{ "objects" : [ { "embark_ID" : 5054, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5054", "Disp_Access_No" : "1968.100", "_AccNumSort1" : "", "Disp_Create_DT" : "1622-1625", "_Disp_Start_Dat" : "1622", "_Disp_End_Date" : "1625", "Disp_Title" : "Portrait of an Italian Nobleman", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Anthony van Dyck", "Sort_Artist" : "Dyck, Anthony van", "Disp_Dimen" : "40 x 32 1/2 in. (101.6 x 82.6 cm)", "Disp_Height" : "40 in.", "Disp_Width" : "32 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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]", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Flanders", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.100_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.100_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.100_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.100_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "21384", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "shot onsite 9/20/05", "View" : "" } , ] },{ "embark_ID" : 13366, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13366", "Disp_Access_No" : "2005.34", "_AccNumSort1" : "", "Disp_Create_DT" : "1650-1653", "_Disp_Start_Dat" : "1650", "_Disp_End_Date" : "1653", "Disp_Title" : "The Entombment", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Luca Giordano", "Sort_Artist" : "Giordano, Luca", "Disp_Dimen" : "115 1/4 x 79 1/2 in. (292.7 x 201.9 cm)", "Disp_Height" : "115 1/4 in.", "Disp_Width" : "79 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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] ", "Dedication" : "Marion Stratton Gould Fund, Maurice R. and Maxine B. Forman Fund, Gallery Purchase Fund, gift of Whitney F. Hoyt, by exchange, gift of Mr. and Mrs. Hollister Spencer, by exchange", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Italy", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.34_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.34_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.34_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.34_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "21370", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "shot onsite 9/20/05", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.34_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.34_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.34_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.34_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "21376", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "shot onsite 9/20/05", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.34_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.34_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.34_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.34_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "21378", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "shot onsite 9/20/05", "View" : "" } , ] },{ "embark_ID" : 5056, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5056", "Disp_Access_No" : "1970.43", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Tobias and the Angel", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jan Glauber", "Sort_Artist" : "Glauber, Jan", "Disp_Dimen" : "38 3/4 x 52 1/2 in. (98.4 x 133.4 cm)", "Disp_Height" : "38 3/4 in.", "Disp_Width" : "52 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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] ", "Dedication" : "Given in memory of Irene Comfort Jones by her husband, Robcliff V. Jones", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Netherlands", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "7/09: There are listings for a painting or paintings of Tobias (or Tobit) and the Angel by Glauber on the Getty Provenance Database, but all list dimensions much smaller than this canvas. --KSchauber, Curatorial Research Ass''t", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.43_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.43_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.43_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.43_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14514", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5033, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5033", "Disp_Access_No" : "1946.36", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1620 (?)", "_Disp_Start_Dat" : "1615", "_Disp_End_Date" : "1625", "Disp_Title" : "Landscape with Figures", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joos de Momper", "Sort_Artist" : "Momper, Joos de", "Disp_Dimen" : "18 5/8 x 26 7/8 in. (47.3 x 68.3 cm)", "Disp_Height" : "18 5/8 in.", "Disp_Width" : "26 7/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Flanders", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/46.36_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/46.36_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/46.36_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/46.36_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14441", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5061, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5061", "Disp_Access_No" : "1977.103", "_AccNumSort1" : "", "Disp_Create_DT" : "1633-1637", "_Disp_Start_Dat" : "1633", "_Disp_End_Date" : "1637", "Disp_Title" : "Portrait of a Man Holding the Frontispiece to Dürer's "Small Passion"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Pietro Paolini", "Sort_Artist" : "Paolini, Pietro", "Disp_Dimen" : "49 3/4 x 40 3/4 in. (126.4 x 103.5 cm)", "Disp_Height" : "49 3/4 in.", "Disp_Width" : "40 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Italy", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.103_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.103_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.103_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.103_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "38884", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rescanned from TR1 to create a file of a size suitable for publication.", "View" : "" } , ] },{ "embark_ID" : 6560, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6560", "Disp_Access_No" : "1961.27", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1625", "_Disp_Start_Dat" : "1626", "_Disp_End_Date" : "1635", "Disp_Title" : "Ulysses Landing on the Island of the Phaeacians", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Peter Paul Rubens", "Sort_Artist" : "Rubens, Peter Paul", "Disp_Dimen" : "67 x 99 in. (170.2 x 251.5 cm)", "Disp_Height" : "67 in.", "Disp_Width" : "99 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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]", "Dedication" : "Gift of Dr. and Mrs. Fred W. Geib", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Flanders", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/61.27_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/61.27_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/61.27_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/61.27_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "21381", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "shot onsite 9/20/05", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/61.27_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/61.27_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/61.27_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/61.27_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "21430", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "shot onsite 9/20/05", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/61.27_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/61.27_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/61.27_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/61.27_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "21446", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "shot onsite 9/20/05", "View" : "" } , ] },{ "embark_ID" : 5049, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5049", "Disp_Access_No" : "1953.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1630-1635", "_Disp_Start_Dat" : "1630", "_Disp_End_Date" : "1635", "Disp_Title" : "Two Musicians", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bernardo Strozzi", "Sort_Artist" : "Strozzi, Bernardo", "Disp_Dimen" : "45 5/8 x 47 7/8 in. (115.9 x 121.6 cm)", "Disp_Height" : "45 5/8 in.", "Disp_Width" : "47 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Italy", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per catalogue raisonne, one of eighteen versions of this scene.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.8_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "15969", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.8_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.8_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.8_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.8_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "29168", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from a 1999 transparency shot by James Via. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , ] },{ "embark_ID" : 4262, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4262", "Disp_Access_No" : "1938.28", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1605 - 1610", "_Disp_Start_Dat" : "1605", "_Disp_End_Date" : "1610", "Disp_Title" : "The Apparition of the Virgin to St. Hyacinth", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Domenikos Theotocopoulos", "Sort_Artist" : "Theotocopoulos, Domenikos", "Disp_Dimen" : "39 3/8 x 24 3/8 in. (100 x 61.9 cm)", "Disp_Height" : "39 3/8 in.", "Disp_Width" : "24 3/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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. ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Spain", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/38.28_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/38.28_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/38.28_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/38.28_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14438", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5048, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5048", "Disp_Access_No" : "1964.110", "_AccNumSort1" : "", "Disp_Create_DT" : "17th Century - early 18th Century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1732", "Disp_Title" : "Still Life with Quince", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Italian artist", "Sort_Artist" : "Italian artist", "Disp_Dimen" : "27 1/2 x 43 in. (69.9 x 109.2 cm)", "Disp_Height" : "27 1/2 in.", "Disp_Width" : "43 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. and Mrs. Fred W. Geib", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Italy", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.110_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.110_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.110_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.110_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "22379", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG v. 56", "View" : "" } , ] }, ] }