15
Portfolios%3D%221245%22%20and%20Disp_Obj_Type%3D%22Painting%22
Painting
Portrait of an Italian Nobleman
Anthony van Dyck, (Antwerp, Belgium, 1599 - 1641, London)
Dyck, Anthony van
Flanders
1599 - 1641
Male
40 x 32 1/2 in. (101.6 x 82.6 cm)
.
.
.
Oil
Oil
1622-1625
1622
1625
1600-1800, 17th century, armor, George Eastman Collection, men, paintings, portraits
Painting
The Flemish artist, Anthony van Dyck, painted this portrait of an Italian nobleman while he was working in Genoa between 1622 and 1625. Supremely talented and precocious, van Dyck enjoyed considerable success in Italy, Flanders, and eventually England, where he was the favorite painter of King Charles I. He painted notable religious and mythological canvases, but remains most famous for his extraordinarily vivid portraits. The name of this sitter, with his graceful pose and penetrating glance, is unknown. He was certainly a wealthy Genoese patrician, however. To convey this to future viewers of his portrait, he donned his richest apparel for the occasion, including a finely crafted suit of armor and his most expensive wide lace collar and cuffs.
[Gallery label text]
1968.100
item
Memorial Art Gallery
1/22/2001
68.100SL1
slide
full
2 x 2
00/00/00
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full
4 x 5
00/00/00
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full
2.5 x 2.5
00/00/00
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glossy
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2.5 x 2.5
00/00/00
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negative
full
8 x 10
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glossy
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5 x 7
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glossy
full
8 x 10
00/00/00
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68.100DI1
digital image
12/1/2001
http://127.0.0.1:5000/Media/images/68.100_A4.jpg
68.100SL2
slide
full- w frame
2 x 2
00/00/00
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68.100SL3
slide
detail-hand
2 x 2
00/00/00
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68.100DI1
digital image
00/00/00
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M2.68.100.tif
digital image
00/00/00
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M3.68.100.tif
digital image
00/00/00
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68.100TR1
transparency
full
4 x 5
00/00/00
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68.100DI5
digital image
Detail
6/16/2009
http://127.0.0.1:5000/Media/images/68.100_A5.jpg
Painting
The Trinity
Corrado Giaquinto, 1703 - 1766
Giaquinto, Corrado
Italy
1703 - 1766
Male
30 x 30 in. (76.2 x 76.2 cm)
.
.
.
diameter
Oil
Oil
ca. 1743
1738
1748
European art
Painting
“The Holy Trinity,” the concept that there are three Persons in the unity of God, is the central doctrine of the Christian religion. Although these three Persons—the Father, the Son and the Holy Spirit—are distinct from each other, the Christian faith holds that there are not three gods but one. In Christian art, three elements represent the Trinity. The image of an older patriarch refers to God the Father; God the Son, or Christ, is usually shown either crucified on a cross or, as in this painting, after his death; and the Holy Spirit appears as a dove in flight.
During the Counter-Reformation, images of the Trinity emphasized the physical nature of Christ by focusing on his suffering and death. Like other dramatic works of Counter-Reformation art, the intent was to evoke an emotional response from the faithful that would lead to increased devotion.
This painting is one of several variations of Giaquinto’s Dead Christ with the Trinity (1741-1742), a fresco he painted in the apse of S. Giovanni Calibita in Rome.
1981.2
item
Memorial Art Gallery
1/25/2001
81.2TR1
transparency
8 x 10
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81.2SL1
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2 x 2
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4x5
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81.2DI1
digital image
8 x 10
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81.2SL2
slide
detail of figures
2 x 2
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81.2TR2
transparency
full
4 x 5
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81.2DI
digital image
Front
9/26/2005
http://127.0.0.1:5000/Media/images/81.2_A1.jpg
81.28DI2
digital image
Detail God the Father and dove
00/00/00
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81.2DI3
digital image
Detail Christ and angels
00/00/00
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x-ray
00/00/00
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Painting
The Entombment
Luca Giordano, 1634 - 1705
Giordano, Luca
Italy
1634 - 1705
Male
115 1/4 x 79 1/2 in. (292.7 x 201.9 cm)
.
