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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Piante Varie Description An account of the resource This is a collection of drawings of various plants all done by Garzoni (1650). Known for her still-life pieces, Garzoni hones in on the individual plant, examining shape and form of real plant anatomy. This book contains 50 different plants that Garzoni drew. Each plant is drawn with scientific accuracy and is similar to that of a scientific observation journal, where scientists go into the field and examine species. By working for families of power such as the Medici, Garzoni is able to flex her attention to detail by drawing and painting exotic plants that many others would not have access to. Each piece is accompanied by its species, so that they may be identified at later viewing. Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived Garzoni, Giovanna. “Giovanna Garzoni.” Harvard Mirador Viewer. Accessed October 12, 2021. https://iiif.lib.harvard.edu/manifests/view/drs:45882947$16i. Lambert, Craig. “Centuries of Flowers.” Harvard Magazine, August 30, 2016. https://www.harvardmagazine.com/2013/11/centuries-of-flowers. Rare Book Digitization Project. “[Piante Varie].” Dumbarton Oaks, August 19, 2020. https://www.doaks.org/resources/rare-books/piante-varie. Date A point or period of time associated with an event in the lifecycle of the resource 1650 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Paper Book Type The nature or genre of the resource Drawings in book Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Dumbarton Oaks Research Library, Harvard University, Washington D.C., United States https://baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Dish_with_Decoration_of_Oxen_and_Cherry_Blossoms/Dish_with_Decoration_of_Oxen_and_Cherry_Blossoms.jpg 09ad0aa99d163ea450a1e7cb6d4c0db2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Ceramic dish Physical Dimensions The actual physical size of the original image Height 7.9 cm; Diameter 35.9 cm; Diameter of foot: 22.5 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dish with Decoration of Oxen and Cherry Blossoms Subject The topic of the resource Comparison object to Giovanna Garzoni's <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/giovanna-garzoni/item/227" target="_blank" rel="noreferrer noopener">Dog with a Biscuit and a Chinese Cup</a> Description An account of the resource Dish with Decoration of Oxen and Cherry Blossoms relates to Giovanna Garzoni’s Dog with a Biscuit and a Chinese Cup as an example of the type of ceramic ware that Garzoni came into contact with and depicted in her artwork. As a court artist for the Medici family, Garzoni had access to the Medici family’s vast collection of objects from around the world, including Ming-era porcelain [5]. The presence of Chinese-style objects can be seen in several Garzoni still life paintings, including Dog with a Biscuit and a Chinese Cup. This particular porcelain dish is similar in subject matter and stylistic rendering to the cup pictured in Garzoni’s Dog with a Biscuit and a Chinese Cup. Both the dish and the cup are white porcelain and include depictions of nature, with both featuring butterflies and flowering plants as subjects. Additionally, the painting method utilized in Garzoni’s painting of the cup is similar to the style of painting seen in the Ming-era dish. The ornamentation on Garzoni’s Chinese cup demonstrates the great care and detail she took to emulate the painting style characteristic of Ming-era porcelain. Dish with Decoration of Oxen and Cherry Blossoms is a porcelain dish made during the Ming dynasty (1368-1644) sometime between 1615 and 1630 [6]. The dish’s height is 7.9 cm, its diameter is 35.9 cm, and the diameter of the dish’s foot is 22.5 cm. The dish is characterized as Jingdezhen (a city located in the northeastern Jiangxi province of China) porcelain based on the method of painting, which involves porcelain painted in underglaze cobalt blue over white slip [7]. The cobalt blue glaze is used in two-dimensional depictions of nature, including oxen, cherry blossoms, plants, and butterflies around the dish. Creator An entity primarily responsible for making the resource Artist/maker unknown, Chinese Source A related resource from which the described resource is derived [5] Barker, Sheila, and Sheila Barker. “The Universe of Giovanna Garzoni. Art, Mobility, and the Global Turn in the Geographical Imaginary.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 16–29. Sillabe, 2020. [6] Dish with Decoration of Oxen and Cherry Blossoms. Images, n.d. <a href="https://jstor.org/stable/community.18400505">https://jstor.org/stable/community.18400505</a>. [7] Britannica, T. Editors of Encyclopaedia. "Jingdezhen." Encyclopedia Britannica, November 30, 2017. <a href="https://www.britannica.com/place/Jingdezhen">https://www.britannica.com/place/Jingdezhen</a>. Publisher An entity responsible for making the resource available The Metropolitan Museum of Art Dish with Decoration of Oxen and Cherry Blossoms. Images, n.d. <a href="https://jstor.org/stable/community.18400505" target="_blank" rel="noreferrer noopener">https://jstor.org/stable/community.18400505</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1615-1630; Ming dynasty (1368-1644) Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource The Metropolitan Museum of Art Purchase, 2006 Benefit Fund, 2007 2007.295 Format The file format, physical medium, or dimensions of the resource Height 7.9 cm; Diameter 35.9 cm; Diameter of foot: 22.5 cm Type The nature or genre of the resource Ceramic dish Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art, New York City, United States of America Relation A related resource <a href="https://baroque.dahvc.org/fall-2021/items/show/227" target="_blank" title="Dog with a Biscuit and a Chinese Cup" rel="noreferrer noopener">Dog with a Biscuit and a Chinese Cup</a> ceramics chinese ming porcelain https://baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Self-portrait_as_Apollo/Self.jpg