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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Piante Varie Description An account of the resource This is a collection of drawings of various plants all done by Garzoni (1650). Known for her still-life pieces, Garzoni hones in on the individual plant, examining shape and form of real plant anatomy. This book contains 50 different plants that Garzoni drew. Each plant is drawn with scientific accuracy and is similar to that of a scientific observation journal, where scientists go into the field and examine species. By working for families of power such as the Medici, Garzoni is able to flex her attention to detail by drawing and painting exotic plants that many others would not have access to. Each piece is accompanied by its species, so that they may be identified at later viewing. Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived Garzoni, Giovanna. “Giovanna Garzoni.” Harvard Mirador Viewer. Accessed October 12, 2021. https://iiif.lib.harvard.edu/manifests/view/drs:45882947$16i. Lambert, Craig. “Centuries of Flowers.” Harvard Magazine, August 30, 2016. https://www.harvardmagazine.com/2013/11/centuries-of-flowers. Rare Book Digitization Project. “[Piante Varie].” Dumbarton Oaks, August 19, 2020. https://www.doaks.org/resources/rare-books/piante-varie. Date A point or period of time associated with an event in the lifecycle of the resource 1650 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Paper Book Type The nature or genre of the resource Drawings in book Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Dumbarton Oaks Research Library, Harvard University, Washington D.C., United States https://www.baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/A_Cat_Stealing_Fish/A_Cat_Stealing_Fish.jpeg c4c7c0cda68303d88dce6a8eabdbf147 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting; oil on canvas Physical Dimensions The actual physical size of the original image 96.5 x 128.3 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Cat Stealing Fish Creator An entity primarily responsible for making the resource Giuseppe Recco Source A related resource from which the described resource is derived Works Cited <ol> <li> Forgione, Gianluca. “Giuseppe Recco.” Essay. In Dizionario Biografico Degli Italiani 86, 86:690–93. Roma: Istituto della Enciclopedia Italiana, 2016. </li> <li> “Giuseppe Recco - A Cat Stealing Fish.” Metmuseum.org. The Metropolitan Museum of Art. Accessed October 13, 2021. <a href="https://www.metmuseum.org/art/collection/search/437376">https://www.metmuseum.org/art/collection/search/437376</a>. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> Damian Véronique. “Giovan Battista Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 34–35. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> </ol> Publisher An entity responsible for making the resource available The Metropolitan Museum of Art Artist: Giuseppe Recco (Italian, Neapolitan, 1634-1695). A Cat Stealing Fish. Images, n.d. <a href="https://jstor.org/stable/community.18615314" target="_blank" rel="noreferrer noopener">https://jstor.org/stable/community.18615314</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1667-1669 Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource The Metropolitan Museum of Art Purchase, 1871 71.17 Format The file format, physical medium, or dimensions of the resource 96.5 x 128.3 cm Type The nature or genre of the resource Painting; oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028 Description An account of the resource <h2>A Cat Stealing Fish </h2> A Cat Stealing Fish was painted by Giuseppe Recco between 1667 and 1669. This painting displays Giuseppe’s immense talent at rendering dimly lit spaces and reflections of surfaces and textures within the space. This work is an oil painting on a canvas measuring 96.5 by 128.3 centimeters. The painting depicts a cat caught in the middle of taking an octopus tentacle away in its mouth. The cat is crouching on a crate surrounded by various fish and hammered copper wares that appear to have been pushed to the ground by the cat. The scene appears to be in a dark alleyway or interior room, with sharp lighting focusing on the cat. The lighting in the painting shows off Recco’s ability to realistically render a number of surfaces, including the iridescent scales of the fish and the metallic surfaces of the hammered copper illuminated in the dark scene. A Cat Stealing Fish demonstrates Recco’s skillful painting technique representative of Neapolitan still-life painting during the Baroque period. Furthermore, Recco painted the seaweed in the lower left corner of the painting into the shape of his initials (G R). <h2>A Cat Stealing Fish </h2> A Cat Stealing Fish was painted by Giuseppe Recco between 1667 and 1669. This painting displays Giuseppe’s immense talent at rendering dimly lit spaces and reflections of surfaces