.
.
Oil
Oil
1650-1653
1650
1653
Painting
Originally an altarpiece, this painting illustrates the New Testament scene of the Entombment of Christ, one of the most emotional and dramatic events in the Christian faith. Joseph of Arimathea, who is holding Jesus and clasping him in a shroud, and Nicodemus, who supports Jesus’ legs, are placing him in a stone sarcophagus. Saint John the Evangelist, cloaked in red, is in the foreground with his back to the viewer. Christ’s mother, the Virgin Mary, dressed in a blue robe, collapses in despair at the left. She is surrounded by Holy Women, including Mary Magdalene who wrings her hands in sorrow. Other grieving figures in the background of the painting engage each other in conversation, enhancing both the devotional and dramatic character of the painting.
Luca Giordano was one of the most celebrated artists in Naples. He produced a huge quantity of work, including altarpieces, mythological paintings and decorative fresco cycles. Giordano was internationally successful and traveled widely, working in Naples, Venice, Florence and Madrid. This altarpiece was painted early in Giordano’s career when he was only in his late teens. It shows the influence of the equally well-known and prolific painter Jusepe de Ribera, with whom he may have trained.
[Gallery label]
2005.34
item
Memorial Art Gallery
6/1/2005
2005.34DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.34_A4.jpg
2005.34DI1
digital image
00/00/00
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2005.34DI2
digital image
detail
00/00/00
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2005.34DI3
digital image
detail
00/00/00
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2005.34TR1
transparency
full
4 x 5
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2005.34DI1
stretcher
digital image
back detail
00/00/00
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2005.34SL1
slide
2 x 2
00/00/00
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Painting
Tobias and the Angel
Jan Glauber, 1646 - 1726
Lairesse, Gerard de
Netherlands
1641 - 1711
Male
co-artist
Glauber, Jan
Netherlands
1646 - 1726
Male
38 3/4 x 52 1/2 in. (98.4 x 133.4 cm)
.
.
.
Oil
Oil
0
0
1600-1800, European art, paintings, Tobias and the Angel
Painting
Although the figures in this idealized pastoral landscape seem almost incidental to the painting, they represent the biblical story of Tobias and the Angel. The angel Raphael tells Tobias that he is destined to marry Sara, even though each of her previous seven husbands had died by the hand of an evil spirit on their wedding night. When Tobias survived the marriage, his new father-in-law was so elated that he gave Tobias half his wealth, including money, servants, farm animals and household possessions. This painting shows the angel Raphael guiding the joyful Tobias with Sara and his newfound riches along a winding road as they journey safely home.
Jan Glauber, one of the most widely traveled of all Dutch painters, specialized in landscapes that were influenced by his visits to France and Italy. This painting was probably intended to decorate a private home.
[Gallery label text]
1970.43
item
Memorial Art Gallery
1/22/2001
70.43TR1
transparency
4.5 x 6
00/00/00
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70.43SL1
slide
full
2 x 2
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glossy
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70.43D1
digital image
full
00/00/00
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70.43D1
digital image
full
2 x 2
6/20/2002
http://127.0.0.1:5000/Media/images/70.43_A1.jpg
Painting
San Giorgio Maggiore, Venice
Francesco Guardi, 1712 - 1793
Guardi, Francesco
Italy
1712 - 1793
Male
17 1/8 x 24 1/2 in. (43.5 x 62.2 cm)
.
.
.
Oil
Oil
0
0
European art
Painting
1982.6
item
Memorial Art Gallery
1/25/2001
82.6TR1
transparency
full
8 x 10
00/00/00
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full
2 x 2
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82.6SL2
slide
full with frame
2 x 2
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82.6DI1
digital image
full
8 x 10
00/00/00
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82.6DI2
digital image
full
8 x 10
00/00/00
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digital image
00/00/00
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82.6TR2
transparency
full
4 x 5
00/00/00
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Painting
The Exorcism of the Waves
Alessandro Magnasco, 1662 - 1749
Magnasco, Alessandro
Italy
1662 - 1749
Male
33 x 51 in. (83.8 x 129.5 cm)
.
