hand from her followers, and is displayed with her intricate use of glazing to create a gentle browning and "greenish aureole" inside the apple [3]. There is a dark background, which is contrasted with the brightness of the white jasmine leaves, and light-shaded surface that the subjects stand on. Galizia includes small discolored spots on the fruit, which are mirrored in Garzoni's works, which signify the decaying of these fruits [2]. Although they contain similar elements of the fruit depictions, Galizia's work lacks the radiant light source and birds of Garzoni's "Still Life with Birds and Fruit". Creator An entity primarily responsible for making the resource Fede Galizia Source A related resource from which the described resource is derived [1] Galizia, Fede. “A Crystal Fruit Stand with Peaches, Quinces, and Jasmine.” Obelisk Art History. Accessed October 13, 2021. https://arthistoryproject.com/artists/fede-galizia/a-crystal-fruit-stand-with-peaches-quinces-and-jasmine/. [2] Mary D. Garrard. “The Not-So-Still Lifes of Giovanna Garzoni.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 62-77. Sillabe, 2020. [3] Segal, Sam. “An Early Still Life by Fede Galizia.” The Burlington Magazine 140, no. 1140, March 1998. Publisher An entity responsible for making the resource available Stefano Bottari and Flavio Caroli catalogued much of Galizia's work Date A point or period of time associated with an event in the lifecycle of the resource 1607 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Oil on canvas painting, 31.2 cm by 42.5 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant This painting is in private collection, but has exhibited in the Cleveland Museum of Art (1992-2001) and the New York Metropolitan Museum of Art (2001-2015). https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Annotated_Bibliography_Entry_The_Not-So-Still_Lifes_of_Giovanna_Garzoni_by_Mary_D._Garrard/book.jpg 8b3fb9037d931a3f3bebdba476946ae4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Annotated Bibliography Entry: "The Not-So-Still Lifes of Giovanna Garzoni" by Mary D. Garrard Description An account of the resource Garrard D., Mary. “The Not-So-Still Lifes of Giovanna Garzoni.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 62-77. Sillabe, 2020.  Mary D. Garrard's essay within Sheila Barker's catalogue discusses the work of Giovanna Garzoni (1600-1670), an Italian Baroque painter who is known for her impactful still life works. Garrard states that although Garzoni is famous for her still lifes, she also created religious works for Charles Emanuel II and Christine de France when she was working in Turin. Garrard also outlines many of Garzoni's tendencies and symbolisms throughout her works. For example, her attention to detail with fruits such as figs contain allusions to male and female genitalia, which illustrate and underscore the power of sexual reproduction in plants and animals. Garrard also believes that Garzoni's inclusion of brown spots are intentional symbols of natural decaying. This source proceeds to compare the work of Garzoni with that of Fede Galizia (1578-1630), another Italian still life painter. This source asserts Galizia as the creator of this still life movement, but acknowledges that Garzoni included more variety in her fruit subjects. Garrard takes note of the geographic contexts of these works, discussing Garzoni's time in Florence with the Medici, and Galizia's time in Milan and the Lombardy region of Italy more broadly. This source discusses still life works from different Baroque artists, including many of Garzoni's works, such as "A Plate of Figs" and "Still Life with Birds and Fruit", Galizia's works such as "Peaches on a Stand, with Apples and Jasmine", and also the works of Caravaggio, like his "Basket of Fruit". Garrard's inclusion of other Italian still lifes provides historical and artistic context to Garzoni's pieces that this exhibit explores.  Creator An entity primarily responsible for making the resource Mary D. Garrard (Edited by Sheila Barker) Source A related resource from which the described resource is derived Mary D. Garrard. “The Not-So-Still Lifes of Giovanna Garzoni.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 62-77. Sillabe, 2020. Publisher An entity responsible for making the resource available Sillabe (Printed by Genesi, Città di Castello) Date A point or period of time associated with an event in the lifecycle of the resource 2020 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Format The file format, physical medium, or dimensions of the resource 21 cm by 25 cm Language A language of the resource English and Italian Type The nature or genre of the resource Book and Exhibit Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Uffizi Galleries, Florence, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_Religious_Works/The_Immaculate_Conception/DT1138.jpeg 7902a95bafc02c7cc243e2ccf685ea52 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting 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 Immaculate Conception Description An account of the resource In the eyes of G. B. Passeri, a contemporary biographer, Guido Reni was "the noblest, most