d55134c1bfa6324bcf194ff8da7a3ea0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting; tempera on parchment, laid down on linen Physical Dimensions The actual physical size of the original image 42 x 33 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Self-portrait as Apollo Subject The topic of the resource Giovanna Garzoni's Self-portrait as Apollo Description An account of the resource Giovanna Garzoni's Self-portrait as Apollo. Signed on the instrument: “Giovanna Garzoni F” Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived Garrard, Mary D. “Intersections in the Careers of Artemisia Gentileschi and Giovanna Garzoni.” Art Herstory. Art Herstory, September 25, 2021. https://artherstory.net/two-of-a-kind-garzoni-and-gentileschi/. Date A point or period of time associated with an event in the lifecycle of the resource circa 1618-1620 Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource Palazzo del Quirinale, Rome. Format The file format, physical medium, or dimensions of the resource 42 x 33 cm Type The nature or genre of the resource Painting; tempera on parchment, laid down on linen Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Segretariato Generale della Repubblica, Palazzo del Quirinale, Rome, Italy Publisher An entity responsible for making the resource available Garrard, Mary D. “Intersections in the Careers of Artemisia Gentileschi and Giovanna Garzoni.” Art Herstory. Art Herstory, September 25, 2021. https://artherstory.net/two-of-a-kind-garzoni-and-gentileschi/. garzoni painting self-portrait tempera https://baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Dog_with_a_Biscuit_and_a_Chinese_Cup/Dog_with_a_Biscuit_and_a_Chinese_Cup.jpg f6bcdec55be8b603c0e8b9ee5a736c72 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting; tempera on vellum Physical Dimensions The actual physical size of the original image 27.5 cm x 39.5 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dog with a Biscuit and a Chinese Cup Description An account of the resource Dog with a Biscuit and a Chinese Cup was painted by Giovanna Garzoni in 1648. The work is a tempera painting on vellum that measures 27.5 x 39.5 centimeters [1]. Between the years 1642 to 1651, Garzoni worked as a court artist for the Medici Grand Dukes in Florence [2]. This particular painting was commissioned by Vittoria della Rovere, Grand Duchess of Tuscany and wife of Grand Duke Ferdinando II de’Medici [3]. This still life painting depicts a small English lap dog perched on a red tablecloth-covered table next to a Chinese cup and two biscuits. Two house flies sit atop the biscuits that are surrounded by crumbs. The inclusion of the house flies suggest that this still life scene is a brief moment captured in time. Dog with a Biscuit and a Chinese Cup demonstrates a common practice of Garzoni’s, depicting contrasts between the exotic and the common. The English lap dop and the Chinese cup are foreign elements that indicate the reach of the Medici family beyond Italy’s borders, enabling the collecting of animals and objects from other countries [4]. The white porcelain cup is ornamented with paintings of shadowless butterflies and plants reminiscent of traditional Ming dynasty ceramic painting. Garzoni’s imitation of the Ming dynasty painting style further demonstrates a distinction between exotic and common. Garzoni’s flat depiction of nature shown in the cup contrasts with the highly realistic rendering of the houseflies on the biscuits. The differences in painting methods showcase Garzoni’s understanding of the varying painting practices she encountered, including the shadowless Chinese painting and the trompe l’oeil painting common in Europe. Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived [1] Giovanna Garzoni. Dog with a Biscuit and a Chinese Cup. Images, n.d. <a href="https://jstor.org/stable/community.14497273" target="_blank" rel="noreferrer noopener">https://jstor.org/stable/community.14497273</a>. [2] "Garzoni, Giovanna." Benezit Dictionary of Artists. 31 Oct. 2011; Accessed 12 Oct. 2021. <a href="https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00071138" target="_blank" rel="noreferrer noopener">https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00071138</a>. [3] “Canina Con Biscotti e Tazza Cinese Di Giovanna Garzoni - Finestre Sull'Arte, Podcast Di Storia Dell'Arte.” Finestre sull'Arte. Finestre sull'Arte, October 1, 2014. <a href="https://www.finestresullarte.info/operadelgiorno/2014/297-giovanna-garzoni-canina-con-biscotti-e-tazza-cinese.php" target="_blank" rel="noreferrer noopener">https://www.finestresullarte.info/operadelgiorno/2014/297-giovanna-garzoni-canina-con-biscotti-e-tazza-cinese.php</a>. [4] Barker, Sheila, and Sheila Barker. “The Universe of Giovanna Garzoni. Art, Mobility, and the Global Turn in the Geographical Imaginary.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 16–29. Sillabe, 2020. Date A point or period of time associated with an event in the lifecycle of the resource 1648 Contributor An entity responsible for making contributions to the resource Kayla Marr Type The nature or genre of the resource Painting; tempera on vellum Publisher An entity responsible for making the resource available Commissioned by Vittoria della Rovere. Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y., <a href="http://www.artres.com/c/htm/Home.aspx" target="_blank" rel="noreferrer noopener">http://www.artres.com/c/htm/Home.aspx</a>, <a href="http://www.scalarchives.com" target="_blank" rel="noreferrer noopener">http://www.scalarchives.com</a> Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource 27.5 x 39.5 cm Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Pitti, Galleria Palatina, Florence, Italy, Inv. 1890 n. 4770 Relation A related resource <a href="https://baroque.dahvc.org/fall-2021/items/show/229" target="_blank" title="Dish with Decoration of Oxen and Cherry Blossoms" rel="noreferrer noopener">Dish with Decoration of Oxen and Cherry Blossoms</a> dog garzoni painting still life