{ "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. 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(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" : 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. 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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. 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