and textures within the space. This work is an oil painting on a canvas measuring 96.5 by 128.3 centimeters. The painting depicts a cat caught in the middle of taking an octopus tentacle away in its mouth. The cat is crouching on a crate surrounded by various fish and hammered copper wares that appear to have been pushed to the ground by the cat. The scene appears to be in a dark alleyway or interior room, with sharp lighting focusing on the cat. The lighting in the painting shows off Recco’s ability to realistically render a number of surfaces, including the iridescent scales of the fish and the metallic surfaces of the hammered copper illuminated in the dark scene. A Cat Stealing Fish demonstrates Recco’s skillful painting technique representative of Neapolitan still-life painting during the Baroque period. Furthermore, Recco painted the seaweed in the lower left corner of the painting into the shape of his initials (G R). giuseppe recco neapolitan oil on canvas painting still life 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/September_22/A_Plan_for_the_Conduct_of_Female_Education_in_Boarding_Schools/A_Plan_for_Womens_Edu.jpeg 28732ff6dd65014df00e49d144f6383b 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 September 22 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 Plan for the Conduct of Female Education in Boarding Schools Description An account of the resource "English physician and natural philosopher Erasmus Darwin wrote this work at the urging of his two daughters, born from his relationship with Mary Parker and out of wedlock. They had sought his counsel on establishing a boarding school in 1794. Darwin argued that young women should be educated in schools, rather than at home, and he advocated for them to study the sciences, learn to handle money, and take vigorous exercise, among other advices. His approach, directed at middle-class women, amplified the contemporary view that men and women should have separate and complementary spheres." https://exhibits.library.duke.edu/exhibits/show/baskin/item/4069 Creator An entity primarily responsible for making the resource Erasmus Darwin Source A related resource from which the described resource is derived Darwin, Erasmus, A Plan for the Conduct of Female Education in Boarding Schools, Derby: Printed by J. Drewry, for J. Johnson, 1797, Lisa Unger Baskin Collection, Rubenstein Rare Book & Manuscript Library, Duke University. Accessed September 21, 2021, https://exhibits.library.duke.edu/exhibits/show/baskin/item/4069 Publisher An entity responsible for making the resource available "Derby: Printed by J. Drewry, for J. Johnson, 1797" https://exhibits.library.duke.edu/exhibits/show/baskin/item/4069 Date A point or period of time associated with an event in the lifecycle of the resource 1797 Contributor An entity responsible for making contributions to the resource Jacob Carnes Rights Information about rights held in and over the resource https://exhibits.library.duke.edu/exhibits/show/baskin/item/4069 Format The file format, physical medium, or dimensions of the resource ~19 cm x 24.5 cm x .7 Language A language of the resource English Type The nature or genre of the resource Printed 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 Lisa Unger Baskin Collection, Duke University, Durham, NC, USA https://www.baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Addition_to_Apostolic_Palace/Image_12-1-21_at_4.55_PM.jpg c67af84dc7c6110774a10acde949b717 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 Pope Sixtus V Description An account of the resource This collection explores the extent to which Pope Sixtus V (born Felice Peretti Montalto) transformed Rome into a Baroque city. In the middle of the sixteenth century, Rome was still very much an ancient city with poor infrastructure. As the sixteenth century came to a close, Rome has undergone immense transformation, with the rebuilding and construction of churches, palaces, roads, aqueducts, and more. Although he was not the only pope involved in this transformation, Pope Sixtus V stands out as a key figure. Sixtus V was nothing short of a visionary, whose body of work highlights his innovative urban planning as head of the Catholic Church (1585-1590). In order to truly evaluate Sixtus V's impact, this exhibit pays note to context. Late sixteenth-century Rome's most powerful figure was its governing pope. Since each pope came from his own family and had unique interests and backgrounds, the changes made during a particular papacy heavily reflect the desires of that particular pope. Thus, this exhibit examines Sixtus V's predecessors and successors. Popes before him such as Sixtus IV, Julius III, Paul IV, Pius IV, Pius V, and Gregory XIII did not concentrate their efforts on urban design to the extent that Sixtus V did. Although they were focused on important issues such as wars, reformation, enforcing decrees from