1 10 149 https://baroque.dahvc.org/fall-2021/files/original/Bernini_s_Mythological_Sculptures/Neptune_and_Triton/Giovanni_Lorenzo_Bernini-Neptune_and_Triton-Victoria_and_Albert_Museum.jpg 38e3e4b08cfe6e36ab2d70f57f0bb1f0 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 Bernini's Mythological Sculptures Description An account of the resource Gian Lorenzo Bernini is considered to be one of the important artists from the Baroque period and is considered to be one of the most influential artists of all time. He was born in Naples in 1598 and from a young age was considered gifted in the arts. He was just eleven years old when his father, sculptor Pietro Bernini, brought him as a prodigy to Pope Paul V Borghese. His marble sculptures are his most celebrated works with groundbreaking biblical works like the “David” and “The Ecstacy of St. Theresa.” However, many of his most renowned sculptures, which encompass an earlier point in his career, include his mythological sculptures. Many of these sculptures depicted Green and Roman myths. During the baroque period, alongside several biblical works, we see a large number of mythological artworks– a continuity from the Renaissance period. Bernini’s works are no exception. His mythological sculptures are famous for their dynamic composition and emotional storytelling. Bernini was heavily inspired by many of the myths included in Ovid’s Metamorphoses. This collection explores ten notable mythological sculptures by Bernini and tackles to understand why Bernini was so intrigued by these myths and how he was able to communicate these myths through sculpture. Furthermore, on a broader scale, this collection will also explore the use of mythology in the Counter-Reformation period and its place in Baroque art. Contributor An entity responsible for making contributions to the resource Sofia Silvosa Creator An entity primarily responsible for making the resource Sofia Silvosa Source A related resource from which the described resource is derived Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Bacchi, Andrea, and Anna Coliva. Bernini. Milano: Officina Libraria srl, 2017. Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993. Strunck, Christina. "The poisoned present. A new reading of Gianlorenzo Bernini's Rape of Proserpina." (2014): 185-201. Dickerson, Claude Douglas, Anthony Sigel, Ian Wardropper, Andrea Bacchi, Tomaso Montanari, Steven F. Ostrow, and A. Lawrence Jenkens. Bernini: Sculpting in Clay. New York: The Metropolitan Museum of Art, 2012. Victoria and Albert Museum, Online Museum. “Bernini's Neptune and Triton.” 'Neptune and Triton' by Gianlorenzo Bernini. Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Telephone +44 (0)20 7942 2000. Email vanda@vam.ac.uk, August 22, 2013. http://www.vam.ac.uk/content/articles/n/berninis-neptune-and-triton/ Collier, William. “New Light on Bernini’s Neptune and Triton.” Journal of the Warburg and Courtauld Institutes 31 (1968): 438–40. https://doi.org/10.2307/750654. Date A point or period of time associated with an event in the lifecycle of the resource 1598-1680 Type The nature or genre of the resource Sculptures 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 Neptune and Triton Subject The topic of the resource Bernini's mythological sculpture depicting Neptune and Triton after a deluge. Description An account of the resource The breathtaking “Neptune and Triton” was completed by Bernini in 1622-3. It was commissioned by Alessandro Damascenti-Peretti Montalto. The sculpture was intended to be the focal point of his large fish pond at his villa. The sculpture is a dynamic piece that portrays the powerful Neptune and Triton. Neptune stands, holding his trident. Below him, we see Triton who blows on his conch to communicate to the four corners of the world. The figures' bodies are curved and have a commanding presence that dominates the space. The muscular figures underscore these gods’ power as they’re taking control of the deadly seas. Bernini portrays their movement as highly energetic which is communicated by the twisting, opposing directions of the two muscular bodies. Neptune’s cloak swirls in a playful motion as well. Many scholars have even pointed out that the end of the cloak takes on the form of a dolphin. The work follows Ovid’s depiction of a Roman myth in which Jupiter vows to destroy life on Earth. He calls out Neptune to create a flood, leading him to strike the earth with his trident and release a deluge. After the flood, Neptune calls Triton to blow his conch as a signal for the seas to calm. The dolphin imagery in the sculpture also harks back to Ovid’s passage in which it states that dolphins were seen romping in the wood at the beginning of the