1 10 149 https://www.baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Comparison_of_David_s_pose/Baroque_Art_Final_Presentations.jpg 7539337f4576361f21dae2bec7a4ddea 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 Gian Lorenzo Bernini - "Unity of the Visual Arts" Contributor An entity responsible for making contributions to the resource Meena Gudapati Description An account of the resource As a renowned sculptor, architect, and painter, Bernini fused all three media in several of his works. Art historian Irving Lavin published the book "Bernini and the Unity of Visual Arts" exploring in depth Bernini's synthesis of the media. Through my project, I will explore works of Bernini's to validate Lavin's widely known thesis. In addition to looking at works that more explicitly combine sculpture, architecture, and painting, I will look at individual works that show how Bernini looked beyond any norms and constraints of a medium. For example, through an analysis of his busts, we see how Bernini captured motion in a way that was previously restricted to paintings. Through this analysis of Bernini's more implicit methods of fusing media, I will endorse the term of Bernini's "Unity of Visual Arts". 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 Comparison of David's pose Description An account of the resource See collection entries for Bernini's David, Michelangelo's David, and Rubens' David and Goliath for information on each image. Creator An entity primarily responsible for making the resource Bernini, Rubens, Michelangelo Contributor An entity responsible for making contributions to the resource Meena Gudapati https://www.baroque.dahvc.org/fall-2021/files/original/Facade_of_Oratory_of_St._Philip_Neri/oratoryFacade.jpg 6bd22983ed04381f57c8217b63610846 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 Facade of Oratory of St. Philip Neri Description An account of the resource Living and gathering building for Congregation of the Oratorians Creator An entity primarily responsible for making the resource Francesco Borromini Source A related resource from which the described resource is derived "Oratory and Convent of the Oratorians." Jubilee Cultural Routes. 2021. http://www.leviedelgiubileo.it/?p=3900 Publisher An entity responsible for making the resource available Cardinal Pierdonato Cesi Date A point or period of time associated with an event in the lifecycle of the resource 1637-42 Contributor An entity responsible for making contributions to the resource Kyle Campbell Type The nature or genre of the resource facade, brick, travertine, wood Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Neapolitan_Still_Life_Artists_Chart/Chart.png 935803cfbe30f7d262ed07e6cbaf940a 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 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 Neapolitan Still Life Artists Chart Description An account of the resource A chart displaying the network of notable still life painters in Naples during this time period. The artists included in the chart were responsible for the establishment of a uniquely Neapolitan still life style of painting. Furthermore, the artists included in the chart are described in greater detail throughout this site. Navigate to each artists' page using the side bar. This chart demonstrates the influence of other artists on each other's works. This project describes the relationships that these artists had with each other and the broader social and economic system of Naples. Thus, this project looks at both the biographical background of artists and the commercial aspect of art and the economy of art that the artists were involved. Creator An entity primarily responsible for making the resource Kayla Marr Source A related resource from which the described resource is derived 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 https://www.baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Still_life_with_fish_and_kitchen_utensils/Elena.jpeg 16b42348c602595839b531034d29a7f4 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 95.5 x 132 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 Still life with fish and kitchen utensils Creator An entity primarily responsible for making the resource Elena Recco Contributor An entity responsible for making contributions to the resource Kayla Marr Source A related resource from which the described resource is derived Works Cited <ol> <li> Middione, Roberto. “Recco Family.” Oxford Art Online, 2003. <a href="https://doi.org/10.1093/gao/9781884446054.article.t071027">https://doi.org/10.1093/gao/9781884446054.article.t071027</a>. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> 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> 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> 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> “MNAC - Museu Nacional D'Art De Catalunya.” Still life with fish and kitchen utensils | Museu Nacional d'Art de Catalunya. Museu Nacional d'Art de Catalunya. <a href="https://www.museunacional.cat/en/colleccio/still-life-fish-and-kitchen-utensils/elena-recco/005685-000">https://www.museunacional.cat/en/colleccio/still-life-fish-and-kitchen-utensils/elena-recco/005685-000</a>. </li> </ol> Description An account of the resource <div class="exhibit-block layout-text"> <h2>The Artist</h2> Elena Recco was one of two daughters to <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giuseppe-recco" target="_blank" rel="noreferrer