9 10 149 https://www.baroque.dahvc.org/fall-2021/files/original/Illusion_and_the_Baroque_Ceiling_Fresco/Apotheosis_of_Saint_Dominic/The_Apotheosis_of_St._Dominic.jpg 4750c2ff7525fff6960334d8258b5dbf 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 Illusion and the Baroque Ceiling Fresco Description An account of the resource A collection of Italian Baroque ceiling frescoes demonstrating emerging techniques for painted illusion, such as di sotto in sù and quadratura. Creator An entity primarily responsible for making the resource Various artists Source A related resource from which the described resource is derived Enggass, Robert. “Bernini, Gaulli, and the Frescoes of the Gesù.” The Art Bulletin 39, no. 4 (1957): 303–5. https://doi.org/10.2307/3047734. "Illusionism." Grove Art Online. 2003; Accessed 13 Oct. 2021. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000039956. Lavergnee, Arnauld Brejon de. "The great illusionists." UNESCO Courier, September 1987, 30+. Gale OneFile: CPI.Q (accessed October 12, 2021). https://link.gale.com/apps/doc/A6133957/CPI?u=duke_perkins&sid=summon&xid=e32d1bb3. Wheeler, Katherine. “Fictive and Real Architecture: A Preliminary Drawing for Andrea Pozzo’s Vault Fresco at Sant’Ignazio, Rome.” Thresholds, no. 28 (2005): 100–153. http://www.jstor.org/stable/43876210. Publisher An entity responsible for making the resource available Various publishers Date A point or period of time associated with an event in the lifecycle of the resource Baroque period (1600-1750) Contributor An entity responsible for making contributions to the resource Eliza Henne Format The file format, physical medium, or dimensions of the resource Fresco/Stucco Type The nature or genre of the resource Ceiling frescoes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Various locations Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Apotheosis of Saint Dominic Description An account of the resource Ceiling fresco by Domenico Maria Canuti in the Chiesa Santi Domenico e Sisto Creator An entity primarily responsible for making the resource Domenico Maria Canuti Source A related resource from which the described resource is derived Livioandronico2013. File:The Apotheosis of St. Dominic.jpg, June 6, 2015. https://it.wikipedia.org/wiki/File:The_Apotheosis_of_St._Dominic.jpg#globalusage. Publisher An entity responsible for making the resource available Livioandronico2013. File:The Apotheosis of St. Dominic.jpg, June 6, 2015. https://it.wikipedia.org/wiki/File:The_Apotheosis_of_St._Dominic.jpg#globalusage. Date A point or period of time associated with an event in the lifecycle of the resource 1674 Contributor An entity responsible for making contributions to the resource Eliza Henne Rights Information about rights held in and over the resource This file is licensed under the terms of the Creative Commons Attribution-Share Alike 4.0 International license You are free: to share - to copy, distribute and transmit this work to modify - to adapt the work Under the following conditions: attribution - You must provide the appropriate credits, a link to the license, and indicate if any changes have been made. You may do so in any reasonable way, but not in any way that suggests that the licensor approves you or your use. share alike - If you remix, transform or develop the material, you must distribute your contributions under the same or compatible license as the original. Format The file format, physical medium, or dimensions of the resource Fresco Type The nature or genre of the resource Ceiling fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Chiesa Santi Domenico e Sisto, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Illusion_and_the_Baroque_Ceiling_Fresco/Allegory_of_the_Power_of_Eloquence/Tiepolo_-_Allegory_of_the_Power_of_Eloquence_Circa_1725.jpg ac4684f77363ef7d37294dd4b277abb5 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 Illusion and the Baroque Ceiling Fresco Description An account of the resource A collection of Italian Baroque ceiling frescoes demonstrating emerging techniques for painted illusion, such as di sotto in sù and quadratura. Creator An entity primarily responsible for making the resource Various artists Source A related resource from which the described resource is derived Enggass, Robert. “Bernini, Gaulli, and the Frescoes of the Gesù.” The Art Bulletin 39, no. 4 (1957): 303–5. https://doi.org/10.2307/3047734. "Illusionism." Grove Art Online. 2003; Accessed 13 Oct. 2021. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000039956. Lavergnee, Arnauld Brejon de. "The great illusionists." UNESCO Courier, September 1987, 30+. Gale OneFile: CPI.Q (accessed October 12, 2021). https://link.gale.com/apps/doc/A6133957/CPI?u=duke_perkins&sid=summon&xid=e32d1bb3. Wheeler, Katherine. “Fictive and Real Architecture: A Preliminary Drawing for Andrea Pozzo’s Vault Fresco at Sant’Ignazio, Rome.” Thresholds, no. 28 (2005): 100–153. http://www.jstor.org/stable/43876210. Publisher An entity responsible for making the resource available Various publishers Date A point or period of time associated with an event in the lifecycle of the resource Baroque period (1600-1750) Contributor An entity responsible for making contributions to the resource Eliza Henne Format The file format, physical medium, or dimensions of the resource Fresco/Stucco Type The nature or genre of the resource Ceiling frescoes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Various locations Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Allegory of the Power of Eloquence Description An account of the resource Ceiling painting by Giovanni Battista Tiepolo, originally in the Palazzo Sandi Creator An entity primarily responsible for making the resource Giovanni Battista Tiepolo Source A related resource from which the described resource is derived Wikimedia Commons contributors, "File:Tiepolo - Allegory of the Power of Eloquence, Circa 1725.jpg," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Tiepolo_-_Allegory_of_the_Power_of_Eloquence,_Circa_1725.jpg&oldid=518071154 (accessed November 9, 2021). Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Tiepolo - Allegory of the Power of Eloquence, Circa 1725.jpg," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Tiepolo_-_Allegory_of_the_Power_of_Eloquence,_Circa_1725.jpg&oldid=518071154 (accessed November 9, 2021). Date A point or period of time associated with an event in the lifecycle of the resource c. 1725 Contributor An entity responsible for making contributions to the resource Eliza Henne Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer. This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1926. Format The file format, physical medium, or dimensions of the resource Oil on canvas Type The nature or genre of the resource Ceiling 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 Courtald Institute of Art, London, UK https://www.baroque.dahvc.org/fall-2021/files/original/Illusion_and_the_Baroque_Ceiling_Fresco/Paradise_Singing_the_Praises_of_Jesus/Gaulli_Paradise.jpg d9556e31701974bc4089f90ec4a3b14c 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 Illusion and the Baroque Ceiling Fresco Description An account of the resource A collection of Italian Baroque ceiling frescoes demonstrating emerging techniques for painted illusion, such as di sotto in sù and quadratura. Creator An entity primarily responsible for making the resource Various artists Source A related resource from which the described resource is derived Enggass, Robert. “Bernini, Gaulli, and the Frescoes of the Gesù.” The Art Bulletin 39, no. 4 (1957): 303–5. https://doi.org/10.2307/3047734. "Illusionism." Grove Art Online. 2003; Accessed 13 Oct. 2021. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000039956. Lavergnee, Arnauld Brejon de. "The great illusionists." UNESCO Courier, September 1987, 30+. Gale OneFile: CPI.Q (accessed October 12, 2021). https://link.gale.com/apps/doc/A6133957/CPI?u=duke_perkins&sid=summon&xid=e32d1bb3. Wheeler, Katherine. “Fictive and Real Architecture: A Preliminary Drawing for Andrea Pozzo’s Vault Fresco at Sant’Ignazio, Rome.” Thresholds, no. 28 (2005): 100–153. http://www.jstor.org/stable/43876210. Publisher An entity responsible for making the resource available Various publishers Date A point or period of time associated with an event in the lifecycle of the resource Baroque period (1600-1750) Contributor An entity responsible for making contributions to the resource Eliza Henne Format The file format, physical medium, or dimensions of the resource Fresco/Stucco Type The nature or genre of the resource Ceiling frescoes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Various locations Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Paradise Singing the Praises of Jesus Description An account of the resource Ceiling fresco by Giovanni Battista Gaulli in the Chiesa del Gesù Creator An entity primarily responsible for making the resource Giovanni Battista Gaulli Source A related resource from which the described resource is derived Giovanni Battista Gaulli. 1676-79. Paradise Singing the Praises of Jesus. painting. https://library.artstor.org/asset/SCALA_ARCHIVES_1039613409. Publisher An entity responsible for making the resource available Giovanni Battista Gaulli. 