2 10 12 https://baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_Religious_Works/The_Angel_Appearing_to_Saint_Jerome/Guido_Reni_-_The_Angel_Appearing_to_St._Jerome_-_69.6_-_Detroit_Institute_of_Arts.jpg a704a320e1ce97b9ae14491e04931e17 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen 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 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 The Angel Appearing to Saint Jerome Creator An entity primarily responsible for making the resource Guido Reni Source A related resource from which the described resource is derived Pepper, D. Stephen. “The Angel Appearing to Saint Jerome by Guido Reni, a New Acquisition.” Bulletin of the Detroit Institute of Arts 48, no. 2 (1969): 26–35. http://www.jstor.org/stable/23182587. Pepper, D. Stephen. 1984. Guido Reni: a complete catalogue of his works with an introductory text. New York: New York University Press. Mahon, Denis, and Stephen Pepper. “Guercino and Reni: Reflections on the Interpretation of Documents and Paintings.” The Burlington Magazine 139, no. 1128 (1997): 178–87. http://www.jstor.org/stable/887393. Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Guido Reni - The Angel Appearing to St. Jerome - 69.6 - Detroit Institute of Arts.jpg," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Guido_Reni_-_The_Angel_Appearing_to_St._Jerome_-_69.6_-_Detroit_Institute_of_Arts.jpg&oldid=364142968 (accessed October 13, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1638 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource Unframed: 199.7 × 147.9 cm Framed: 231.8 × 180.3 × 11.4 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant European Painting, Detroit Institute of Arts, Detroit, MI, United States Description An account of the resource This painting is a late work of Reni, demonstrating qualities of rapidity and self-assurance. At that time Reni had abandoned the smooth finish that had been characteristic of his earlier work in favor of a slightly looser and more animated surface. The abstract elegance of his previous canvases gives way to works that are perhaps less "perfect" but emotionally richer. In this work, the spiritual encounter between Saint Jerome and the angel is expressed by brilliant colors and an array of gestures that are theatrical without being melodramatic. St. Jerome sits before a cave, where he has withdrawn from worldly life to do penance and to prepare his commentaries and Latin translation of the Bible. In the midst of his labors an angel appears to assist his work. The Saint meditates upon the skull, which rests isolated on a shelf of stone. As a prominent reminder of the presence of death, it is particularly touching because of Reni's own advanced age when he created this work. The Saint rests his elbow on his books while he turns his face towards the beautiful messenger. The confrontation of the aged man, ruddy in complexion with thick shoulders and neck, and the luminous white youth whose golden tresses are stirred by his rapid movement, eloquently expresses the gulf that separates the mortal man from the divine messenger. Yet they face each other almost at eye level, which suggests an intimacy in their communication. Reni seemed to invent the representation of an angel appearing to St. Jerome while he is writing. Traditionally, an angel appears to St. Jerome in his study to chastise him for becoming a “Ciceronian,” which is a student devoted to the classics rather than a Christian. An angel appears to him a second time in the desert and blows the trumpet call for the Last Judgment. For the iconographically uncommon representation, Reni might have adopted Caravaggio’s first altarpiece of the subject for the Contarelli Chapel in S. Luigi dei Francesi. https://baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_Religious_Works/The_Immaculate_Conception/DT1138.jpeg 7902a95bafc02c7cc243e2ccf685ea52 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen 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 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 The Immaculate Conception Description An account of the resource In the eyes of G. B. Passeri, a contemporary biographer, Guido Reni was "the noblest, most majestic painter who ever lived- not only in my own opinion, but by common consent.” Reni, the most celebrated Italian painter of the seventeenth century, was particularly famous for the elegance of his compositions. He was also a master of painting beautiful female heads, earning him the epithet “Divine.” Reni’s Immaculate Conception is a documented work of historical importance and high quality. This altarpiece was commissioned in about 1627 by the Spanish ambassador in Rome for the Infanta of Spain. It later hung in the cathedral of Seville and exercised a deep influence on Spanish painters, especially Murillo. In this work, Reni was trying to paint a picture of the Virgin to satisfy his own vision of heaven. Mary’s Immaculate Conception had a long history since the Middle Ages with the meaning that Mary was free from original sin at her conception as opposed to her sinless conception of Christ. In the formal representation of the Immaculate Conception, one shows Mary before her life on earth. In this piece, Mary stands on the crescent moon with her upturned head and eyes directed towards heaven. Mary’s flawless features express her purity, and her hands devoutly joined in prayer. Seen against a golden aura, bordered by ethereal heads of putti (cherubim), she is adored by two angels, who gaze at her in reverence. Their upward gaze was a signature in Reni’s religious works, which is derived from Raphael’s Saint Cecilia. Wearing her traditional pink robe and blue mantle, Mary is crowned by a circle of twelve stars. The idealization in the faces, the cool hues of the draperies and clouds, the golden glow of the heavens, and the porcelain-like treatment of skin tones have made the work one of the prime early examples of what the seventeenth-century Bolognese biographer Carlo Cesare Malvasia wrote as Reni’s "secondo maniera," or second manner, where a blond tone and delicacy replace the more strongly modeled forms of his "first manner." Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Reni, Guido. “The Immaculate Conception,” 1627. The Metropolitan Museum of Art. New York, NY, United States. https://www.metmuseum.org/art/collection/search/437423. Date A point or period of time associated with an event in the lifecycle of the resource 1627 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 268 x 185.4 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Met Collection, Metropolitan Museum of Art, New York City, United States Source A related resource from which the described resource is derived Hibbard, Howard. “Guido Reni’s Painting of the Immaculate Conception.” The Metropolitan Museum of Art Bulletin 28, no. 1 (1969): 19–32. https://doi.org/10.2307/3258470. Pepper, D. Stephen. “Guido Reni’s Practice of Repeating Compositions.” Artibus et Historiae 20, no. 39 (1999): 27–54. https://doi.org/10.2307/1483573. Pepper, D. Stephen. “Guido Reni’s Early Drawing Style.” Master Drawings 6, no. 4 (1968): 364–431. http://www.jstor.org/stable/1552913.