7
Portfolios%3D%221379%22
Painting
Allegory of Hearing
Music: an Allegory
Roman artist
Roman artist
Italy
Primary
Vos, Maarten de
Flanders
1532 - 1603
Male
Artist after
After
18 x 60 in. (45.7 x 152.4 cm)
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.
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.
.
overall
frame
Oil
Oil
after 1581
1582
1591
1400-1600, allegories, music in art, paintings, Renaissance & Baroque
Painting
back of frameback of frameback of frameback of framecradlecradlecradlecradlecradlecradle, Inscribed twicecradlecradle, Inscribed twicecradle, inscribed twice; the dimensions of the panel in inchescradlecradle, in cursive
1998.21
item
Memorial Art Gallery
10/28/1999
98.21SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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98.21DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/98.21_A2.jpg
98.21TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.21DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.21DI3
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/98.21_A1.jpg
98.21DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/98.21_I1.jpg
98.21DI#5
digital image
6/22/2010
http://127.0.0.1:5000/Media/images/98.21_A3.jpg
98.21DI#6
digital image
Detail
6/22/2010
http://127.0.0.1:5000/Media/images/98.21_A4.jpg
98.21DI#7
digital image
Detail
6/22/2010
http://127.0.0.1:5000/Media/images/98.21_A5.jpg
98.21DI#8
digital image
Detail
6/22/2010
http://127.0.0.1:5000/Media/images/98.21_A6.jpg
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)
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.
.
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
http://127.0.0.1:5000/Media/images/2005.34_A1.jpg
2005.34DI2
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.34_A2.jpg
2005.34DI3
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.34_A3.jpg
2005.34TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2005.34DI1
stretcher
digital image
back detail
00/00/00
http://127.0.0.1:5000/Media/images/Conservation photos/2005.34 Giordano/2005.34 stretcher back detail.jpg
2005.34SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Roman Ruins with Card Players
After Jan Both, 1618 - 1652
Both, Jan
Netherlands
1618 - 1652
Male
25 5/8 x 32 1/8 in. (65.1 x 81.6 cm)
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overall
frame
Oil
Oil
0
0
1600-1800, 17th century, children, donkeys, landscapes, leisure activities, men, paintings, ruins
Painting
As an independent subject of painting, landscape first emerged in Europe during the 1600s. Its development reflects changes in the views commonly held at that time on the universe and man’s relation to it. As landscape painting developed, the Dutch were quick to acquire a taste for Italian settings and motifs. In this painting, Both uses Italian motifs, such as ruins, as pictorial elements; he then combines them with the typical genre scene of a group of men playing cards.
Also called The Ruins of the Temple of Saturn, this painting is a version of the original Jan Both painting of the same subject that is owned by the Alte Pinakothek in Munich, Germany. It was probably painted by either Jan Both or his brother, Andries.
[Gallery label text]
Born in Utrecht, Both subsequently traveled to Rome, where he remained from 1635 until 1641, when he returned to Holland. He was among the leading “bamboccianti,” as the Dutch painters were called who assimilated their native genre tradition with the classical landscape tradition they discovered in Italy. This popular composition, an autograph version of which survives in the Alte Pinakothek, Munich, shows low-life types amusing themselves near the formidable ruins of the Temple of Saturn.
[Gallery label text]
1962.29
item
Memorial Art Gallery
11/13/2000
62.29SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
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negative
full
8 x 10
00/00/00
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62.29DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/62.29_A1.jpg
62.29DI2
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/62.29_A2.jpg
62.29DI#3
digital image
7/13/2007
http://127.0.0.1:5000/Media/images/62.29_A3.jpg
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)
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.
.
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
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
7x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
52.2SL2
slide
detail-figure
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
52.2SL3
slide
detail- tower
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/52.2_A1.jpg
52.2TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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
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)
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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
http://127.0.0.1:5000/Graphics/blank.gif
82.6SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
82.6SL2
slide
full with frame
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
82.6DI1
digital image
full
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/82.6_A3.jpg
82.6DI2
digital image
full
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/82.6_A4.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/82.6_A1.jpg
82.6TR2
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
The Riva degli Schiavoni, Venice, Looking West
William James, (active 1760 - 1771)
James, William
England
active 1760 - 1771
Male
Canal, Giovanni Antonio
Italy
1697 - 1768
Male
Previous attribution
After
25 3/4 x 40 in. (65.4 x 101.6 cm)
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Oil
Oil
ca. 1760-1771
1760
1771
1600-1800, 18th century, boats, paintings, seascapes, Venice, Italy
Painting
The waterfront promenade of the Riva degli Schiavoni, or River of the Slavs, has long been one of the most picturesque and popular in Venice. Paintings by the great Canaletto and his British followers like William James show the bustling of gondolas, sailing boats and barges; the promenade itself is equally lively with travelers, merchants and townspeople actively engaged in both commerce and recreation.
[Gallery label text, 2008]
1955.180
item
Memorial Art Gallery
11/2/2000
55.180SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.180DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.180_A1.jpg
55.180DI#2
digital image
7/13/2007
http://127.0.0.1:5000/Media/images/55.180_A2.jpg
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/55.180_A3.jpg
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)
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.
.
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
item
Memorial Art Gallery
1/22/2001
53.8TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
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negative
8x10
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negative
4x5
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negative
2 x 2
00/00/00
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53.8SL2
slide
detail-older man hands
2 x 2
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53.8DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/53.8_A1.jpg
53.8SL3
slide
detail-man's head
2 x 2
00/00/00
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53.8SL4
slide
detail- boy's head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL5
slide
detail-boy's hand
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8DI#2
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/53.8_A2.jpg
53.8DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A3.jpg
53.8DI#4
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A4.jpg
53.8DI#5
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A5.jpg
53.8DI#6
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A6.jpg
53.8DI#7
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A7.jpg
x-ray
00/00/00
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