12
Portfolios%3D%22621%22%20and%20Disp_Obj_Type%3D%22Painting%22%20and%20Period%3D%22%22
Painting
The Night Before the Battle
James Henry Beard, (Buffalo, NY, 1811 - 1893, Flushing, NY)
Beard, James Henry
United States
1811 - 1893
Male
30 1/2 x 44 1/2 in. (77.5 x 113 cm)
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approximate installation dimensions
frame
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.
without frame
Oil
Oil
1865
1865
1865
1800-1900, 19th century, Death, genre scenes, paintings, war
Painting
James Beard had first-hand experience as a captain in the Union army during the Civil War. This painting, completed in the year the war ended, is a dramatic statement about the ever-present possibility of death on the battlefield.
[Gallery label text, 2007]
Were it not for details like the skeleton keeping vigil behind the cannon, the cruciform composition of the flag draped over the sleeping soldier, and the scattered playing cards suggestive of luck and chance, this painting would be a simple narrative about the Civil War. However, such potent symbolism imbues the work with layers of spiritual significance.
Perhaps the reminders of death and sacrifice that the artist included in his masterful painting emerged from his firsthand experience in the Union Army during the Civil War. The meticulously selected and carefully arranged details attest to the poignancy of the soldiers' situation and contrast with the implied violence that will occur on the morrow.
[Gallery label text]
lower left
1978.15
item
Memorial Art Gallery
9/8/1999
78.15TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
78.15SL1
slide
full
2 x 2
00/00/00
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78.15DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/78.15_A1.jpg
78.15SL2
slide
detail-soldiers sleeping
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
78.15SL3
slide
detail-man with flag
2 x 2
00/00/00
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78.15SL4
slide
detail-skeleton
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
78.15DI2
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/78.15_A2.jpg
78.15DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
M425_p83.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p83.tif
M425_p83(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p83(10).tif
negative
3 x 5
00/00/00
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glossy
3 x 5
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glossy
8 x 10
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digital image
00/00/00
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78.15DI#4
digital image
7/16/2012
http://127.0.0.1:5000/Media/images/78.15_A4.jpg
Painting
Venus and Cupid
Attributed to or after François Boucher, 1703 - 1770
Boucher, François
France
1703 - 1770
Male
15 7/8 x 12 5/8 in. (40.3 x 32.1 cm)
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Oil
Oil
ca. 1732
1727
1737
1600-1800, 18th century, Cupid, flowers in art, paintings, Venus
Painting
Rococo, from the French word rocaille (rockwork or shell), was an 18th century decorative style that reacted against the classical tradition of the Academy and instead stressed color, light, movement, and a frank pleasure in living. The easy flowing brushwork and the luminous colors show the influence of Rubens.
As a rococo painter, François Boucher worked primarily in the service of Madame de Pompadour, mistress to Louis XV. His paintings satisfied the taste of a sophisticated public which was sensitive to the most subtle relations of color and liked pictures hung on the light paneling of even the smallest room.
This intimate painting of "Venus and Cupid," with its sensuously modeled nudes, embodies the French 18th century tendency to transform the Baroque style into one of more delicate elaboration and elegance. An 18th-century engraving, which P. Aveline made after the painting, is inscribed "F. Boucher pinxit."
[Gallery label text, 2008]
back of frameback of stretcherback of frame
1950.4
item
Memorial Art Gallery
1/25/2001
50.4SL1
slide
full
2 x 2
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glossy
8x10
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glossy
5x7
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8x10
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negative
4x5
00/00/00
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50.4DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/50.4_A1.jpg
50.4DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/50.4_I1.jpg
50.4DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/50.4_A2.jpg
50.4DI#4
digital image
5/27/2015
http://127.0.0.1:5000/Media/images/50.4_A3.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Cleopatra Captured by Roman Soldiers after the Death of Mark Antony
Bernard Duvivier, 1762 - 1837
Duvivier, Bernard
France
1762 - 1837
Male
45 x 58 in. (114.3 x 147.3 cm)
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without frame
Oil
Oil
1789
1789
1789
1600-1800, 18th century, Cleopatra, narratives, paintings
Painting
Duvivier received his initial training in Bruges and then moved to Paris, where he assimilated the severe Neoclassical style perfected by Jacques-Louis David. In this early work, Duvivier combined the poses of several antique statues to illustrate an episode recounted in Plutarch's "Life of Mark Anthony." Following Anthony's suicide, a Roman soldier attempts to forestall the Egyptian queen's own death by promising that Octavian Caesar will show her clemency. The subtle, glowing colors, precise attention to detail, and impeccable draughtsmanship presage the artist's occasional work as a miniaturist.