majestic painter who ever lived- not only in my own opinion, but by common consent.” Reni, the most celebrated Italian painter of the seventeenth century, was particularly famous for the elegance of his compositions. He was also a master of painting beautiful female heads, earning him the epithet “Divine.” Reni’s Immaculate Conception is a documented work of historical importance and high quality. This altarpiece was commissioned in about 1627 by the Spanish ambassador in Rome for the Infanta of Spain. It later hung in the cathedral of Seville and exercised a deep influence on Spanish painters, especially Murillo. In this work, Reni was trying to paint a picture of the Virgin to satisfy his own vision of heaven. Mary’s Immaculate Conception had a long history since the Middle Ages with the meaning that Mary was free from original sin at her conception as opposed to her sinless conception of Christ. In the formal representation of the Immaculate Conception, one shows Mary before her life on earth. In this piece, Mary stands on the crescent moon with her upturned head and eyes directed towards heaven. Mary’s flawless features express her purity, and her hands devoutly joined in prayer. Seen against a golden aura, bordered by ethereal heads of putti (cherubim), she is adored by two angels, who gaze at her in reverence. Their upward gaze was a signature in Reni’s religious works, which is derived from Raphael’s Saint Cecilia. Wearing her traditional pink robe and blue mantle, Mary is crowned by a circle of twelve stars. The idealization in the faces, the cool hues of the draperies and clouds, the golden glow of the heavens, and the porcelain-like treatment of skin tones have made the work one of the prime early examples of what the seventeenth-century Bolognese biographer Carlo Cesare Malvasia wrote as Reni’s "secondo maniera," or second manner, where a blond tone and delicacy replace the more strongly modeled forms of his "first manner." Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Reni, Guido. “The Immaculate Conception,” 1627. The Metropolitan Museum of Art. New York, NY, United States. https://www.metmuseum.org/art/collection/search/437423. Date A point or period of time associated with an event in the lifecycle of the resource 1627 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 268 x 185.4 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Met Collection, Metropolitan Museum of Art, New York City, United States Source A related resource from which the described resource is derived Hibbard, Howard. “Guido Reni’s Painting of the Immaculate Conception.” The Metropolitan Museum of Art Bulletin 28, no. 1 (1969): 19–32. https://doi.org/10.2307/3258470. Pepper, D. Stephen. “Guido Reni’s Practice of Repeating Compositions.” Artibus et Historiae 20, no. 39 (1999): 27–54. https://doi.org/10.2307/1483573. Pepper, D. Stephen. “Guido Reni’s Early Drawing Style.” Master Drawings 6, no. 4 (1968): 364–431. http://www.jstor.org/stable/1552913. https://www.baroque.dahvc.org/fall-2021/files/original/Orazio_and_Artemisia_Gentileschi/Gentileschi.jpeg c1f10a26674b6a20c5c3cd0ecf61afa6 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 Orazio and Artemisia Gentileschi Description An account of the resource This book goes in depth describing many findings about the infamous father and daughter artistic powerhouses- Orazio and Artemisia Gentileschi. Orazio and Artemisia were both Italian Baroque painters. Keith Christiansen and Judith Mann explain the differences in the artwork each artist was commisioned to do as they moved through different regions of Italy. Additionally, this book offered an interesting perspective explaining the exhibition of Artemisia's work as seen by Feminist Art historians. Elizabeth Cropper went into detail about the exhibit, and Artemisia's focus on portraying vengeful women. She also added important information about Artemisia's life story and her tense relationship with her father due to his colleague raping her. This source explains many causes of the artwork created by Artemisia and Orazio, and helps the reader have a more comprehensive understanding of the background to the artwork. Creator An entity primarily responsible for making the resource Keith Christiansen and Judith Mann Source A related resource from which the described resource is derived Christiansen, K. and Mann, J., 2001. Orazio and Artemisia Gentileschi. New Haven: Yale University Press. Date A point or period of time associated with an event in the lifecycle of the resource 2001 Contributor An entity responsible for making contributions to the resource Jason Post Language A language of the resource English Type The nature or genre of the resource 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 The Metropolitan Museum Publications, New York, United States Rights Information about rights held in and over the resource Public Domain https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_Religious_Works/The_Angel_Appearing_to_Saint_Jerome/Guido_Reni_-_The_Angel_Appearing_to_St._Jerome_-_69.6_-_Detroit_Institute_of_Arts.jpg a704a320e1ce97b9ae14491e04931e17 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting 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 Angel Appearing to Saint Jerome Creator An entity primarily responsible for making the resource Guido Reni Source A related resource from which the described resource is derived Pepper, D. Stephen. “The Angel Appearing to Saint Jerome by Guido Reni, a New Acquisition.” Bulletin of the Detroit Institute of Arts 48, no. 2 (1969): 26–35. http://www.jstor.org/stable/23182587. Pepper, D. Stephen. 