noopener">Giuseppe Recco</a>, and the year of her birth is unknown [1]. Elena’s sister Nicola Maria Recco was also a still life painter, with even less known about Nicola than Elena. Elena worked as a still life painter in the Recco family workshop under the training of her father Giuseppe. There is very little information about Elena’s life, but she is most well known for her still life paintings of marine life, similar to her father Giuseppe [2]. As stated by Raffaello Causa, there are only two works that are known for certain to be Elena’s, both of which are paintings that depict fish. Scholars state that a lightness of brushwork and a shining whiteness are characteristics that are often present in Elena’s paintings [3]. Similar to her father Giuseppe, Elena was invited to work as a painter for the Spanish court of King Charles II in Madrid starting from 1695 [4]. While in Madrid, Elena worked for the countess of Santo Stefano, who was the wife of the viceroy [5]. </div> <div class="exhibit-block layout-text"> <h2>Still life with fish and kitchen utensils</h2> Still life with fish and kitchen utensils is an oil on canvas painting created by Elena Recco between 1695 and 1705 [6]. The painting measures 95.5 by 132 centimeters and shows Elena’s skilled ability to render marine life. The foreground of the painting is filled up by an arrangement of marine animals including various fishes, lobster, crustacean, a stingray, and even two birds. Elena skillfully illustrates various surfaces, textures, and volumes of the creatures in the painting, with bright white highlights shining off the scales of the fish and the slick skin of the stingray. Arranged atop a stone slab, the animals are spread out amongst kitchen utensils including a copper pot. The setting of the painting appears to be a rocky coast along a seashore, with a forested shoreline in the background of the painting. Overall, the painting utilizes a muted color palette in combination with dim lighting of the general scene. </div> Publisher An entity responsible for making the resource available “MNAC - Museu Nacional D'Art De Catalunya.” Still life with fish and kitchen utensils | Museu Nacional d'Art de Catalunya. Museu Nacional d'Art de Catalunya. <a href="https://www.museunacional.cat/en/colleccio/still-life-fish-and-kitchen-utensils/elena-recco/005685-000">https://www.museunacional.cat/en/colleccio/still-life-fish-and-kitchen-utensils/elena-recco/005685-000</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1695-1705 Rights Information about rights held in and over the resource Museu Nacional D'Art De Catalunya. Purchased, 1904. Inventory number: 005685-000. Format The file format, physical medium, or dimensions of the resource 95.5 x 132 cm Type The nature or genre of the resource oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museu Nacional D'Art De Catalunya, Catalunya, Barcelona, Spain. https://www.baroque.dahvc.org/fall-2021/files/original/The_Seven_Archangels_in_Adoration_of_the_Trinity/zucarroArchangels.png c953a15a1251d07b98f36c1c5a815bfc 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 Seven Archangels in Adoration of the Trinity Description An account of the resource Altarpiece of the Chapel of the Angels of the Gesu. Creator An entity primarily responsible for making the resource Federico Zuccaro Publisher An entity responsible for making the resource available Marciari, John. "Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art." Journal of Jesuit Studies 6 (2019): 196-212. Date A point or period of time associated with an event in the lifecycle of the resource 1600 Contributor An entity responsible for making contributions to the resource Kyle Campbell Type The nature or genre of the resource oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gesu, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/369/Porpora.jpeg 8c2a3e64d6f2271394822e5e8ed8d687 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 121.9 x 172.7 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 Hares, a tortoise, a crocodile, frogs, quails, a hedgehog, butterflies, dragonflies and parakeets by a pool, with flowers, strawberries and a river in the distance Creator An entity primarily responsible for making the resource Paolo Porpora Source A related resource from which the described resource is derived Works Cited <ol> <li> "Porpora, Paolo." Benezit Dictionary of Artists. 31 Oct. 2011; <a href="https://www-oxfordartonline-com.proxy.lib.duke.edu/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00144686">https://www-oxfordartonline-com.proxy.lib.duke.edu/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00144686</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> Damian Véronique. “Paolo Porpora.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 46-47. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique, and Nicola Spinosa. “‘Natura in Posa’ in Seventeenth-Century Naples: Progress and Setbacks in Research.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 8–13. Paris, France: Galerie Canesso, 2007. </li> <li> "Porpora, Paolo." Benezit Dictionary of Artists. 31 Oct. 2011; <a href="https://www-oxfordartonline-com.proxy.lib.duke.edu/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00144686">https://www-oxfordartonline-com.proxy.lib.duke.edu/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00144686</a>. </li> <li> Damian Véronique. “Paolo Porpora.