deluge. Furthermore, this imagery of transforming cloak and flesh further underscores Bernini’s metamorphosis themes. The cloak in a way metamorphoses into a marine animal. Interestingly, it can’t be neglected that this deluge story alludes to the biblical story of the Great Flood. Again we see how many of Bernini’s mythological works connect in some way to the biblical themes he would explore in his later works. Creator An entity primarily responsible for making the resource Giovanni Lorenzo Bernini Source A related resource from which the described resource is derived Collier, William. “New Light on Bernini’s Neptune and Triton.” Journal of the Warburg and Courtauld Institutes 31 (1968): 438–40. https://doi.org/10.2307/750654. Victoria and Albert Museum, Online Museum. “Bernini's Neptune and Triton.” 'Neptune and Triton' by Gianlorenzo Bernini. Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Telephone +44 (0)20 7942 2000. Email vanda@vam.ac.uk, August 22, 2013. http://www.vam.ac.uk/content/articles/n/berninis-neptune-and-triton/. Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Publisher An entity responsible for making the resource available Albert Museum Date A point or period of time associated with an event in the lifecycle of the resource 1622-23 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 182.2 cm Type The nature or genre of the resource Marble Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Victoria and Albert Museum of London https://baroque.dahvc.org/fall-2021/files/original/September_22/Votes_for_Women_Scarf/work.jpg 0e8a7d69d030d9091831fedd7093a2f2 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 September 22 Hyperlink A link, or reference, to another resource on the Internet. 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 Votes for Women Scarf Subject The topic of the resource A pristine silk scarf that was used in the suffragette movement. Description An account of the resource "This pristine silk motor scarf was sold in London before the Women's Social and Political Union's “Woman’s Sunday” March on 21 June 1908. The government had challenged the suffrage movement to show numbers, and more than 250,000 activists traveled to Hyde Park to join the demonstration. Women were urged to wear their colors and they flocked to stores for merchandise in the WSPU’s signature purple, white and green. Christabel Pankhurst noted that if the government still refused to act, the WSPU would be obliged to increase its militant actions."<br /><a href="https://exhibits.library.duke.edu/exhibits/show/baskin/item/4243" title="Description:">https://exhibits.library.duke.edu/exhibits/show/baskin/item/4243</a> Creator An entity primarily responsible for making the resource <span>Women’s Social and Political Union</span> Source A related resource from which the described resource is derived Women’s Social and Political Union, [“Votes for Women” scarf], [1908?], Lisa Unger Baskin Collection, Rubenstein Rare Book & Manuscript Library, Duke University. Accessed September 21, 2021, https://exhibits.library.duke.edu/exhibits/show/baskin/item/4243 Publisher An entity responsible for making the resource available Women’s Social and Political Union, [“Votes for Women” scarf], [1908?], Lisa Unger Baskin Collection, Rubenstein Rare Book & Manuscript Library, Duke University. Accessed September 21, 2021, https://exhibits.library.duke.edu/exhibits/show/baskin/item/4243 Date A point or period of time associated with an event in the lifecycle of the resource 1908 Contributor An entity responsible for making contributions to the resource Sofia Silvosa https://baroque.dahvc.org/fall-2021/files/original/Illusion_and_the_Baroque_Ceiling_Fresco/Glory_of_St._Ignatius_Loyola_and_the_Missionary_Work_of_the_Jesuit_Order/Pozzo_St_Ignatius_Loyola.jpg 8d537e729af1ba972cee3dbd9dc90ff1 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 Illusion and the Baroque Ceiling Fresco Description An account of the resource A collection of Italian Baroque ceiling frescoes demonstrating emerging techniques for painted illusion, such as di sotto in sù and quadratura. Creator An entity primarily responsible for making the resource Various artists Source A related resource from which the described resource is derived Enggass, Robert. “Bernini, Gaulli, and the Frescoes of the Gesù.” The Art Bulletin 39, no. 4 (1957): 303–5. https://doi.org/10.2307/3047734. "Illusionism." Grove Art Online. 2003; Accessed 13 Oct. 2021. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000039956. Lavergnee, Arnauld Brejon de. "The great illusionists." UNESCO Courier, September 1987, 30+. Gale OneFile: CPI.Q (accessed October 12, 2021). https://link.gale.com/apps/doc/A6133957/CPI?u=duke_perkins&sid=summon&xid=e32d1bb3. Wheeler, Katherine. “Fictive and Real Architecture: A Preliminary Drawing for Andrea Pozzo’s Vault Fresco at Sant’Ignazio, Rome.” Thresholds, no. 28 (2005): 100–153. http://www.jstor.org/stable/43876210. Publisher An entity responsible for making the resource available Various publishers Date A point or period of time associated with an event in the lifecycle of the resource Baroque period (1600-1750) Contributor An entity responsible for making contributions to the resource Eliza Henne Format The file format, physical medium, or dimensions of the resource Fresco/Stucco Type The nature or genre of the resource Ceiling frescoes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Various locations 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. 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 Glory of St. Ignatius Loyola and the Missionary Work of the Jesuit Order Description An account of the resource Ceiling fresco by Andrea Pozzo in the church of Sant' Ignazio Creator An entity primarily responsible for making the resource Andrea Pozzo (1642-1709) Source A related resource from which the described resource is derived Pozzo, Andrea, Italian, 1642-1709, (painter). 1688-1694. Interior, nave vault, fresco: Glory of St. Ignatius Loyola and the Missionary Work of the Jesuit Order, Larger Entity: S. Ignazio, Paintings. Church. Place: Current: Rome, Italy. https://library.artstor.org/asset/APINTOIG_10313945391. Publisher An entity responsible for making the resource available Pozzo, Andrea, Italian, 1642-1709, (painter). 1688-1694. Interior, nave vault, fresco: Glory of St. Ignatius Loyola and the Missionary Work of the Jesuit Order, Larger Entity: S. Ignazio, Paintings. Church. Place: Current: Rome, Italy. https://library.artstor.org/asset/APINTOIG_10313945391. Date A point or period of time associated with an event in the lifecycle of the resource 1688-94 Contributor An entity responsible for making contributions to the resource Eliza Henne Format The file format, physical medium, or dimensions of the resource Stucco/fresco Type The nature or genre of the resource Ceiling fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Sant’ Ignazio, Rome, Italy Rights Information about rights held in and over the resource For uses of Licensor's Images beyond those permitted by Artstor, please contact: Visual Resources Collection, Princeton University, Dept. of Art and Archaeology, 207 McCormick Hall, Princeton, NJ 08544-1018; Tel No: (609) 258-3776; Email: visres@princeton.edu Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. https://baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Flora_ouero_Cultura_di_fiori/Screen_Shot_2021-10-11_at_9.22.32_PM.png fada59819bb5b8cd894252fccc957f7e 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. 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 Flora, ouero, Cultura di fiori Description An account of the resource Anna Maria Vaiani is another female artist who did floral designs. In Giovanni Battista Ferrari’s piece on gardening, Flora, ouero, Cultura di fiori, (1638) Vaiani etched many of the floral designs. Like Garzoni, her designs played on anatomy of plants with elements of whimsy, to create pieces that were dynamic and alluring. Vaiani learned etching from her father, Alessandro Vaiani. She is known for her botanical etchings, much like the one presented in this book. Both Vaiani and Garzoni led lives as pioneers, where they were some of the first women to create these botanically accurate pieces, that brought inspiration for not only other female artists, but also male artists to explore this approach. Creator An entity primarily responsible for making the resource Anna Maria Vaiani Giovanni Battista Ferrari Source A related resource from which the described resource is derived “Anna Maria Vaiani ?-1655.” Gonville &amp; Caius, December 4, 2019. https://www.cai.cam.ac.uk/discover/library/online-exhibitions/her-book/printers/anna-maria-vaiani-1655. Ferrari, Giovanni Battista, Flora, ouero, Cultura di fiori, Rome: Pier. ‘Ant. Facciotti, 1638, Lisa Unger Baskin Collection, Rubenstein Rare Book & Manuscript Library, Duke University. Accessed October 07, 2021, https://exhibits.library.duke.edu/exhibits/show/baskin/item/3987 “Flora, Ouero, Cultura Di Fiori.” Duke Library Exhibits. Accessed October 13, 2021. https://exhibits.library.duke.edu/items/show/3987. Publisher An entity responsible for making the resource available Pier. ‘Ant. Facciotti 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 Jacob Carnes Format The file format, physical medium, or dimensions of the resource Paper book, pen, etching 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 Lisa Unger Baskin Collection, Duke University, Durham, United States Type The nature or genre of the resource Etching in a book https://baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Hercules_Guided_by_Virtue/Annibale_Carracci_Ercole_guidato_dalla_Virtu_Palazzo_Sampieri_Bologna.png 858e22284de2ace5a62c8bc5dead8471 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. 