{ "objects" : [ { "embark_ID" : 8614, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8614", "Disp_Access_No" : "1975.35", "_AccNumSort1" : "", "Disp_Create_DT" : "1505", "_Disp_Start_Dat" : "1505", "_Disp_End_Date" : "1505", "Disp_Title" : "The Great Horse", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Albrecht Dürer", "Sort_Artist" : "Dürer, Albrecht", "Disp_Dimen" : "6 9/16 x 4 3/4 in. (16.7 x 12.1 cm)", "Disp_Height" : "6 9/16 in.", "Disp_Width" : "4 3/4 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "laid paper", "Disp_Medium" : "Engraving on laid paper", "Info_Page_Comm" : "With his extensive knowledge of science, anatomy, and the natural world, Albrecht Dürer epitomized the ideals of the Renaissance. He was the greatest artistic genius of his time and essentially changed the conception of printmaking in Germany. Dürer learned the techniques for engraving from his family of goldsmiths, but was later apprenticed to Michael Wolgemut, a well-known Nuremberg painter and maker of woodcuts. He was uniquely placed to learn and work in engraving, woodcut, and painting, although without his brilliance, these opportunities would have been unfulfilled. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.35_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.35_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.35_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.35_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38873", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8845, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8845", "Disp_Access_No" : "1975.45", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Women's Bath", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hans Springinklee", "Sort_Artist" : "Springinklee, Hans", "Disp_Dimen" : "8 3/4 x 9 3/16 in. (22.2 x 23.3 cm)", "Disp_Height" : "8 3/4 in.", "Disp_Width" : "9 3/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "laid paper", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "Reverse copy after a drawing by Albrecht Dürer. Public baths for both men and women enjoyed great popularity in Renaissance Germany; women’s baths in particular were frequent subjects of artists like Albrecht Dürer and his followers. Images of female nudity often carried erotic overtones, as seen here in the woman at center, who gazes directly at the viewer while turning her body in a frontal pose. These depictions of the female nude sometimes carried moral and menacing messages, as they were also used to portray women as prostitutes and witches. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.45_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.45_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.45_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.45_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39123", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 9974, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9974", "Disp_Access_No" : "1939.2", "_AccNumSort1" : "", "Disp_Create_DT" : "probably 1520s", "_Disp_Start_Dat" : "1520", "_Disp_End_Date" : "1520", "Disp_Title" : "Chasuble", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Spanish", "Sort_Artist" : "Unknown, Spanish", "Disp_Dimen" : "52 1/2 x 29 in. (133.4 x 73.7 cm)", "Disp_Height" : "52 1/2 in.", "Disp_Width" : "29 in.", "Dimen_Extent" : "", "Medium" : "Embroidery", "Support" : "velvet", "Disp_Medium" : "Fabric, gold and silk embroidery", "Info_Page_Comm" : "A chasuble is the outer garment worn by a priest or bishop when celebrating the Mass, the core sacred ritual of the Roman Catholic faith. The embroidered bands down the front and back, called orphreys, depict events from the life of the Virgin Mary. Clues to the origin and date of the chasuble emerge from both the medium and the design of the orphreys. While the gold thread and velvet suggest a Spanish origin, the designs themselves have been attributed to the famous Flemish artist Jan Gossaert. The designs may have been commissioned by a Spanish patron. Such an alliance is well imaginable, as during the 1520s both Spain and the Netherlands were ruled by the Hapsburg family; trade, both artistic or mercantile, flourished between the two territories. 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