1676-79. Paradise Singing the Praises of Jesus. painting. https://library.artstor.org/asset/SCALA_ARCHIVES_1039613409. Date A point or period of time associated with an event in the lifecycle of the resource 1676-79 Contributor An entity responsible for making contributions to the resource Eliza Henne Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Format The file format, physical medium, or dimensions of the resource Fresco Type The nature or genre of the resource Ceiling fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Chiesa del Gesù, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Illusion_and_the_Baroque_Ceiling_Fresco/Fresco_in_the_Sala_di_Apollo/Cortona_Sala_di_Apollo.jpg 7e767c24de878cbd2e725d1040f9de6f 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 Illusion and the Baroque Ceiling Fresco Description An account of the resource A collection of Italian Baroque ceiling frescoes demonstrating emerging techniques for painted illusion, such as di sotto in sù and quadratura. Creator An entity primarily responsible for making the resource Various artists Source A related resource from which the described resource is derived Enggass, Robert. “Bernini, Gaulli, and the Frescoes of the Gesù.” The Art Bulletin 39, no. 4 (1957): 303–5. https://doi.org/10.2307/3047734. "Illusionism." Grove Art Online. 2003; Accessed 13 Oct. 2021. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000039956. Lavergnee, Arnauld Brejon de. "The great illusionists." UNESCO Courier, September 1987, 30+. Gale OneFile: CPI.Q (accessed October 12, 2021). https://link.gale.com/apps/doc/A6133957/CPI?u=duke_perkins&sid=summon&xid=e32d1bb3. Wheeler, Katherine. “Fictive and Real Architecture: A Preliminary Drawing for Andrea Pozzo’s Vault Fresco at Sant’Ignazio, Rome.” Thresholds, no. 28 (2005): 100–153. http://www.jstor.org/stable/43876210. Publisher An entity responsible for making the resource available Various publishers Date A point or period of time associated with an event in the lifecycle of the resource Baroque period (1600-1750) Contributor An entity responsible for making contributions to the resource Eliza Henne Format The file format, physical medium, or dimensions of the resource Fresco/Stucco Type The nature or genre of the resource Ceiling frescoes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Various locations Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fresco in the Sala di Apollo Description An account of the resource Ceiling fresco by Pietro da Cortona in the Sala di Apollo within the Palazzo Pitti Creator An entity primarily responsible for making the resource Pietro da Cortona Source A related resource from which the described resource is derived Pietro, da Cortona, 1596-1669. 1647. Pitti: Sala di Apollo: det.: ceiling. Place: Palazzo Pitti. https://library.artstor.org/asset/ARTSTOR_103_41822000615359. Publisher An entity responsible for making the resource available Pietro, da Cortona, 1596-1669. 1647. Pitti: Sala di Apollo: det.: ceiling. Place: Palazzo Pitti. https://library.artstor.org/asset/ARTSTOR_103_41822000615359. Date A point or period of time associated with an event in the lifecycle of the resource 1647 Contributor An entity responsible for making contributions to the resource Eliza Henne Rights Information about rights held in and over the resource The Service Platform and Content. The Service platforms and any trademarks, issued patents, and patent applications, copyrights and copyright registrations and applications, rights in ideas, designs, works of authorship, derivative works, and all other intellectual property rights (collectively, “Intellectual Property”) relating to the Service platforms are proprietary to ITHAKA and all Intellectual Property related to the Content provided by ITHAKA’s participating libraries, universities, publishers, scholarly societies, and other Content contributors are proprietary to them, subject to the rights of third parties. Format The file format, physical medium, or dimensions of the resource Fresco Type The nature or genre of the resource Ceiling fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Pitti, Florence, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Illusion_and_the_Baroque_Ceiling_Fresco/Trinity_in_Glory/Cortona_Trinity_in_Glory.jpg 36332a6f1f857314dce70da06034fc5a 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 Illusion and the Baroque Ceiling Fresco Description An account of the resource A collection of Italian Baroque ceiling frescoes demonstrating emerging techniques for painted illusion, such as di sotto in sù and quadratura. Creator An entity primarily responsible for making the resource Various artists Source A related resource from which the described resource is derived Enggass, Robert. “Bernini, Gaulli, and the Frescoes of the Gesù.” The Art Bulletin 39, no. 4 (1957): 303–5. https://doi.org/10.2307/3047734. "Illusionism." Grove Art Online. 2003; Accessed 13 Oct. 2021. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000039956. Lavergnee, Arnauld Brejon de. "The great illusionists." UNESCO Courier, September 1987, 30+. Gale OneFile: CPI.Q (accessed October 12, 2021). https://link.gale.com/apps/doc/A6133957/CPI?u=duke_perkins&sid=summon&xid=e32d1bb3. Wheeler, Katherine. “Fictive and Real Architecture: A Preliminary Drawing for Andrea Pozzo’s Vault Fresco at Sant’Ignazio, Rome.” Thresholds, no. 28 (2005): 100–153. http://www.jstor.org/stable/43876210. Publisher An entity responsible for making the resource available Various publishers Date A point or period of time associated with an event in the lifecycle of the resource Baroque period (1600-1750) Contributor An entity responsible for making contributions to the resource Eliza Henne Format The file format, physical medium, or dimensions of the resource Fresco/Stucco Type The nature or genre of the resource Ceiling frescoes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Various locations Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Trinity in Glory Description An account of the resource Ceiling fresco by Pietro da Cortona in Chiesa Nuova Creator An entity primarily responsible for making the resource Pietro da Cortona Source A related resource from which the described resource is derived Pietro da Cortona. October 1647-1651. Trinity in Glory. fresco. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614307. Publisher An entity responsible for making the resource available Pietro da Cortona. October 1647-1651. Trinity in Glory. fresco. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614307. Date A point or period of time associated with an event in the lifecycle of the resource October 1647-51 Contributor An entity responsible for making contributions to the resource Eliza Henne Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Format The file format, physical medium, or dimensions of the resource Fresco Type The nature or genre of the resource Ceiling fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Dome of Santa Maria in Vallicella (Chiesa Nuova), Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Illusion_and_the_Baroque_Ceiling_Fresco/Glory_of_St._Ignatius_Loyola_and_the_Missionary_Work_of_the_Jesuit_Order/Pozzo_St_Ignatius_Loyola.jpg 8d537e729af1ba972cee3dbd9dc90ff1 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 Illusion and the Baroque Ceiling Fresco Description An account of the resource A collection of Italian Baroque ceiling frescoes demonstrating emerging techniques for painted illusion, such as di sotto in sù and quadratura. Creator An entity primarily responsible for making the resource Various artists Source A related resource from which the described resource is derived Enggass, Robert. “Bernini, Gaulli, and the Frescoes of the Gesù.” The Art Bulletin 39, no. 4 (1957): 303–5. https://doi.org/10.2307/3047734. "Illusionism." Grove Art Online. 2003; Accessed 13 Oct. 2021. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000039956. Lavergnee, Arnauld Brejon de. "The great illusionists." UNESCO Courier, September 1987, 30+. Gale OneFile: CPI.Q (accessed October 12, 2021). https://link.gale.com/apps/doc/A6133957/CPI?u=duke_perkins&sid=summon&xid=e32d1bb3. Wheeler, Katherine. “Fictive and Real Architecture: A Preliminary Drawing for Andrea Pozzo’s Vault Fresco at Sant’Ignazio, Rome.” Thresholds, no. 28 (2005): 100–153. http://www.jstor.org/stable/43876210. Publisher An entity responsible for making the resource available Various publishers Date A point or period of time associated with an event in the lifecycle of the resource Baroque period (1600-1750) Contributor An entity responsible for making contributions to the resource Eliza Henne Format The file format, physical medium, or dimensions of the resource Fresco/Stucco Type The nature or genre of the resource Ceiling frescoes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Various locations Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Glory of St. Ignatius Loyola and the Missionary Work of the Jesuit Order Description An account of the resource Ceiling fresco by Andrea Pozzo in the church of Sant' Ignazio Creator An entity primarily responsible for making the resource Andrea Pozzo (1642-1709) Source A related resource from which the described resource is derived Pozzo, Andrea, Italian, 1642-1709, (painter). 1688-1694. Interior, nave vault, fresco: Glory of St. Ignatius Loyola and the Missionary Work of the Jesuit Order, Larger Entity: S. Ignazio, Paintings. Church. Place: Current: Rome, Italy. https://library.artstor.org/asset/APINTOIG_10313945391. Publisher An entity responsible for making the resource available Pozzo, Andrea, Italian, 1642-1709, (painter). 