[Gallery label text, 2008]
lower rightback of frameback of stretcherback of stretcher, Very modernback of stretcher, On crossbar of stretcher
1984.40
item
Memorial Art Gallery
4/5/2000
84.40TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.40SL1
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full
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negative
4x5
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84.40DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/84.40_A1.jpg
84.40SL2
slide
details
2 x 2
00/00/00
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84.40DI2.jpg
digital image
00/00/00
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Painting
Vertumnus and Pomona
Govaert Flinck, (Cleves, Electorate of Brandenburg, 1615 – 1660, Amsterdam, Holland)
Flinck, Govaert
Netherlands
1615 - 1660
Male
38 1/4 x 45 1/4 in. (97.2 x 114.9 cm)
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.
approximate installation dimensions
frame
Oil
Oil
ca. 1640
1635
1645
1600-1800, 17th century, paintings, Pomona, Vertumnus, Vertumnus & Pomona, women
Painting
This painting illustrates a myth from Ovid’s Metamorphosis. Pomona, a nymph who presided over gardens and fruit trees, had taken a vow of chastity and therefore rejected the advances of all suitors. Vertumnus, the Roman deity of orchards, persisted nonetheless. To gain her affections he disguised himself as a fisherman, a soldier, a peasant, and finally as an old woman.
Flinck was a student and follower of Rembrandt, so much so that the styles of the two artists were often confused. Flinck’s skill brought him enviable social and economic rewards and eventually he was honored with a commission to create twelve paintings for the civic hall of Amsterdam.
[Gallery label text, 2005]
back of frame, Then given to Flinck. Label says "See folder for Literature and Exhibitions."back of frameback of stretcher, Each in different handwriting, all on one piece of masking tape on cross member of stretcherback of stretcher, Under edge of tape, only half of each letter visibleback of framelower right
1983.10
item
Memorial Art Gallery
10/6/2000
83.10TR1
transparency
4 x 5
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83.10SL2
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detail
2 x 2
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83.10SL3
slide
with x-ray
2 x 2
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negative
color
1 x 1
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83.10DI1
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4 x 5
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83.10DI3
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4 x 5
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83.10SL4
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collateral
2 x 2
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83.10DI4
digital image
Detail- hands
00/00/00
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83.10DI5
digital image
Detail- Vertumnus
00/00/00
http://127.0.0.1:5000/Media/images/83.10_A5.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)
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.
.
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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glossy
full
8 x 10
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full
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61.27DI1
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2 x 2
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00/00/00
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61.27DI4
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2 x 2
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61.27DI#1
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00/00/00
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M10.61.27.tif
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digital image
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P3.61.27.tif
digital image
detail
00/00/00
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P4.61.27.tif
digital image
detail
00/00/00
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61.27TR1
transparency
full
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Painting
The Fox and the Heron
Frans Snyders and workshop, (Antwerp, 1579 - 1657, Antwerp)
Snyders, Frans
Flanders
1579 - 1657
Male
Artist
Workshop of Frans Snyders
Flanders
Male
Artist
47 1/8 x 61 1/4 in. (119.7 x 155.6 cm)
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approximate installation dimensions
frame
Oil
Oil
ca. 1630-1640
1630
1640
1600-1800, 17th century, birds, fables & fairy tales, foxes, paintings
Painting
Monumental and decorative animal painting developed in Antwerp in the 17th century in the immediate circle of Rubens. Snyders, whose workshop was famous for this type of work, often also collaborated on the animals, flowers, and fruit in his friend Rubens's paintings. The rendering of materials such as the fur of the fox, the plumage of the bird, and the transparency of the glass jar add to the interest in texture.