1984. Guido Reni: a complete catalogue of his works with an introductory text. New York: New York University Press. Mahon, Denis, and Stephen Pepper. “Guercino and Reni: Reflections on the Interpretation of Documents and Paintings.” The Burlington Magazine 139, no. 1128 (1997): 178–87. http://www.jstor.org/stable/887393. Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Guido Reni - The Angel Appearing to St. Jerome - 69.6 - Detroit Institute of Arts.jpg," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Guido_Reni_-_The_Angel_Appearing_to_St._Jerome_-_69.6_-_Detroit_Institute_of_Arts.jpg&oldid=364142968 (accessed October 13, 2021). 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 Jenny Chen Format The file format, physical medium, or dimensions of the resource Unframed: 199.7 × 147.9 cm Framed: 231.8 × 180.3 × 11.4 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant European Painting, Detroit Institute of Arts, Detroit, MI, United States Description An account of the resource This painting is a late work of Reni, demonstrating qualities of rapidity and self-assurance. At that time Reni had abandoned the smooth finish that had been characteristic of his earlier work in favor of a slightly looser and more animated surface. The abstract elegance of his previous canvases gives way to works that are perhaps less "perfect" but emotionally richer. In this work, the spiritual encounter between Saint Jerome and the angel is expressed by brilliant colors and an array of gestures that are theatrical without being melodramatic. St. Jerome sits before a cave, where he has withdrawn from worldly life to do penance and to prepare his commentaries and Latin translation of the Bible. In the midst of his labors an angel appears to assist his work. The Saint meditates upon the skull, which rests isolated on a shelf of stone. As a prominent reminder of the presence of death, it is particularly touching because of Reni's own advanced age when he created this work. The Saint rests his elbow on his books while he turns his face towards the beautiful messenger. The confrontation of the aged man, ruddy in complexion with thick shoulders and neck, and the luminous white youth whose golden tresses are stirred by his rapid movement, eloquently expresses the gulf that separates the mortal man from the divine messenger. Yet they face each other almost at eye level, which suggests an intimacy in their communication. Reni seemed to invent the representation of an angel appearing to St. Jerome while he is writing. Traditionally, an angel appears to St. Jerome in his study to chastise him for becoming a “Ciceronian,” which is a student devoted to the classics rather than a Christian. An angel appears to him a second time in the desert and blows the trumpet call for the Last Judgment. For the iconographically uncommon representation, Reni might have adopted Caravaggio’s first altarpiece of the subject for the Contarelli Chapel in S. Luigi dei Francesi. https://www.baroque.dahvc.org/fall-2021/files/original/Bernini_s_Mythological_Sculptures/Apollo_and_Daphne/gian_lorenzo_bernini-apollo_and_daphne-1655-trivium-art-history.jpg eb53d09ca8bab0b8369ae5f04bfc3048 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 Apollo and Daphne Subject The topic of the resource Bernini's marble "Apollo and Daphne" sculpture. The work portrays the Greek myth of Daphne's transformation into a tree as Apollo runs toward her. Description An account of the resource Bernini’s life-sized marble sculpture of “Apollo and Daphne” is regarded as one of his most powerful and emotional works. The work was commissioned in 1622 by Cardinal Scipione Borghese and was initially placed in his villa. The work illustrates the Greek myth of the nymph Daphne and her passionate admirer Apollo. According to the myth, Eros (Cupid) launched two arrows against Apollo, making him ardently in love with Daphne, the daughter of the river god Peneus. At every turn, he attempted to pursue her and she would run away from him every time She begged her father to help her. Peneus thus decided to turn into a laurel tree to save her from Apollo. In Berni’s rendition of the myth, we see Apollo reaching for her as she transforms into the tree. Bernini closely follows Ovid’s Metamorphoses verses on the Greek Myth. Bernini was known to be captivated by Ovidian themes and would always attempt to explore these themes in his artworks. Apollo and Daphne capture the Ovidian theme of the metamorphosis. This is seen with the metamorphosis of Daphne as she transforms into a laurel tree. Bernini captures this metamorphosis as it’s happening with her fingers and toes narrowing into branches and her curls turning into leaves. Apollo touches the emerging bark as he runs towards her