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Portfolios%3D%222293%22%20and%20Period%3D%22%22%20and%20Century%3D%2217th%20Century%22
Drawing
The Sun King
Stefano della Bella, 1610 - 1664
Bella, Stefano della
Italy
1610 - 1664
Male
10 11/16 x 5 15/16 in. (27.2 x 15.1 cm)
.
.
.
sheet
sheet
Pen and ink
Pen and ink
ca. 1650
1645
1655
Drawing
This delicate drawing shows Louis XIV, King of France, participating in a court ballet. Although highly decorative, it is an elegant and detailed portrait of a young man who, despite his age, has a commanding presence. It is also a romantic portrait of The Sun King, as he was called, who would ultimately become the most famous of French monarchs.
Born into a family of painters, sculptors, and goldsmiths, Stefano della Bella was quite possibly the most important Florentine artist of the 1600s. In 1633, he was sent to Rome to work for the wealthy and powerful Medici family, great patrons of the arts. Six years later, he traveled to Paris with the Medici ambassador to the court of King Louis XIII; his patrons included members of the French royal family, nobility, and publishers.
[Label text from It Came From the Vault exhibition, 2013]
1991.86
item
Memorial Art Gallery
2/26/2001
91.86SL1
slide
full
2 x 2
00/00/00
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glossy
8 x 10
00/00/00
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negative
4 x 5
00/00/00
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negative
2 x 2.5
00/00/00
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91.86DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/91.86_A1.jpg
91.86DI#2
digital image
2/9/2012
http://127.0.0.1:5000/Media/images/91.86_A2.jpg
Print
The Goldweigher's Field
Rembrandt Harmensz. van Rijn, (Leiden, 1606 - 1669, Amsterdam)
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
4 13/16 x 12 5/8 in. (12.2 x 32.1 cm)
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sheet
sheet
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overall
frame
Printer's ink
Printer's ink
1651
1651
1651
1600-1800, 17th century, drypoint, etchings, landscapes
Print
This landscape is of a real place: the city of Haarlem with the spire of the Grootekerk can be seen at the left and the church tower of Bloemendaal is in the right middle ground. Rembrandt has subtly manipulated the scene into a carefully composed and extended horizontal panorama. He uses diagonal lines to indicate divisions in the fields. Horizontal lines showing property divisions and the woods also serve to slow the viewer’s gaze. The addition of drypoint, or lines scratched in the plate without the use of acid, heightens the contrast between light and shadow.
The title for this print comes from the author of a 1751 catalogue of Rembrandt’s prints. He mistook this landscape for the property of the goldweigher, the Receiver General Jan Uytenbogaert, who was the subject of one of Rembrandt’s portraits. The Goldweigher’s Field actually shows the estate of the merchant Christoffel Thijs, who sold Rembrandt his house in 1639 and to whom Rembrandt was in debt.
[Label text from It Came From the Vault exhibition, 2013]
lower left, in the image, in the plate, A crown over an indistinct snaking motif
1987.63
item
Memorial Art Gallery
6/6/2001
glossy
8x10
00/00/00
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negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.63DI1
digital image
8x10
00/00/00
http://127.0.0.1:5000/Media/images/87.63_A1.jpg
87.63DI#2
digital image
2/13/2013
http://127.0.0.1:5000/Media/images/87.63_A2.jpg
Glass
Glass Medallion of Otto IV
Austrian artist, (active )
Austrian artist
Austria
Primary
5 3/8 x 5 3/8 in. (13.7 x 13.7 cm)
Glass
Glass
0
0
1600-1800, 17th century, armor, portrait, portraits, stained glass, weapons, world history
Glass
This small glass roundel, probably created for an armorial window, depicts Otto IV of Brunswick (1175–1218), who served as the King of Germany, the King of Italy, and emperor of the Holy Roman Empire. Although Otto lived during the middle Medieval period in Europe, the artist has shown him in the guise of an emperor of ancient Rome.
[Label text from It Came From the Vault exhibition, 2013]
1955.170.6
item
Memorial Art Gallery
12/15/2009
55.170.6DI#1
digital image
12/4/2009
http://127.0.0.1:5000/Media/images/55.170.6_A1.jpg
Textiles
Stumpwork Panel with Figures and Animals
British artist
British artist
Great Britain
Primary
12 x 15 3/4 in. (30.5 x 40 cm)
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Embroidery
Embroidery
0
0
Textiles
1984.62
item
Memorial Art Gallery
5/12/2001
84.62SL1
slide
full
2 x 2
00/00/00
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glossy
8x10
00/00/00
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negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.62SL2
slide
detail
2 x 2
00/00/00
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84.62SL3
slide
detail
2 x 2
00/00/00
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84.62SL4
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.62DI#1
digital image
4/22/2008
http://127.0.0.1:5000/Media/images/84.62_A1.jpg
Glass
Armorial Plaque
German artist
German artist
Germany
Primary
11 x 8 1/8 in. (27.9 x 20.6 cm)
Glass
Glass
Northern German or Netherlandish
0
0
1600-1800, 17th century, armor, stained glass
Glass
Small glass panels showcasing the coats of arms—specially-designed, unique combinations of lines, colors, and symbols that represent an individual or family—were especially popular among American collectors. While many were original, others were legitimate copies used to replace broken originals or decorate new and renovated buildings in the medieval or Renaissance style. There was also a large market for modern forgeries made specifically to serve an ever-growing market of collectors.
Of these three armorial panels [42.31, 42.34.3, 55.98], the only early example is the piece with the motto Bibe Si Sapis, which means “If thou art wise, drink.” The other two, both of which have women holding coats of arms, are modern, probably made in the late 19th or early 20th centuries.