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 46-47. Paris, France: Galerie Canesso, 2007. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> “Hares, a Tortoise, a Crocodile, Frogs, Quails, a Hedgehog, Butterflies, Dragonflies and Parakeets by a Pool, with Flowers, Strawberries and a River in the Distance.” Paolo Porpora (Naples 1617-1670/80 Rome or Naples). Christie's. <a href="https://www.christies.com/en/lot/lot-5721193">https://www.christies.com/en/lot/lot-5721193</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> Description An account of the resource <div class="exhibit-block layout-text"> <h2>The Artist</h2> Paolo Porpora was born in Naples in 1617 and spent the first ten to twenty years of his career in Naples, before moving to Rome [1]. Porpora became a pupil in <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giacomo-recco" target="_blank" rel="noreferrer noopener">Giacomo Recco</a>’s bottega (workshop) in 1632 at age 15, as evidenced by a 1632 contract between Recco and Angela Cantalena, mother of Porpora [2]. During his time in Naples, Porpora also trained <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giovan-battista-ruoppolo" target="_blank" rel="noreferrer noopener">Giovan Battista Ruoppolo</a>, another renowned Neapolitan still life painter [3]. Similar to his teacher Giacomo Recco, modern scholarship is still working to piece together Porpora’s oeuvre. As suggested by Nicola Spinosa, some of the early marine life compositions attributed to Porpora could perhaps be Recco’s, as little is known about both artists [4]. Starting from 1656, Porpora was in Rome as a member of the Accademia di San Luca [5]. In Rome, Porpora gained esteem as an artist, as evidenced by documentation stating that he had been admitted to the Virtuosi del Pantheon in 1666 [6]. Porpora’s admission into both prestigious institutions serves as evidence for the regard that Porpora’s work was held. While in Rome, Porpora likely came into contact with artists from Northern Europe, including Netherland artists Mathias Withoos and Otto Marseus van Schrieck, who were residing in Rome between 1652 and 1656 [7]. The influence of these Dutch artists is reflected in Porpora’s paintings of baroque flower bouquets, for which he is most well known. Porpora is known mostly as a painter of flowers, although he has created paintings depicting a range of subjects including marine fauna and game. In addition to bouquets, Porpora was also known for his dramatic paintings of sottoboschi (forest floors) including wildlife and flora. </div> <div class="exhibit-block layout-text"> <h2>Hares, a tortoise, a crocodile, frogs, quails, a hedgehog, butterflies, dragonflies and parakeets by a pool, with flowers, strawberries and a river in the distance</h2> Hares, a tortoise, a crocodile, frogs, quails, a hedgehog, butterflies, dragonflies and parakeets by a pool, with flowers, strawberries and a river in the distance is an oil on canvas painting created by Paolo Porpora and measuring 121.9 by 172.7 centimeters. This painting, in particular, is a copy of the work Porpora made in 1692 for Cardinal Flavio Chigi [8]. Porpora’s work serves as a helpful comparison for understanding the valuation of still life paintings in both Naples and Rome. Porpora’s work can be closely compared to the Neapolitan context since he was trained in the Recco workshop, and the valuation of his work can be seen directly in the Chigi commission of 1692. In the 1692 commission for Chigi, Porpora was paid 40 ducats for a 112 by 156 centimeter composition of crocodiles and a hare [9]. Porpora’s commissions in Rome prove valuable for further understanding the high economic valuation that still life painting had in Naples over Rome. </div> Publisher An entity responsible for making the resource available “Hares, a Tortoise, a Crocodile, Frogs, Quails, a Hedgehog, Butterflies, Dragonflies and Parakeets by a Pool, with Flowers, Strawberries and a River in the Distance.” Paolo Porpora (Naples 1617-1670/80 Rome or Naples). Christie's. <a href="https://www.christies.com/en/lot/lot-5721193">https://www.christies.com/en/lot/lot-5721193</a>. Date A point or period of time associated with an event in the lifecycle of the resource unknown Contributor An entity responsible for making contributions to the resource Paolo Porpora Rights Information about rights held in and over the resource Private collection. Format The file format, physical medium, or dimensions of the resource 121.9 x 172.7 cm Type The nature or genre of the resource oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Private collection. https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Hercules_Guided_by_Virtue/Annibale_Carracci_Ercole_guidato_dalla_Virtu_Palazzo_Sampieri_Bologna.png 858e22284de2ace5a62c8bc5dead8471 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hercules Guided by Virtue Creator An entity primarily responsible for making the resource Annibale Carracci Source A related resource from which the described resource is derived Cordellier, Dominique. “Guido Reni’s ‘Separation of Day and Night.’” The Burlington Magazine 129, no. 1007 (1987): 81–82. http://www.jstor.org/stable/882779. Eugenio Riccomini, L'Ercole trionfante. I tre Carracci a Casa Sampieri, Bologna, 2006. Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Annibale Carracci Ercole guidato dalla Virtù, Palazzo Sampieri Bologna.png," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Annibale_Carracci_Ercole_guidato_dalla_Virt%C3%B9,_Palazzo_Sampieri_Bologna.png&oldid=573951464 (accessed December 10, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1593-94 Contributor An entity responsible for making contributions to the resource Jenny Chen Type The nature or genre of the resource Fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Sampieri, Bologna Description An account of the resource The Palazzo Sampieri frescoes are a set of paintings by Annibale, Agostino and Ludovico Carracci in the Palazzo Sampieri in Bologna. They form the last surviving collection of works by the three artists. Hercules Guided by Virtue is the ceiling fresco of the Palazzo Sampieri. The scheme was commissioned by Astorre Sampieri, young abbot of Santa Lucia di Roffeno, member of a powerful family which had been promoted to senatorial rank in 1590.He had arrived back in the city shortly before commissioning the work from the three artists, already noted for their Life of Aeneas and Lives of Jason and Medea frescoes at the Palazzo Fava and their Scenes from the Foundation of Rome frescoes at the Palazzo Magnani,both in Bologna. Those schemes were all friezes, but at the Palazzo Sampieri they planned three large ceiling scenes and three large scenes over fireplaces in each room.The reasons for this choice are unknown - Astore Sampieri may have wanted something different from the norm or the low rooms may simply not have lent themselves to friezes. None of the three artists had previous experience of the "sottinsù" (upside-down) technique the scheme would require, but Annibale and Agostino had frequently seen and admired examples of it in palazzi and churches in Venice by artists such as Veronese and Tintoretto, artists personally known to Agostino. https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/St._Michael_Vanquishing_Satan/707px-Le_Grand_Saint_Michel_by_Raffaello_Sanzio_from_C2RMF_retouched.jpeg c1a2b18a8ec461277bdeab8eac728942 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. Michael Vanquishing Satan Creator An entity primarily responsible for making the resource Raphael Source A related resource from which the described resource is derived Anderson-Riedel, Susanne. “A French Raphael: Alexandre Tardieu’s Engraving after Raphael’s St. Michael Vanquishing Satan (1806).” Art in Print 6, no. 1 (2016): 27–30. https://www.jstor.org/stable/26408644. Vasari, Giorgio, and Jill Burke. The Life of Raphael. The J. Paul Getty Museum, 2018. Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Le Grand Saint Michel, by Raffaello Sanzio, from C2RMF retouched.jpg," Wikimedia Commons, the free media repository, https://en.wikipedia.org/wiki/File:Le_Grand_Saint_Michel,_by_Raffaello_Sanzio,_from_C2RMF_retouched.jpg (accessed December 9, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1518 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 268 cm × 160 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Louvre, Paris, France Description An account of the resource St. Michael Vanquishing Satan is created by the Italian High Renaissance artist Raphael. The painting was commissioned by Pope Leo X. In the painting, the archangel Michael standing on top of Satan's back with his right foot, while holding a spear in his hands. It is a large-scale and mature version of a subject he had earlier treated in the youthful miniature called St. Michael. Both works have been located in the Louvre in Paris since 1667. This painting has symbolic meaning within the Christian religion as it symbolizes God triumphing over evil. Raphael had a gift for creating images that evoked divinity in a subtle way and was known being skillful at creating space within his compositions as well as movement captured at a stand still. In the painting, Michael stands on top of the devil with one leg while holding up his spear to deliver a strike to his head. His wings are depicted open while the devil's are closed signifying defeat. The ideal figures that he would create were done so not to overpower the image, but with grace and reservation. Author George B. Rose claims that, "Even though color wasn’t his expertise, Raphael always used it appropriately. His use of lines were masterful and had a decorative quality to them. Raphael had great skill in portraying space through his compositions and it wasn’t always tied to having a distant background. Regardless of the sense of space created, Raphael had an ability to juxtapose the vastness of nature with man’s dominion over it. Man is always dominant, and the land is subservient to man's will." Here man is portrayed as the master through the image of Michael and Satan is the subservient creature. https://www.baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Still_Life_with_Grapes_and_Other_Fruit/Forte.png 8ae284e6c516b73c9370932c6187c21b 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 copper Physical Dimensions The actual physical size of the original image 31.4 × 25.9 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 Still Life with Grapes and Other Fruit Creator An entity primarily responsible for making the resource Luca Forte Type The nature or genre of the resource painting; oil on copper Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Getty Center, Los Angeles, California, Museum South Pavilion, Gallery S201 Source A related resource from which the described resource is derived Works Cited <ol> <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> 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> “Still Life with Grapes and Other Fruit (Getty Museum).” The J. Paul Getty in Los Angeles. Getty Museum, January 1, 1970. <a href="https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46">https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46</a>. </li> <li> “Still Life with Grapes and Other Fruit (Getty Museum).” The J. Paul Getty in Los Angeles. Getty Museum, January 1, 1970. <a href="https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46">https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46</a>.