the Council of Trent, and the education of the clergy, their impact on Rome is not highlighted as much through urban structures and design. Popes after him such as Urban VII (1623-1644) seem to be inspired by Sixtus V, putting more emphasis on art patronage. Sixtus V still impacts Rome today through the lasting impact of his urban planning. This exhibition showcases Sixtus V's design of the city and analyzes his different mediums for reshaping Rome. This exhibit explores Sixtus V's remodeling of the streets, his building of the fountain Fontana Felice, the Lateran Palace, the Dome of Saint Peter's, the Vatican Library, his financing of the Pontine Marshes, and his moving of obelisks into key piazzas and streets. Creator An entity primarily responsible for making the resource Pope Sixtus V 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 Cameron DeChurch Source A related resource from which the described resource is derived Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. Publisher An entity responsible for making the resource available Pope Sixtus V 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 Addition to Apostolic Palace Description An account of the resource While exploring the Apostolic, or Vatican Palace, it is important to note that it was not actually inhabited by the popes until Pope Innocent III built a papal residence near St. Peter’s in the late twelfth century [1]. The Popes re-established their residency at the Vatican in the fourteenth and fifteenth century following the Great Schism [1]. As the popes came back to reside in the Vatican, their fascinating influence in the city of Rome continued. These popes were the most primary governors of Rome, and all came from different backgrounds with varying interests [2]. The Apostolic Palace was built by a collection of popes, ranging from Sixtus IV (his papacy was 1471-1484) to Gregory XIII (his papacy was 1572-1585) and Sixtus V himself (his papacy was 1585-1590). In fact, many of these popes who constructed the Vatican, or Apostolic Palace also played a role in the lengthy construction process of St. Peter's. Their different opinions and viewpoints are reflected in their unique wings that combine to form the Vatican Palace that we know today. The collections of the Vatican Palace most notably began when Pope Julius II moved the statue of Apollo Belvedere to the Vatican in 1503 [3]. Following the establishments of Sixtus IV’s Sistine Chapel and Gregory XIII’s new wing added to the left of the obelisk, Pope Sixtus V wanted to construct an addition to the Apostolic Palace during his papacy (1585-1590). Sixtus V had Domenico Fontana build a new wing in 1589 to the east of Gregory XIII’s. This wing had a rather simple geometric design, being a large square building and creating the third side of the Cortile di San Damaso courtyard. Sixtus V’s square wing sits nicely alongside Gregory XIII’s and Bramante’s facade. This wing is particularly significant because it has remained the location of the papal residence and the pope’s Sunday blessings to this day [1]. Creator An entity primarily responsible for making the resource Pope Sixtus V and Domenico Fontana Source A related resource from which the described resource is derived [1] Boorsch, Suzanne. “The Building of the Vatican: The Papacy and Architecture.” The Metropolitan Museum of Art Bulletin 40, no. 3 (1982): 4–64. https://doi.org/10.2307/3258914. [2] Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. [3] Claridge, Amanda. Rome: An Oxford Archaeological Guide. Oxford: Oxford Univ. Press, 2010. Publisher An entity responsible for making the resource available Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 1589 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Format The file format, physical medium, or dimensions of the resource The Apostolic Palace covers 162,000 square meters. Type The nature or genre of the resource Building Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Apostolic Palace, Vatican City https://www.baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Addition_to_Vatican_Library/library.jpeg d90480b5b6cd24a3bc11ed0a98cf9929 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 Pope Sixtus V Description An account of the resource This collection explores the extent to which Pope Sixtus V (born Felice Peretti Montalto) transformed Rome into a Baroque city. In the middle of the sixteenth century, Rome was still very much an ancient city with poor infrastructure. As the sixteenth century came to a close, Rome has undergone immense transformation, with the rebuilding and construction of churches, palaces, roads, aqueducts, and more. Although he was not the only pope involved in this transformation, Pope Sixtus V stands out as a key figure. Sixtus V was nothing short of a visionary, whose body of work highlights his innovative urban planning as head of the Catholic Church (1585-1590). In order