during her transformation. We also witness the transformation of both characters’ emotional states. Apollo is caught between joy and confusion and he first becomes gleeful seeing his lover and then becomes bewildered when he grabs her and touches the bark growing on her. Daphne is shown in a frightened state as illustrated by her open-mouthed scream; however, she will soon emerge as a mute, calm tree, reaching her fully realized form. Furthermore, we can see in this piece that Bernini closely followed Ovid’s scriptures of the myth. Ovid in his work dictates that “ the wind-exposed her body, the opposing breezes made her clothes move, and a light breeze made her hair fly behind her…her hair was changed to leaves, her arms to branches.” Bernini beautifully makes Ovid’s poetry come alive through marble. The powerful breeze is illustrated through Apollo’s garment waving in the wind and Daphne’s transforming hair blown by the breeze. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini 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. Publisher An entity responsible for making the resource available Joy of Museums Virtual Tours Date A point or period of time associated with an event in the lifecycle of the resource 1622-25 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Type The nature or genre of the resource Marble 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 Galleria Borghese in Rome Format The file format, physical medium, or dimensions of the resource 243 cm https://www.baroque.dahvc.org/fall-2021/files/original/Bernini_s_Mythological_Sculptures/The_Rape_of_Proserpina/1200px-The_Rape_of_Proserpina_[Rome].jpg 101e37a52e4911387a54473692a4f0ff 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 The Rape of Proserpina Subject The topic of the resource Bernini's mythological sculpture that depicts the Roman myth of Pluto and Proserpina. Description An account of the resource Bernini’s “The Rape of Prosperina” marble sculpture portrays the abduction of Proserpina, also known as Persephone, who is seized by the god of the underworld Pluto. The work was commissioned by Cardinal Scipione Borghese for his four large-scale sculpture commissions which also included “Apollo and Daphne” and “David.” The sculpture was originally going to be placed in the Villa Borghese. However, Cardinal Scipione Borghese notably decided to gift this sculpture to Cardinal Ludovico Ludovisi as a tribute to his enemy. Many scholars have thus noted that this was a “poisoned gift” of sorts. The chosen subject matter plays with Ludovisi’s central symbols; the sculpture’s themes counter Ludovisi’s so-called golden age rule; the sculpture by contrast announces the beginning of a bleak age. Here, we see again that Bernini bases his work on Ovid’s illustration of the Greek myth. According to the myth, Persephone was once picking flowers with friends and was then violently attacked by Pluto who was madly in love with her. Persephone is depicted afraid, screaming for help and raising her arm against Pluto’s face. Through his impeccable skill with marble, Bernini makes her seem almost weightless as she’s being carried away by Pluto. The tactile depictions of the sculpture are truly remarkable; you can see Pluto’s aggressive mannerism, grabbing her skin. Bernini does, however, skew away a bit from Ovid’s scriptures in this piece. Bernini adds a third member to the sculpture: Cerberus, the multi-headed dog of Pluto that guards the underworld. The creature sits at the bottom of the composition, portraying the threshold of the underworld. Overall, Bernini still captures Ovid’s mythological themes of metamorphosis. This sculpture, after all, is an allegory of the changing of the seasons and the transformation of the changing climate. Furthermore, the story illustrates the transformation of Persephone as a woman who must now live two lives– one in the underworld for half the year and the other back at home. The sculpture also portrays the baroque theme of memento mori and the ancient theme of death and resurrection. Many scholars argue that this story parallels Christian themes of death and mortality; it could also communicate the tragedy of lust. Here, we see a connection between Christianity and mythology which could further illuminate why we continue to see mythological artworks during the time of the Catholic Reformation. Greek and Roman stories can be used to communicate Christian messages as shown by this work by Bernini. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived Strunck, Christina. "The poisoned present. A new reading of Gianlorenzo Bernini's Rape of Proserpina." (2014): 185-201. Bacchi, Andrea, and Anna Coliva. Bernini. Milano: Officina Libraria srl, 2017. 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. 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. Publisher An entity responsible for making the resource available Wikemedia Contributor An entity responsible for making contributions to the resource 1621-1622 Format The file format, physical medium, or dimensions of the resource 225 cm Type The nature or genre of the resource Marble 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 Borghese Gallery and Museum