1688-1694. Interior, nave vault, fresco: Glory of St. Ignatius Loyola and the Missionary Work of the Jesuit Order, Larger Entity: S. Ignazio, Paintings. Church. Place: Current: Rome, Italy. https://library.artstor.org/asset/APINTOIG_10313945391. Date A point or period of time associated with an event in the lifecycle of the resource 1688-94 Contributor An entity responsible for making contributions to the resource Eliza Henne Format The file format, physical medium, or dimensions of the resource Stucco/fresco Type The nature or genre of the resource Ceiling fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Sant’ Ignazio, Rome, Italy Rights Information about rights held in and over the resource For uses of Licensor's Images beyond those permitted by Artstor, please contact: Visual Resources Collection, Princeton University, Dept. of Art and Archaeology, 207 McCormick Hall, Princeton, NJ 08544-1018; Tel No: (609) 258-3776; Email: visres@princeton.edu Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. https://www.baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/The_riches_of_the_sea_with_Neptune_tritons_and_two_nereids/Riches_of_the_Sea.png 4c62c11ca1571dead7fe9d1af40656a2 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 234.5 x 296.0 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 The riches of the sea with Neptune, tritons and two nereids Creator An entity primarily responsible for making the resource Luca Giordano and Giuseppe Recco Source A related resource from which the described resource is derived <div class="fancybox-padded"> <div class="fancybox-caption"> Works Cited <ol> <li> Forgione, Gianluca. “Giuseppe Recco.” Essay. In Dizionario Biografico Degli Italiani 86, 86:690–93. Roma: Istituto della Enciclopedia Italiana, 2016. </li> <li> “Giuseppe Recco - A Cat Stealing Fish.” Metmuseum.org. The Metropolitan Museum of Art. Accessed October 13, 2021. <a href="https://www.metmuseum.org/art/collection/search/437376">https://www.metmuseum.org/art/collection/search/437376</a>. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> Damian Véronique. “Giovan Battista Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 34–35. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Giordano, Luca, and Giuseppe Recco. “The Riches of the Sea with Neptune, Tritons and Two Nereids.” AGSA. Art Gallery of South Australia, January 1, 1684. <a href="https://www.agsa.sa.gov.au/collection-publications/collection/works/the-riches-of-the-sea-with-neptune-tritons-and-two-nereids/27349/">https://www.agsa.sa.gov.au/collection-publications/collection/works/the-riches-of-the-sea-with-neptune-tritons-and-two-nereids/27349/</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> </ol> </div> </div> Publisher An entity responsible for making the resource available <div class="fancybox-padded"> <div class="fancybox-caption"> Luca Giordano, Italy, 1634 - 1705, Giuseppe Recco, Italy, 1634 - 1695, The riches of the sea with Neptune, tritons and two nereids, 1684, Naples, oil on canvas, 234.5 x 296.0 cm; Mary Overton Gift Fund 1997, Art Gallery of South Australia, Adelaide. </div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 1684 Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource Mary Overton Gift Fund 1997, Art Gallery of South Australia, Adelaide. Format The file format, physical medium, or dimensions of the resource 234.5 x 296.0 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 Art Gallery of South Australia, Adelaide, Australia. Painting Description An account of the resource The Artist Giuseppe Recco was born into an intergenerational family workshop of still-life painters in 1634 in Naples [1]. Much of what is known about Giuseppe comes from Bernardo De Dominici’s Vite dei pittori, scultori ed architetti napoletani, which was published between 1742 and 1745 [2]. De Dominici knew Giuseppe personally, and he was known to occasionally exaggerate or distort Giuseppe’s achievements. Giuseppe’s father, Giacomo Recco (1603-1654), is considered one of the founders of still-life painting in Naples starting in the 1630s [3]. Within the Recco family workshop, it is likely that Giuseppe would have also worked with his assumed uncle, Giovan Battista Recco [4]. Claudia Salvi argues that Giuseppe’s uncle Giovan Battista likely influenced his paintings of food and dead animals, which are similar in styles to Giovan Battista’s own compositions [5]. It is in the Recco workshop, where Paolo Porpora also trained, where Giuseppe honed his painting skills and developed his painting style that has earned him much renown [6]. Giuseppe’s paintings demonstrate his mastery of a broad range of painting subjects, including flowers, marine fauna, vegetables, fruit, and kitchen items. Giuseppe Recco’s paintings varied in size and price range. Furthermore, Giuseppe’s work exemplifies Neapolitan still-life painting with his use of objects placed against a dark background or dark interior. The contrast between the sharp lighting on the objects and the dark background add to the dramatic and decadent characteristic of Neapolitan still-life paintings. Giuseppe’s biographer, Bernardo De Dominici, argued that Giuseppe had gained high social prestige amongst aristocrats and bourgeois members of Naples. As stated by De Dominici, Giuseppe’s still-life paintings became highly sought after, as he had powerful patrons including the Marchese de los Vélez, viceroy of Naples