</li> </ol> Image “Still Life with Grapes and Other Fruit (Getty Museum).” The J. Paul Getty in Los Angeles. Getty Museum, January 1, 1970. <a href="https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46">https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1630s Contributor An entity responsible for making contributions to the resource Kayla Marr Description An account of the resource <h2>The Artist</h2> Luca Forte was born between 1600 and 1605 in Naples [1]. There is little biographical information on Luca Forte, but he is still considered to be one of the founders of still life painting in Naples. Much of the information and timeline of Forte’s activity has been pieced together through analysis of his rarely dated works and the evolution of his painting style in these works. Furthermore, study of correspondences with patrons and patron inventories also provide details into Forte’s career. Forte’s paintings tended to be on the smaller scale, ranging from 50 to 75 centimetres in width [2]. These more modest sized paintings were accompanied by a more modest price range in Naples, as stated by Christopher Marshall who cites lower priced works by <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giacomo-recco" target="_blank" rel="noreferrer noopener">Giacomo Recco</a> who was Forte’s contemporary. However, Forte also worked on many larger scale works that earned him large payments and prestige. In particular, Forte’s detailed correspondence with Don Antonio Ruffo of Messina in 1649, shows conversation between Forte and Ruffo about Forte’s pricing of his work. Ruffo commissioned a still life painting from Forte, paying Forte an initial down payment of 50 ducats. Two weeks after receiving the down payment, Forte responded to Ruffo’s inquiries about the final price of the piece by stating that the composition would cost around 200 ducats [3]. Christopher Marshall argues that this series of exchanges suggests that Forte may have regularly received commissions of a similar price and prestige, however the available documentary evidence limits scholars’ ability to confirm. <h2>Still Life with Grapes and Other Fruit</h2> Still Life with Grapes and Other Fruit is an oil on copper painting created by Luca Forte in the 1630s [4]. The painting measures 31.4 by 25.9 centimeters and is signed “Luca Forte” in the lower left portion of the painting on the brick of the painted wall. The painting illustrates a bounty of various fruits, including grapes, apples, pears, and pomegranates in the foreground. A landscape of rolling hills is pictured in the background. This decision to use a landscape as the background follows in the lead of Caravaggio’s style, rather than the Neapolitan style of using dark background [5]. Characteristic of Forte’s work, he also included fine details including the bird flying above the grapes, a grasshopper perched on a grape vine, and water drops of moisture on both the fruits and the vase holding the grape plant. Forte’s careful brush strokes deftly depict the form, shadows, light, and solidity of the fruits depicted in the painting. Publisher An entity responsible for making the resource available “Still Life with Grapes and Other Fruit (Getty Museum).” The J. Paul Getty in Los Angeles. Getty Museum, January 1, 1970. <a href="https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46">https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46</a>. Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource 31.4 × 25.9 cm https://www.baroque.dahvc.org/fall-2021/files/original/Rome_Casa_dei_Filippini_Overall_Design_in_Three_Phases/borrominiOratoryPlan.jpg 33933e3d6c3acaecbf045d2b9a396991 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rome, Casa dei Filippini, Overall Design in Three Phases Subject The topic of the resource Oratory of St. Philip Architectural drawing Creator An entity primarily responsible for making the resource Francesco Borromini Source A related resource from which the described resource is derived Borromini, Francesco, "Rome, Casa dei Filippini, Overall Design in Three Phases". Vienna: Albertina, 1636-1644. https://sammlungenonline.albertina.at/?query=search=/record/objectnumbersearch=[AZRom285]&showtype=record Publisher An entity responsible for making the resource available Congregation of the Oratory Date A point or period of time associated with an event in the lifecycle of the resource 1636-1644 Contributor An entity responsible for making contributions to the resource Kyle Campbell Format The file format, physical medium, or dimensions of the resource 46.9x50.7 cm Type The nature or genre of the resource pencil drawing on paper Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Albertina, Vienna, Austria