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 Hercules Guided by Virtue Creator An entity primarily responsible for making the resource Annibale Carracci Source A related resource from which the described resource is derived Cordellier, Dominique. “Guido Reni’s ‘Separation of Day and Night.’” The Burlington Magazine 129, no. 1007 (1987): 81–82. http://www.jstor.org/stable/882779. Eugenio Riccomini, L'Ercole trionfante. I tre Carracci a Casa Sampieri, Bologna, 2006. Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Annibale Carracci Ercole guidato dalla Virtù, Palazzo Sampieri Bologna.png," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Annibale_Carracci_Ercole_guidato_dalla_Virt%C3%B9,_Palazzo_Sampieri_Bologna.png&oldid=573951464 (accessed December 10, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1593-94 Contributor An entity responsible for making contributions to the resource Jenny Chen Type The nature or genre of the resource Fresco 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 Sampieri, Bologna Description An account of the resource The Palazzo Sampieri frescoes are a set of paintings by Annibale, Agostino and Ludovico Carracci in the Palazzo Sampieri in Bologna. They form the last surviving collection of works by the three artists. Hercules Guided by Virtue is the ceiling fresco of the Palazzo Sampieri. The scheme was commissioned by Astorre Sampieri, young abbot of Santa Lucia di Roffeno, member of a powerful family which had been promoted to senatorial rank in 1590.He had arrived back in the city shortly before commissioning the work from the three artists, already noted for their Life of Aeneas and Lives of Jason and Medea frescoes at the Palazzo Fava and their Scenes from the Foundation of Rome frescoes at the Palazzo Magnani,both in Bologna. Those schemes were all friezes, but at the Palazzo Sampieri they planned three large ceiling scenes and three large scenes over fireplaces in each room.The reasons for this choice are unknown - Astore Sampieri may have wanted something different from the norm or the low rooms may simply not have lent themselves to friezes. None of the three artists had previous experience of the "sottinsù" (upside-down) technique the scheme would require, but Annibale and Agostino had frequently seen and admired examples of it in palazzi and churches in Venice by artists such as Veronese and Tintoretto, artists personally known to Agostino. https://baroque.dahvc.org/fall-2021/files/original/Apollo_and_Daphne/1200px-Piero_del_Pollaiolo_[attr.]_Apollo_and_Daphne.jpg f2d0cbbdaf0360276276927c03b6a319 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 Apollo and Daphne Creator An entity primarily responsible for making the resource Antonio del Pollaiuolo, Piero del Pollaiolo Description An account of the resource Antonio del Pollaiuolo's Early Rennaisance depiction of the Apollo and Daphne myth. Source A related resource from which the described resource is derived Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993 Freedman, Luba. “‘Apollo and Daphne' by Antonio del Pollaiuolo and the Poetry of Lorenzo De' Medici.” Memoirs of the American Academy in Rome 56/57 (2011): 213–42. http://www.jstor.org/stable/24616442 Barolsky, Paul. Ovid and the Metamorphoses of Modern Art from Botticelli to Picasso. New Haven, Connecticut: Yale University Press, 2014. Publisher An entity responsible for making the resource available Ovid and the Metamorphoses of Modern Art from Botticelli to Picasso Date A point or period of time associated with an event in the lifecycle of the resource 1470-80 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 29.5 x 20 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 National Gallery, London, UK https://baroque.dahvc.org/fall-2021/files/original/Antonio_Moro_s_Self_Portrait/Anthonis_Mor_Self_Portrait_1558.jpg 7fbf0df62e8d55c6c41276f3c1a70c87 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 Antonio Moro's Self Portrait Subject The topic of the resource Comparison piece to Gentileschi's Self-Portrait Description An account of the resource In the 1500s, there was a rise of artworks that represented this theme of the allegory of art or "pittura." It's crucial to understand that before the sixteenth century painting was not considered a liberal art and was not considered an intellectual pursuit. Thus, in the Rennaisance