from 1675 to 1682, and the Marchese del Carpio, viceroy of Naples from 1683 to 1687 [7]. De Dominici also claimed that Giuseppe had also become knighted and invited to paint for Charles II in Spain in 1695. However, Giuseppe died in 1695 shortly after the challenging journey to Alicante. De Dominici made bold claims of Giuseppe’s reputation, which some scholars dispute due to the lack of documentation to confirm his claims [8]. The riches of the sea with Neptune, tritons and two nereids The riches of the sea with Neptune, tritons and two nereids was a collaborative painting between Giuseppe Recco and Luca Giordano [9]. This painting displays the monumental work and massive scale that Giuseppe worked on later in his career. Furthermore, this painting is an example of the instances where Giuseppe would collaborate with history painters. Prior to creating this work, Giuseppe had collaborated on a 185 by 237 centimeter painting with Giordano depicting various fish among a figure of a fisherman [10]. In the late 1660s, Giuseppe became known for larger and more highly valued compositions [11]. This earlier work was commissioned by the Marchese di Noja in 1669, as evidenced by a payment of a total of 100 ducats for the painting [12]. Christopher Marshall argues that the high price of this monumental still life painting with large scale figures demonstrates the higher financial valuation of still life paintings in Naples. Marshall cites Mario dei Fiori, a leading still life painter in seventeenth century Rome, as a comparison for Giuseppe’s work. Documentation shows that Mario dei Fiori was paid 20 scudi for contributions to a painting directly comparable with Giuseppe’s commission by the Marchese di Noja, which Giuseppe was paid five times more for in Neapolitan ducats [13]. This comparison demonstrates the higher regard by which still life paintings were held in Naples. This high financial valuation of still life work can also be viewed in Giuseppe and Giordano’s The riches of the sea with Neptune, tritons and two nereids. This large scale oil on canvas painting measures 234.5 by 296.0 centimeters. The undated painting is signed with the monogram “l.r.” in the corner corner and initialed “R” in green paint [14]. The painting would have been created before 1684, as it was created for an exhibition of paintings held in Naples on May 25, 1684 [15]. This exhibition of contemporary paintings by Neapolitan artists was coordinated by Giordano to accompany celebrations of the 1684 Festa dei Quattro Altari. With the inclusion of fourteen large scale paintings that combined history painting and still life painting from various Neapolitan artists, the exhibition became massively successful. In fact, this painting served as a sort of advertisement for the bountiful resources of Naples and the painting skills of Giuseppe. Inventories show that this painting was probably a diplomatic gift sent by Marques del Carpio, the Neapolitan viceroy from 1683 to 1687, to the Spanish Royal Court [16]. Within ten years of the painting’s arrival in Madrid, in 1694, Giuseppe was invited to serve as a painter to the Spanish King Charles II [17]. This painting and its historical context demonstrate the positive reception and high economic valuation that Giuseppe’s works garnered both in Naples and internationally. https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Giovanni_Garzoni_Proposal_Exhibit_Map/ExhibitMapExample.png 2c2d8c5273221ff64d46584e0ac01823 https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Giovanni_Garzoni_Proposal_Exhibit_Map/Exhibit_Map.png a2b18bbb7e8c425105b2d5f9243b1016 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 Digital mock-up of exhibit proposal 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 Giovanni Garzoni Proposal Exhibit Map Description An account of the resource This is an example of what the map for the publicly-facing Giovanni Garzoni proposal would look like. The interactive map could be displayed on a large scale in a museum. We propose an online or in-person interactive map exhibit displaying the various geographic locations that inspired Giovanna Garzoni’s artwork. Locations relevant to Garzoni’s work would have a pinpoint indicated on the map, which would provide viewers with a broader understanding of the sources of Garzoni’s inspiration and travels. The map would allow visitors to click on a specific location and see Garzoni’s artworks relating to the area selected. For example, Garzoni painted a portrait miniature of Zaga Christ, an Ethiopian traveller, that Christ is suspected to have commissioned as a gift to the French court [1]. This portrait would be a clickable popup linked to Ethiopia on the map. Furthermore, this proposal would build on previous scholarship mapping Garzoni’s travels, namely “<a href="https://hcvis.dukedh.org/garzoni/">The Global Imagination of