to truly evaluate Sixtus V's impact, this exhibit pays note to context. Late sixteenth-century Rome's most powerful figure was its governing pope. Since each pope came from his own family and had unique interests and backgrounds, the changes made during a particular papacy heavily reflect the desires of that particular pope. Thus, this exhibit examines Sixtus V's predecessors and successors. Popes before him such as Sixtus IV, Julius III, Paul IV, Pius IV, Pius V, and Gregory XIII did not concentrate their efforts on urban design to the extent that Sixtus V did. Although they were focused on important issues such as wars, reformation, enforcing decrees from the Council of Trent, and the education of the clergy, their impact on Rome is not highlighted as much through urban structures and design. Popes after him such as Urban VII (1623-1644) seem to be inspired by Sixtus V, putting more emphasis on art patronage. Sixtus V still impacts Rome today through the lasting impact of his urban planning. This exhibition showcases Sixtus V's design of the city and analyzes his different mediums for reshaping Rome. This exhibit explores Sixtus V's remodeling of the streets, his building of the fountain Fontana Felice, the Lateran Palace, the Dome of Saint Peter's, the Vatican Library, his financing of the Pontine Marshes, and his moving of obelisks into key piazzas and streets. Creator An entity primarily responsible for making the resource Pope Sixtus V 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 Cameron DeChurch Source A related resource from which the described resource is derived Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. Publisher An entity responsible for making the resource available Pope Sixtus V 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 Addition to Vatican Library Description An account of the resource A critical component to Sixtus V’s legacy is his construction of a new Vatican Library [1]. The Vatican libraries date to the 15th century, and grew in significance as the Popes moved from the Lateran Palace to the Vatican. In 1588, Pope Sixtus V sponsored the construction of a new wing across the Cortile del Belvedere [2]. He collaborated with his notable architect Domenico Fontana, who designed the building [3]. His construction of the Vatican Library both adds a new component to his impact through the facilitating of learning and education resources, and also reveals an interesting interpersonal connection with the papacy before him, notably Pope Julius. The specific location of this library was not ideal from a space standpoint. It was cluttered between the large steps and courts, and the south facade felt more cluttered and repetitive as compared to the designs and preferences of Bramante, who constructed the corridors of the Belvedere [3]. Yet, instead of building the library in the spacious west courtyard, Sixtus V chose this location. He did this because even more important the style of the library was the repudiation of what the Cortile del Belvedere had come to symbolize. Julius had a theatre, pleasure gardens, and an overall return to classical ideals, which Sixtus V saw as "pagan" and "inappropriate". Thus, Sixtus V constructed this library to erase Julius's Atrio del Piacere [3]. Sixtus V’s Vatican Library was very impactful both by establishing a new wing to the Vatican’s library construction, and also because the three levels of the Cortile del Belvedere adopted individual identities and purposes as a result. In fact, the court never held another performance like the ones with masses of spectators in the courtyard under Julius [3]. The Vatican Library is especially insightful into Sixtus V’s plans for Rome because not only do they reflect his impressive initiative with construction, but they highlight his desire for a reform in the way religious sites were constructed, specifically with regards to abstinence from “pagan” customs. Creator An entity primarily responsible for making the resource Domenico Fontana Source A related resource from which the described resource is derived [1] Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. [2] MACDONALD, ANGUS S. “THE DISASTER IN THE VATICAN LIBRARY.” Scientific American 146, no. 4 (1932): 226–27. http://www.jstor.org/stable/24965901. [3] Boorsch, Suzanne. “The Building of the Vatican: The Papacy and Architecture.” The Metropolitan Museum of Art Bulletin 40, no. 3 (1982): 4–64. https://doi.org/10.2307/3258914. Publisher An entity responsible for making the resource available Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 1588 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Format The file format, physical medium, or dimensions of the resource The Apostolic Palace covers 162,000 square meters. Type The nature or genre of the resource Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Apostolic Palace, Vatican City