[Label text from It Came From the Vault exhibition, 2013]
bottom, On a painted scroll
1942.34.3
item
Memorial Art Gallery
12/15/2009
42.34.3DI#1
digital image
12/4/2009
http://127.0.0.1:5000/Media/images/42.34.3_A1.jpg
Sculpture
Madonna and Child
Italian artist
Italian artist
Italy
Primary
17 1/2 x 6 1/4 x 3 5/8 in. (44.5 x 15.9 x 9.2 cm)
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.
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Wood
Wood
0
0
1600-1800, 17th century, figures, Madonna and Child, woodwork
Sculpture
At the First Council of Ephesus in 431 CE, Mary’s divine status was confirmed by church leaders. After this, images of her as the mother of Christ became icons of Catholic art and faith. Some depictions include elaborate groupings of angels and saints while others, such as this sculpture, focus our attention on their corporeal bond as mother and child. Images of Jesus in Mary’s arms, both as an infant and as an adult man, permeate the history of western art.
[Label text from It Came From the Vault exhibition, 2013]
back
1955.106
item
Memorial Art Gallery
3/13/2001
55.106SL1
slide
2 x 2
00/00/00
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negative
full
4 x 5
00/00/00
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negative
full
2 x 2.5
00/00/00
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glossy
full
2 x 2.5
00/00/00
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glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.27DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.106_A1.jpg
55.106DI#2
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/55.106_A2.jpg
55.106DI#3
digital image
Three-quarter
10/29/2012
http://127.0.0.1:5000/Media/images/55.106_A3.jpg
Sculpture
Seated Figure of Christ
Italian artist
Italian artist
Italy
Primary
8 x 3 11/16 x 5 1/8 in. (20.3 x 9.3 x 13 cm)
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with base
overall
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without base
overall
Terracotta
Terracotta
possibly 1600s
1600
1600
1600-1800, 17th century, Christ, figure, male figures
Sculpture
The Christian image called the “Man of Sorrows” originated in German art during the 1400s in response to late medieval devotional practices. The image came not from stories of the life of Christ, but from passages in the Old Testament, in particular Isaiah 53, which theologians saw as foreshadowing the coming of the Messiah: “He is despised and rejected of men, a Man of sorrows, and acquainted with grief.”
This statuette is difficult to localize or date. Depictions of the Man of Sorrows took many forms and were created in many cultures and media. These images were transmitted across Europe through highly portable prints as well as by itinerant artists. Although not definitive, the medium here of glazed terracotta suggests a southern rather than northern European artist.
[Label text from It Came From the Vault exhibition, 2013]
1955.48
item
Memorial Art Gallery
3/13/2001
55.48SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
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negative
3x2
00/00/00
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glossy
3x2
00/00/00
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glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.48DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/55.48_A1.jpg
55.48DI#2
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/55.48_A2.jpg
55.48DI#3
digital image
10/29/2012
http://127.0.0.1:5000/Media/images/55.48_A3.jpg
Painting
Portrait of a Child with a Dog
Spanish artist, (active )
Spanish artist
Spain
Primary
29 1/2 x 25 in. (74.9 x 63.5 cm)
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overall
frame
Oil
Oil
probably mid-1600s
1600-1800, 17th century, children, dogs, paintings, portraits
Painting
Portraits often include visual elements similar to those used by other painters of the period. The landscape and the rich drapery behind the child suggest a Spanish origin. Based on these elements as well as the treatment of the child’s face, one scholar has suggested that MAG’s Child with a Dog could be the work of Juan Battista Martinez del Mazo, the son-in-law of the most famous Spanish painter of the mid-1600s, Diego Velázquez. After his father-in-law’s death, Mazo succeeded Velázquez as the official painter to the royal family; many of his portraits were of children, and many made use of similar background landscapes and drapery. We believe now that this work is by a painter active among the Spanish nobility during the mid-17th century, a period marked by prosperity and a flourishing of the arts known as Spain’s Golden Age.
[Label text from It Came From the Vault exhibition, 2013]
1964.51
item
Memorial Art Gallery
1/30/2001
64.51SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
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negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.51D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/64.51_A1.jpg
64.51DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.51DI#2
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/64.51_A2.jpg
Print
Bust of a Man ("Bust of Doctor Faustus") (after Rembrandt)
Bust of Doctor Faustus
Jan Georg van Vliet, (Delft, ca. 1610 - after 1635)
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
After
Vliet, Jan Georg van
Netherlands
ca. 1610 - after 1635
Male
5 13/16 x 5 1/8 in. (14.8 x 13 cm)
.
.
.
sheet
sheet
1630-1633
1630
1633
1600-1800, 17th century, etchings, men, portraits
Print
Johannes van Vliet worked for Rembrandt in the late 1620s and 1630s. For the most part, he prepared Rembrandt’s painted compositions for production as prints; he also made direct copies of the master’s prints.
Van Vliet created etchings after his own designs as well, although many derive thematically from work by Rembrandt. Scenes of everyday life, peasants, card players, and beggars were his subject matter of choice.
[Label text from It Came From the Vault exhibition, 2013]
upper right, in the plate, Rembrandt's monogram, last used on paintings in 1632
1992.63
item
Memorial Art Gallery
3/20/2001
92.63SL1
slide
full
2 x 2
00/00/00
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glossy
8 x 10
00/00/00
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negative
2 x 3
00/00/00
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92.63DI1
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/92.63_A1.jpg
92.63DI#2
digital image
3/13/2008
http://127.0.0.1:5000/Media/images/92.63_A2.jpg