period, we see a movement to push for the art of painting to be considered a liberal art and to be considered a valuable, sophisticated endeavor. Thus many artists began to create paintings that glorified the art of painting; it was a form of propagandizing the status of art and at the same time glorified the artist themselves. Many artists did this through self-portraits which functioned to glorify their status as artists and showed them in the act of painting. An example of this is Antonio Moro's "Self-Portrait" from 1558. In this work, the artist is shown standing before his easel. He holds his paint brushed and easel with one hand and gazes at us. He stands before a blank canvas and wears sophisticated, fine clothes. Creator An entity primarily responsible for making the resource Antonio Moro Source A related resource from which the described resource is derived Garrard, Mary D. “Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting.” The Art Bulletin 62, no. 1 (1980): 97–112. https://doi.org/10.2307/3049963. Mary D. Garrad’s piece “Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting.” analyzes the historical significance behind Gentileschi’s painting “Self Portrait as the Allegory of Painting.'' Gerrad argues that with this piece, Gentileschi was able to accomplish an art feat that no male artist could ever achieve. In the Renaissance, the allegory of painting was depicted as a female figure who represented the tradition of painting. Here, in this piece, paints herself as the allegory of painting, arguing that she symbolizes the art of painting itself. Many men tried to do this with their own self-portraits but because of their gender, they could never directly represent themselves as the allegory of painting like Gentileschi. She argues this point by comparing different male self-portraits from artists like Titian and Antonio Mario to Gentlischi’s self-portraits, explaining the greater success of Gentileschi's portrait. Fredericksen, Burton B. “A New Portrait by Anthonis Mor.” The J. Paul Getty Museum Journal 6/7 (1978): 13–22. http://www.jstor.org/stable/4166384. Woodall, Joanna. Anthonis Mor: art and authority. Brill, 2016. Publisher An entity responsible for making the resource available Wikimedia Commons Date A point or period of time associated with an event in the lifecycle of the resource 1558 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource Height (113 cm); Width (84 cm) Type The nature or genre of the resource Oil 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 Uffizi Gallery https://baroque.dahvc.org/fall-2021/files/original/Self_Portrait_as_the_Allegory_of_Painting/Self-portrait_as_the_Allegory_of_Painting_[La_Pittura]_-_Artemisia_Gentileschi-1.jpg 85d064a92b28ebe7eaf8d9016e56e483 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 the Allegory of Painting Subject The topic of the resource Self-portrait of Artemisia Gentlileschi. She portrays herself in the act of painting. Description An account of the resource In this work, Gentileschi depicts herself in the act of painting. Gentileschi most likely completed this painting during her brief English sojourn (1638-c.1641) where she was invited by Charles I to join her father Orazio Gentileschi who had been working in London since 1926. We see Gentileschi engaging in painting with a brush on one hand and an art palette on the other. She is shown wearing a gold chain and wears a green garment with paint splatters, alluding to her dedication as an artist. She is surrounded by a brown background which could represent the blank canvas she's about to draw on. Gentileschi depicts herself as the embodiment of the allegory of art. Here, Gentileschi follows the Iconologia of Cesare Ripa, an influential emblem book of the time that represented the art of painting as a beautiful woman "with full black hair" wearing a "chain of gold at her throat which hangs a mask, and has written in front imitation." She applies these descriptions of the art of painting in her self-portrait. She's drawn with unruly locks of hair which represent her frenzied, passionate state as an artist Creator An entity primarily responsible for making the resource Artemisia Gentileschi Source A related resource from which the described resource is derived Garrard, Mary D. “Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting.” The Art Bulletin 62, no. 1 (1980): 97–112. https://doi.org/10.2307/3049963 Mary D. Garrad’s piece “Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting.” analyzes the historical significance behind Gentileschi’s painting “Self Portrait as the Allegory of Painting.'' Gerrad argues that with this piece, Gentileschi was able to accomplish an art feat that no male artist