https://www.baroque.dahvc.org/fall-2021/files/original/Aeneas_Anchises_and_Ascanius/Aeneas_Anchises_and_Ascanius_by_Bernini.jpg eb71bff29ac6f7a4e0e9d915d37fefc2 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 Aeneas, Anchises, and Ascanius Description An account of the resource The Aeneas, Anchises, and Ascanius sculpture was the first large modern sculpture to be exhibited at Borghese villa. The sculpture depicts a classic visual from the stories of the Trojan War. It shows Aeneas, the founder of Rome, leading his family from the burning city of Troy. Aeneas carries his father Anchises on his back and his young son Ascanius follows them from behind. The story is drawn most notably from Virgil’s “Aeneid.” Creator An entity primarily responsible for making the resource Sofia Silvosa Source A related resource from which the described resource is derived Mangone, Carolina. "Like Father, Like Son: Bernini's Filial Imitation of Michelangelo." art history 37, no. 4 (2014): 666-687. Wittkower, Rudolf. Gian Lorenzo Bernini: The Sculptor of the Roman Baroque. London: The Phaidon Press, 1966 Bernini, Author: Gian Lorenzo. “Aeneas, Anchises, and Ascanius by Bernini in Borghese Gallery.” Galerie Borghèse. Borghese Gallery, August 2, 2019. Publisher An entity responsible for making the resource available Bernini, Author: Gian Lorenzo. “Aeneas, Anchises, and Ascanius by Bernini in Borghese Gallery.” Galerie Borghèse. Borghese Gallery, August 2, 2019. Date A point or period of time associated with an event in the lifecycle of the resource 1618-1619 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 220 cm (87 in) Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Borghese Gallery and Museum, 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/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/Antonio_Moro_s_Self_Portrait/Anthonis_Mor_Self_Portrait_1558.jpg 7fbf0df62e8d55c6c41276f3c1a70c87 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 Antonio Moro's Self Portrait Subject The topic of the resource Comparison piece to Gentileschi's Self-Portrait Description An account of the resource In the 1500s, there was a rise of artworks that represented this theme of the allegory of art or "pittura." It's crucial to understand that before the sixteenth century painting was not considered a liberal art and was not considered an intellectual pursuit. Thus, in the Rennaisance period, we see a movement to push for the art of painting to be considered a liberal art and to be considered a valuable, sophisticated endeavor. Thus many artists began to create paintings that glorified the art of painting; it was a form of propagandizing the status of art and at the same time glorified the artist themselves. Many artists did this through self-portraits which functioned to glorify their status as artists and showed them in the act of painting. An example of this is Antonio Moro's "Self-Portrait" from 1558. In this work, the artist is shown standing before his easel. He holds his paint brushed and easel with one hand and gazes at us. He stands before a blank canvas and wears sophisticated, fine clothes. Creator An entity primarily responsible for making the resource Antonio Moro Source A related resource from which the described resource is derived Garrard, Mary D. “Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting.” The Art Bulletin 62, no. 1 (1980): 97–112. https://doi.org/10.2307/3049963. Mary D. Garrad’s piece “Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting.” analyzes the historical significance behind Gentileschi’s painting “Self Portrait as the Allegory of Painting.'' Gerrad argues that with this piece, Gentileschi was able to accomplish an art feat that no male artist could ever achieve. In the Renaissance, the allegory of painting was depicted as a female figure who represented the tradition of painting. Here, in this piece, paints herself as the allegory of painting, arguing that she symbolizes the art of painting itself. Many men tried to do this with their own self-portraits but because of their gender, they could never directly represent themselves as the allegory of painting like Gentileschi. She argues this point by comparing different male self-portraits from artists like Titian and Antonio Mario to Gentlischi’s self-portraits, explaining the greater success of Gentileschi's portrait. Fredericksen, Burton B. “A New Portrait by Anthonis Mor.” The J. Paul Getty Museum Journal 6/7 (1978): 13–22. http://www.jstor.org/stable/4166384. Woodall, Joanna. Anthonis Mor: art and authority. Brill, 2016. Publisher An entity responsible for making the resource available Wikimedia Commons Date A point or period of time associated with an event in the lifecycle of the resource 1558 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource Height (113 cm); Width (84 cm) Type The nature or genre of the resource Oil 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 Uffizi Gallery