"The Fox and the Heron" is a story from Aesop's Fables. In the background, the fox invites the heron for dinner and offers only a bowl of soup, impossible for the heron to eat. In the foreground, the heron in turn invites the fox. Dinner is served in a long-necked glass jar and the fox can only lick the outside.
Moral: One bad turn deserves another!
[Gallery label text, August 1996]
lower corners
1972.75
item
Memorial Art Gallery
1/22/2001
72.75TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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full
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00/00/00
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72.75DI2
digital image
00/00/00
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72.75DI#3
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/72.75_A3.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.75_R1.jpg
Painting
Arhat Handaka
Korean artist
Korean artist
Korea
Primary
59 3/4 x 30 11/16 in. (151.8 x 77.9 cm)
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overall
overall
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overall
image
Ink
Ink
1500-1699
1500
1699
1400-1600, dragons, Handaka, Korean, paintings, waves
Painting
1963.33
item
Memorial Art Gallery
1/30/2001
63.33SL1
slide
full
2 x 2
00/00/00
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glossy
full
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00/00/00
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full
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63.33DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/63.33_A1.jpg
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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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
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full
2 x 2
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digital image
2 x 2
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98.21TR1
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full
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98.21DI2
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00/00/00
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98.21DI3
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4 x 5
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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
Spring
From the Garden
Charles Webster Hawthorne, (Lodi, IL, 1872 – 1930, Baltimore, MD)
Hawthorne, Charles Webster
United States
1872 - 1930
Male
39 1/2 x 39 1/2 in. (100.3 x 100.3 cm)
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.
.
approximate installation dimensions
frame
.
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.
Oil
Oil
ca. 1911
1906
1916
1900-2000, 20th century, allegories, flowers in art, George Eastman Collection, paintings, spring, women
Painting
lower left
1976.22
item
Memorial Art Gallery
9/8/1999
76.22TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
76.22SL1
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full
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4x5
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76.22DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/76.22_A1.jpg
76.22TR2
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
St. Margaret with a Donor
Vrancke van der Stockt, (before 1420 - c. 6/14/1495)
Stockt, Vrancke van der
Flanders
before 1420 - c. 6/14/1495
Male
Primary
18 1/8 x 7 7/8 in. (46 x 20 cm)
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.
approximate installation dimensions
frame
Oil
Oil
0
0
1400-1600, dragons, paintings, Renaissance & Baroque, St. Margaret, women
Painting
This painting, which shows a woman in contemporary dress kneeling in devotion before an open prayer book, her patron saint behind her, was once the right wing of a small triptych, or three-part altarpiece. Saint Margaret, who is recognizable through her attributes, or identifying symbols, holds a cross; a fanged dragon is at her feet. According to the story, Margaret spent her life following the teachings of Christ. The governor of Antioch in the ancient Roman province of Syria, now modern Turkey, fell in love with Margaret’s beauty and asked her to marry him. She rejected his proposal, vowing to remain a virgin. The governor sent her to prison, where the Devil appeared to Margaret as a dragon. She was saved by her Christian faith: when the dragon swallowed Margaret, she made the sign of the cross, which split the dragon in two and allowed her to escape from his belly unharmed.
The left panel of the altarpiece, now in the Allen Memorial Art Museum of Oberlin University in Oberlin, Ohio, is a mirror image of this scene and depicts the woman’s husband also kneeling in devotion with his patron saint behind him. The center panel of the altarpiece to which the couple offers their prayers was probably a painting of the Virgin and infant Christ.