could ever achieve. In the Renaissance, the allegory of painting was depicted as a female figure who represented the tradition of painting. Here, in this piece, paints herself as the allegory of painting, arguing that she symbolizes the art of painting itself. Many men tried to do this with their own self-portraits but because of their gender, they could never directly represent themselves as the allegory of painting like Gentileschi. She argues this point by comparing different male self-portraits from artists like Titian and Antonio Mario to Gentlischi’s self-portraits, explaining the greater success of Gentileschi's portrait “Artemisia Gentileschi (Rome 1593-Naples 1652) - Self-Portrait as the Allegory of Painting (La Pittura).” Royal Collection Trust. Accessed October 12, 2021. https://www.rct.uk/collection/405551/self-portrait-as-the-allegory-of-painting-la-pittura. The National Gallery, London. “Artemisia Gentileschi.” The National Gallery. Accessed October 12, 2021. https://www.nationalgallery.org.uk/artists/artemisia-gentileschi. Publisher An entity responsible for making the resource available The National Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1638-9 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 114.5 x 90.4 x 7.6 cm (frame, external) Type The nature or genre of the resource Oil 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 British Loyal Collection https://baroque.dahvc.org/fall-2021/files/original/Esther_before_Ahasuerus_/Esther_before_Ahasuerus_.jpeg f5145652367583b13f8f07166bcfa2cf 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 Esther before Ahasuerus Description An account of the resource Considered to be one of the most ambitious paintings in Gentileschi’s œuvre, Esther before Ahasuerus exemplifies her success as a female baroque artist. The Old Testament Story referenced here is that of Queen Esther and her husband, Ahasuerus, the King of Persia. The story says that the two were married after his previous wife, Vashti, had offended him. He was unaware of Esther’s jewish faith, and she soon found out that a royal decree to massacre all jews in the Persian empire had been issued. Esther approached the King without a granted request, a crime punishable by death. The imagery of Artemisia’s version falls closely in line with the expanded Greek version of the original Old Testament text, which is quite likely, as it had achieved conical status at the Council of Trent in 1546. Within this text, Esther is described as having “sank to the floor. As she fainted, the color drained from her face and her head fell against the lady-in-waiting beside her. But God changed the king's heart, inducing a milder spirit. He sprang from his throne in alarm and took her in his arms until she recovered, comforting her with soothing words,” [1]. We can see this image come to life in her work as Esther swoons, leaning in fear on one of her maids, and King Ahasuerus is in the midst of rising from his throne, his left foot descending down the dais. Many Notable scholars date this painting to have been created around 1630, just at the end, or after her sojourn in Venice [2]. Considering their striking similarities, it is thought that Artemisia was familiar with Paolo Vernese’s rendition of Esther et Assuérus (Musée du Louvre, Paris), as it belonged to a private collection in Venice at the same time. The circular, tiered dais of the throne, the positioning of Esther’s left hand and the physical relationship of Esther to her maidens are among the similarities. 1. Metmuseum.org. Accessed October 13, 2021. https://www.metmuseum.org/art/collection/search/436453. 2. Och, Marjorie, ed. “Woman's Art Journal, No.1 (2016) 65-66.” Old City Publishing, Inc. Accessed October 13, 2021. http://www.jstor.org/stable/26452063. Creator An entity primarily responsible for making the resource Artemisia Gentileschi (Italian, born Rome 1593–died Naples 1654 or later) Source A related resource from which the described resource is derived Mann, Judith W. “‘Identity Signs: Meanings and Methods in Artemisia Gentileschi’s Signatures.’ Renaissance Studies 23, No. 1 (2009): 71–107.” JSTOR. Accessed October 10, 2021. http://www.jstor.org/stable/24417558. Metmuseum.org. Accessed October 13, 2021. https://www.metmuseum.org/art/collection/search/436453. Och, Marjorie, ed. “Woman's Art Journal, No.1 (2016) 65-66.” Old City Publishing, Inc. Accessed October 13, 2021. http://www.jstor.org/stable/26452063. In this article for the Woman’s Art Journal, Marjorie Och discusses Gentileschi’s work through the lens of Jesse Locker’s Artemisia Gentileschi: The Language of Painting. Och organizes the article by taking us through each of Locker’s six chapters, allowing her to touch on many of Locker’s points, including Artemisia’s diplomatic significance in the Papal Court. She quotes Locker in saying that “her talents were utilized in an elaborate series of favors,” as she would often change her style to address her patron’s interests. Most emphasized, however, are Locker’s observed gender dynamics within the Venetian literary environment and how they translated to Artemisia’s work. She comments that although the literary environment of the time, in which Gentileschi flourished, was interested in “the clever woman,” inherent misogyny and the inability to view women as anything but sexual objects stunted their ability to be considered intellectual equals of men. Gentileschi, however, ennobles women in her work, portraying them next to foolish men to emphasize their superiority. This notion is illustrated through her rendition of Esther before Ahasuerus. By comparing her version to that of Veronese, it is clear that Gentileschi studied and rejected his depiction of the King and Queen. She rides the composition of supporting figures, focusing solely on Esther and Ahasuerus. She makes the decision to depict the King in a comedic, theatrical dress, emphasizing the competency of the Queen. In terms of significance, Och’s article is not argumentative, rather it explores and expands on Locker’s ideas and assertions by quoting his work and also using rich imagery to bring his ideas to light. In addition, a photo of Esther before Ahasuerus is set forth, further contextualizing the painting’s discussion.  Date A point or period of time associated with an event in the lifecycle of the resource c. 1630 Contributor An entity responsible for making contributions to the resource Rebecca Boss Rights Information about rights held in and over the resource Public Domain. Relation A related resource Esther et Assuérus Date de création/fabrication : XVIe siècle (1500 - 1600) Paolo Caliari, dit Veronese Caliari, Benedetto, Italie, École de Format The file format, physical medium, or dimensions of the resource Oil on canvas 208.3 × 273.7 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 Currently on view at The Metropolitan Museum of Art Fifth Avenue, Gallery 621 Gifted to the Met by Elinor Dorrance Ingersoll, 1969 https://baroque.dahvc.org/fall-2021/files/original/Artemisia_Gentileschi_and_Le_Donne_Forti_Reinterpretation_of_Myth/Judith_and_her_Maidservant/x10471-1920px.jpg 218144a0e1dfc96b74a5519ef2640b0c 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 Judith and her Maidservant Subject The topic of the resource Judith and her Maidservant by Artemisia Gentileschi is an oil on canvas painting depicting the story of the heroine Judith killing Holofernes. Judith beheads the general Holofornes, as his head is seen in a basket in the lower left of the painting. Biblically speaking, Judith is able to behead Holofornes after he invites her into his home. After having a few too many drinks, Holofornes passes out and Judith takes advantage of the situation and beheads him. Description An account of the resource This painting was originally documented in 1638 to be in the possession of the Grand Duchess Maria Maddalena of Austria. This painting was based on Artemisia's fathers' artwork, "Judith and her maidservant with the head of Holofernes", c. 1608, by Orazio Gentileschi. They depicted the same story, but Artemisia had a more realistic representation of facial expression, and used a completely different color scheme. Artemisia was known to use these maroon and gold tones during her time in Florence. Additonally, Artemisia's added detail of Medusa's head on the pommel of Judith's sword helps represent the anger and aggression within this painting. Creator An entity primarily responsible for making the resource Artemisia Gentileschi, Italian, 1593–c.1654 Source A related resource from which the described resource is derived Artemisia IFS report August 2020 - National gallery. (n.d.). Retrieved October 12, 2021, from https://www.nationalgallery.org.uk/media/35279/artemisia-ifs-report_august-2020.pdf. “Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy.” Metmuseum.org. The Metropolitan Museum of Art. Accessed October 11, 2021. https://www.metmuseum.org/exhibitions/listings/2002/orazio-and-artemisia-gentileschi/photo-gallery. Publisher An entity responsible for making the resource available Pitti Palace, Florence Date A point or period of time associated with an event in the lifecycle of the resource c. 1615 Contributor An entity responsible for making contributions to the resource Jason Post Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource 114cm x 93.5cm 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 Pitti Palace, Florence, Italy