.
.
Oil
Oil
after 1735
1736
1745
1600-1800, 18th century, paintings, seascapes, waves
Painting
removed from backing, now in fileremoved from backing, now in fileremoved from backing, now in fileremoved from backing, now in file
1952.2
item
Memorial Art Gallery
1/25/2001
52.2SL1
slide
full
2 x 2
00/00/00
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negative
4x5
00/00/00
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7x10
00/00/00
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52.2SL2
slide
detail-figure
2 x 2
00/00/00
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52.2SL3
slide
detail- tower
2 x 2
00/00/00
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digital image
00/00/00
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52.2TR1
transparency
full
4 x 5
00/00/00
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52.2DI2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/52.2_A2.jpg
52.2DI3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/52.2_A3.jpg
Painting
Dido Contemplating the Portrait of Aeneas
Attributed to Gerard Wigmana, (Workum, Netherlands, 1673 – 1741, Amsterdam)
Wigmana, Gerard
Netherlands
1673 - 1741
Male
Primary
Mieris, Willem van
Netherlands
1662 - 1747
Male
Previous attribution
17 x 12 1/2 in. (43.2 x 31.8 cm)
.
.
.
Oil
Oil
18th century
1700
1799
Dido & Aeneas, European art
Painting
verso of panelinitialed, verso of panel, Written on Henry Graves & Co labelback of frame
1975.117
item
Memorial Art Gallery
1/22/2001
75.117SL1
slide
2 x 2
00/00/00
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negative
4x5
00/00/00
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00/00/00
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75.117DI1
digital image
5/22/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/75.117_I1.jpg
A1.75.117.jpg
digital image
9/20/2005
http://127.0.0.1:5000/Media/images/75.117_A1.jpg
75.117TR1
transparency
full
4 x 5
00/00/00
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75.117_DI3
digital image
9/20/2005
http://127.0.0.1:5000/Media/images/75.117_A3.jpg
Painting
Landscape with Figures
Joos de Momper, (1564 - 1635)
Momper, Joos de
Flanders
1564 - 1635
Male
18 5/8 x 26 7/8 in. (47.3 x 68.3 cm)
.
.
.
Oil
Oil
ca. 1620 (?)
1615
1625
1600-1800, 17th century, castles, landscapes, paintings
Painting
1946.36
item
Memorial Art Gallery
1/22/2001
46.36SL1
slide
full
2 x 2
00/00/00
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neg
8x10
00/00/00
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neg
4x5
00/00/00
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46.36DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/46.36_A1.jpg
46.36SL2
slide
detail - figures
2x2
00/00/00
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46.36DI2
digital image
00/00/00
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46.36DI#3
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/46.36_A3.jpg
46.36DI#2
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/46.36_A2.jpg
x-ray
00/00/00
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Painting
Portrait of a Man Holding the Frontispiece to Dürer's "Small Passion"
Pietro Paolini, 1603 - 1681/1682
Paolini, Pietro
Italy
1603 - 1681-1682
Male
49 3/4 x 40 3/4 in. (126.4 x 103.5 cm)
.
.
.
Oil
Oil
1633-1637
1633
1637
1600-1800, 17th century, men, paintings, portraits
Painting
back of stretcherback of stretcherback of frameback of stretcherback of stretcherback of stretcherback of stretcherback of stretcher
1977.103
item
Memorial Art Gallery
1/22/2001
77.103TR1
transparency
4 x 5
00/00/00
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slide
full
2 x 2
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4 x5
00/00/00
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77.103DI1
digital image
full
4 x 5
6/14/2002
http://127.0.0.1:5000/Media/images/77.103_A1.jpg
77.103DI2
digital image
00/00/00
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77.103DI3
digital image
full
4 x 5
00/00/00
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77.103SL2
slide
detail of hand w Durer
2 x 2
00/00/00
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77.103DI#3
digital image
7/10/2012
http://127.0.0.1:5000/Media/images/77.103_A3.jpg
Painting
Ulysses Landing on the Island of the Phaeacians
Workshop of Peter Paul Rubens, 1577 - 1640
Rubens, Peter Paul
Flanders
1577 - 1640
Male
67 x 99 in. (170.2 x 251.5 cm)
.