[Expanded from gallery label text, June 2013]
1944.15
item
Memorial Art Gallery
1/19/2001
44.15TR1
transparency
4 x 5
00/00/00
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full
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44.15DI1
digital image
full
2 x 2
6/28/2002
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44.15DI2
digital image
detail of serpent
2 x 2
6/20/2002
http://127.0.0.1:5000/Media/images/44.15_A2.jpg
44.15DI3
digital image
detail of donor
2 x 2
6/20/2002
http://127.0.0.1:5000/Media/images/44.15_A3.jpg
44.15SL2
slide
detail - snake
2x2
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44.15SL3
slide
detail - donor's face
2x2
00/00/00
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digital image
00/00/00
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44.15DI4
digital image
full
2 x 2
00/00/00
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x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.15DI#5
digital image
4/30/2021
http://127.0.0.1:5000/Media/images/44.15_A5.jpg
44.15DI#8
digital image
Detail
4/30/2021
http://127.0.0.1:5000/Media/images/44.15_A8.jpg
44.15DI#7
digital image
4/30/2021
http://127.0.0.1:5000/Media/images/44.15_A7.jpg
44.15DI#6
digital image
4/30/2021
http://127.0.0.1:5000/Media/images/44.15_A6.jpg
Painting
St. Jerome in the Desert
Attributed to Jan Adriaensz. van Staveren, (ca. 1625 - after 1668)
Dou, Gerrit
Netherlands
1613 - 1675
Male
Previous attribution
Staveren, Jan Adriaensz. van
Netherlands
ca. 1625 - after 1668
Male
Primary
19 5/8 x 14 3/4 in. (49.8 x 37.4 cm)
.
.
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.
.
approximate installation dimensions
frame
Oil
Oil
1643-1647
1643
1647
1600-1800, 17th century, men, paintings, St. Jerome
Painting
After studying for three years with Rembrandt, Dou established himself as an independent painter, achieving wealth and fame in his native Leiden. He specialized in small, highly finished genre scenes that delight by their precise reproduction of everyday objects. Meticulous realism and enamel-like surfaces also typify Dou’s portraits and religious pictures, such as St. Jerome in the Desert.
This painting integrates the two most common pictorial motifs associated with this saint, who was both a scholar of the Bible and an ascetic known to have spent long sojourns in the desert.
[Gallery label text, 2005]
St. Jerome, born to a wealthy pagan family, converted to Christianity around 365 CE. A theologian by training, his major work was the Vulgate translation of the Bible, which is still in use today. He lived for years as a hermit in the Syrian desert, and, after a scandal in Rome, returned to his life of desert solitude. He lived the last 34 years of his life in the Holy Land as a semi-recluse. In this painting, St. Jerome is shown in prayer and meditation during one of his desert sojourns. The numerous books refer to his life as a scholar of the Bible; the skull symbolizes the transience of life.
[Excerpted from gallery label text]
1926.73
item
Memorial Art Gallery
1/22/2001
26.73SL1
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full
2 x 2
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negative
4 x 5
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26.73DI1
digital image
full
2 x 2
00/00/00
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26.73DI#2
digital image
2/18/2008
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26.73TR1
transparency
Front
4 x 5
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Painting
The Annunciation to Zacharias
Master of the Urbino Coronation, (active 1350 - 1375)
Master of the Urbino Coronation
Italy
active 1350 - 1375
Male
69 1/2 x 53 5/8 x 1 5/8 in. (176.5 x 136.2 x 4.1 cm)
.
.
.
with frame
overall
Italian, made for the church of S. Lucia
ca. 1350-1400
1350
1400
1000-1400, Medieval, paintings, Zacharias
Painting
This painting was once part of a cycle of frescoes in the church of Santa Lucia in Fabriano, a town northeast of Rome. The series probably depicted the story of the life of Saint John the Baptist, who, according to Christian tradition, was the precursor of Christ. The subject, taken from the first chapter of the gospel book of Luke, presents the vision of the aged Zacharias as he officiates at the altar of incense and learns from the Angel Gabriel that his wife Elizabeth, although “well stricken in years,” is to bear a son, John, who will “make ready a people” for the coming of the Lord. The crowds, who “waited…and marveled,” are at the right, dressed in the style of Florence during the 1300s. The pointed turban of the middle figure indicates that he is Jewish. The kneeling figure at the left is probably the donor of the painting.
This painting was removed from the wall in the 1800s and has since been remounted on canvas. It has been connected to two others from the same church, The Crucifixion in the Museum of Fine Arts, Boston, and The Birth of John the Baptist in the Galleria Nazionale, Rome.
[Gallery label text, June 2013]
1943.3
item
Memorial Art Gallery
2/20/2001
43.3TR1
transparency
pink
4 x 5
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43.3DI1
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43.3DI2
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00/00/00
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43.3DI#3
digital image
3/1/2010
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