Giovanna Garzoni</a>,” which has been developed by Dana Hogan in partnership with the <a href="https://dahvc.org/">Wired! Lab for Digital Art History and Visual Culture</a> at Duke University. The above example is just one of many anecdotes of the global influence on Garzoni’s art. The interactive map would be created using software like MapBox for a more customizable interface that could be imported to any platform. To maximize accessibility, the map would be posted to a mobile-friendly website, and publicized through social media. The map would also be an interactive touchscreen exhibit occupying the space of a digital wall in a museum or educational space. Creating an interactive map accessible through many formats allows viewers to visualize the global influence on Garzoni’s work through an engaging exploration. Creator An entity primarily responsible for making the resource Kayla Marr Date A point or period of time associated with an event in the lifecycle of the resource 2021 Contributor An entity responsible for making contributions to the resource Kayla Marr Source A related resource from which the described resource is derived [1] Wpengine. “Giovanna Garzoni's 17th-Century Miniature Portrait of Zaga Christ.” Art Herstory. Art Herstory, September 25, 2021. <a href="https://artherstory.net/giovanna-garzonis-portrait-of-zaga-christ-%E1%B9%A3agga-kr%C7%9Dstos/" target="_blank" rel="noreferrer noopener">https://artherstory.net/giovanna-garzonis-portrait-of-zaga-christ-%E1%B9%A3agga-kr%C7%9Dstos/</a>. Hogan, Dana. “The Travels of Giovanna Garzoni:” The Global Imagination of Giovanna Garzoni. Wired! Lab for Digital Art History and Visual Culture at Duke University. Accessed 2021. <a href="https://hcvis.dukedh.org/garzoni/">https://hcvis.dukedh.org/garzoni/</a>. exhibit garzoni interactive map online proposal https://www.baroque.dahvc.org/fall-2021/files/original/Visitation/visitationBarocci.jpg 774ec08a72c18d22a6322d2cf35d19a3 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 Visitation Creator An entity primarily responsible for making the resource Federico Barocci Source A related resource from which the described resource is derived Verstegen, Ian. "Federico Barocci, Federico Borromeo, and the Oratorian Orbit *." Renaissance Quarterly 56, no. 1 (2003): 56+. Gale Academic OneFile (accessed October 14, 2021). https://link.gale.com/apps/doc/A99012000/AONE?u=duke_perkins&sid=summon&xid=c209cbd4 Publisher An entity responsible for making the resource available Patron: Francesco Pizzomiglio Federico Barocci. Visitation. Images, n.d. https://jstor.org/stable/community.16003627. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1584-1586 Contributor An entity responsible for making contributions to the resource Kyle Campbell 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 280 cm x 180 cm oil on canvas 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 Cappella Pozzomiglio, Santa Maria in Vallicella, Rome, Italy Description An account of the resource This is first of four altarpieces Barocci delivered for the Oratorians to decorate Chiesa Nuova. It adorned the Chapel of the Visitation and the commission was issued in 1582. This work was reported to evoke a significant response of devotion in Saint Neri. https://www.baroque.dahvc.org/fall-2021/files/original/S._Maria_in_Vallicella_[Chiesa_Nuova]/chiesaNuovaFacade-2.jpg 48aed93086f50eb277c9e62e0bfbbf81 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 S. Maria in Vallicella (Chiesa Nuova) Creator An entity primarily responsible for making the resource Longhi, Martino, the Elder, Italian, c.1534-c.1593, Rughesi, Fausto, Borromini, Francesco Source A related resource from which the described resource is derived Longhi, Martino, the Elder, Italian, c.1534-c.1593, (architect), Rughesi, Fausto, (architect), and Borromini, Francesco, (associated architect). S. Maria in Vallicella (Chiesa Nuova). Images, n.d. https://jstor.org/stable/community.15664661. Publisher An entity responsible for making the resource available Publication: Pinto digital images (8/01), Data and image from John A. Pinto Collection, Princeton University, Department of Art and Archaeology Date A point or period of time associated with an event in the lifecycle of the resource Begun 1575 Contributor An entity responsible for making contributions to the resource Kyle Campbell Rights Information about rights held in and over the resource For uses of Licensor's Images beyond those permitted by Artstor, please contact: Visual Resources Collection, Princeton University, Dept. of Art and Archaeology, 207 McCormick Hall, Princeton, NJ 08544-1018; Tel No: (609) 258-3776; Email: visres@princeton.edu Format The file format, physical medium, or dimensions of the resource Facade - Architecture Type The nature or genre of the resource Church 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