.
.
Oil
Oil
after 1625
1626
1635
1600-1800, 17th century, Odysseus, Odyssey, paintings
Painting
The monumental painting “Ulysses Landing on the Island of the Phaeacians” was inspired by a passage in Book 6 of Homer’s “Odyssey” in which the shipwrecked hero swims to safety and finds refuge from the stormy sea on an unknown shore. Arriving at night, he falls asleep between two trees and at dawn is awakened by the playful shouts of the princess Nausicaa and her attendants. Rubens has depicted the moment when Odysseus emerges to ask for food and shelter. The action occurs in the foreground of the canvas; the landscape is rich in terrestrial detail and is filled with a variety of atmospheric effects.
Rubens is often considered the most versatile and influential Baroque artist of 17th century northern Europe. Highly educated, his knowledge of Classical art and literature was thorough and complex. In order to fulfill innumerable private commissions, he collaborated on many works with other artists and students in his studio. Although Rubens provided designs and oversaw production, his personal involvement with individual paintings varied. Replicas were frequently painted by assistants. A smaller version of this painting, attributed to Rubens rather than his studio, is today in the Pitti Palace in Florence, Italy.
[Gallery label text]
1961.27
item
Memorial Art Gallery
2/20/2001
61.27SL1
slide
full
2 x 2
00/00/00
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full
8 x 10
00/00/00
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full
8 x 10
00/00/00
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61.27DI1
digital image
2 x 2
00/00/00
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digital image
00/00/00
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digital image
2 x 2
00/00/00
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digital image
00/00/00
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digital image
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transparency
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Painting
The Triumph of Judith
Francesco Solimena, 1657 - 1747
Solimena, Francesco
Italy
1657 - 1747
Male
38 3/4 x 49 1/4 in. (98.4 x 125.1 cm)
.
.
.
without frame
Oil
Oil
1704-1708
1704
1708
1600-1800, 18th century, Judith, paintings, women
Painting
The subject of Judith cutting off the head of Holofernes was one of the most popular subjects in Christian art of the 1600s and 1700s. The Old Testament story tells how the heroine Judith went to the camp of Holofernes, the Assyrian general who was besieging her town. She dazzled him with her beauty; after pretending to accept his advances, she beheaded him with his own sword while he was in a drunken stupor.
This painting illustrates the moment when Judith displays the trophy of her victory to the citizens she has rescued. In a Christian context, the story of the Jewish heroine represents the triumph of virtue over evil. During the Counter-Reformation, the subject also became a powerful symbol of the Catholic Church’s triumph over heresy, or dissent from its teachings. Here, Solimena shows Judith as confident that she has served the will of God. The dramatic lighting, gestures and facial expressions of the figures are intended to appeal to the emotions and inspire the faith that motivated Judith.
back of canvas, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial file, written on torn piece of tape. Probably the Intermuseum Laboratory's internal number.back of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial fileback of stretcher, visible in conservation photo in curatorial file
1977.109
item
Memorial Art Gallery
1/22/2001
77.109TR2
transparency
conserved
4 x 5
00/00/00
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77.109TR1
transparency
pre-conservation
4 x 5
00/00/00
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2 x 2
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slide
detail of Abra
2x2
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77.109SL3
slide
detail
2x2
00/00/00
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77.109DI1
digital image
pre-conservation
00/00/00
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77.109DI#2
digital image
full
4/10/2006
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77.109TR3
transparency
full
4 x 5
00/00/00
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Painting
Two Musicians
Bernardo Strozzi, (Genoa, 1581 - 1644, Venice)
Strozzi, Bernardo
Italy
1581 - 1644
Male
45 5/8 x 47 7/8 in. (115.9 x 121.6 cm)
.
.
.
Oil
Oil
1630-1635
1630
1635
1600-1800, 17th century, musical instruments (depictions), musicians, paintings
Painting
This scene of a middle-aged lute player and young violinist illustrates many qualities of Baroque art. Both musicians look directly out from the painting, their eye contact and lively expressions establishing a sympathetic psychological relationship with their audience. A parapet that separates performer from spectator links imaginary and actual space; dramatic lighting, naturalistic details and richly saturated colors all merge to intensify the viewer’s visual experience.
The meaning of Two Musicians leaves much to the imagination. The two figures here could suggest a contrast between naïve youth and experienced age; the violin and the lute both refer to ideas of balance and harmony. Concert scenes sometimes symbolize the sense of hearing or the idea of harmony and love. Whatever the interpretation, these paintings of concerts were, like the music they represent, extremely popular with their public during the Baroque period.
As a young man, Strozzi entered a monastery where he painted religious subjects. After his father’s death, he was allowed to leave the monastery to support his mother; he refused, though, to return after she died and was forced to flee his native Genoa. In 1631, he settled in Venice, where he became a Roman Catholic prelate, or church official. He enjoyed continuous success as a painter for the rest of his life.
[Gallery label text]
back of stretcher, Presumably MAG incoming receipt number?back of stretcherback of stretcher, Circular stamp, stamped twice: Swiss export stamp.back of stretcherback of stretcher, On crossbar of stretcher
1953.8
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Memorial Art Gallery
1/22/2001
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4/7/2009
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6/11/2009
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Detail
6/11/2009
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6/11/2009
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6/11/2009
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6/11/2009
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Painting
The Apparition of the Virgin to St. Hyacinth
Domenikos Theotocopoulos, ca. 1541 - 1614
Theotocopoulos, Domenikos
Spain
ca. 1541 - 1614
Male
39 3/8 x 24 3/8 in. (100 x 61.9 cm)
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.
.
Oil
Oil
ca. 1605 - 1610
1605
1610
1600-1800, 17th century, paintings, St. Hyacinth
Painting
In this painting, El Greco expresses spiritual drama by his distinctive use of line, light and color. St. Hyacinth kneels in awed wonder before a mystical vision of the Virgin and Child. The scene takes place in a church interior with pillars and a patterned floor; a shadowy, monochrome figure or statue of a bishop, identifiable by his hooked staff, stands behind the enraptured saint.
According to Christian legend, Hyacinth, a Polish Dominican priest who lived from 1185-1287, witnessed a miraculous apparition of the Virgin Mary on the feast day of her Assumption—the day she was “taken up body and soul into heavenly glory.” In 1594, shortly before El Greco painted this work, Hyacinth was granted sainthood by Pope Clement VIII.
El Greco (“The Greek”) is the popular name of Domenikos Theotokopoulos, an artist born in Crete but who lived and studied in Venice and Rome. In 1575, he moved to Toledo, Spain, the center of the Catholic Church’s Counter-Reformation activities. During his career, El Greco developed a unique and dramatically spiritual style of painting that is often considered the forerunner of Baroque art.
1938.28
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Memorial Art Gallery
6/9/2000
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6/28/2002
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Painting
Sacrifice to Ceres
Flemish artist
Flemish artist
Flanders
Primary
29 1/4 x 39 1/2 x 1 in. (74.3 x 100.3 x 2.5 cm)
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.
.
overall
Oil
Oil
ca. 1580-1610
1580
1610
Painting
1999.17
item
Memorial Art Gallery
10/21/1999
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5/1/2002
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Painting
Still Life with Quince
Roman artist
Roman artist
Italy
Primary
Realfonso, Tommaso
Italy
ca. 1677 - after 1743
Male
Previous attribution
27 1/2 x 43 in. (69.9 x 109.2 cm)
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.
.
Oil
Oil
17th Century - early 18th Century
1600
1732
European art, paintings, still lifes
Painting
back of canvasback of stretcherback of stretcherback of stretcherback of stretcherback of stretcher
1964.110
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Memorial Art Gallery
1/22/2001
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6/4/2009
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Detail
6/4/2009
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Detail
6/4/2009
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