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http://utw10658.utweb.utexas.edu/files/original/4828fd6b51b99f9cf6bad69351c71639.tif
b925f1fdd46d49092393f3e2cdb86685
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Local URL
The URL of the local directory containing all assets of the website
http://utw10658.utweb.utexas.edu/plugins/Dropbox/files/object_images/ART New/2005.151.zif
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/.
Type
The nature or genre of the resource
painting
Has Version
A related resource that is a version, edition, or adaptation of the described resource.
http://utw10658.utweb.utexas.edu/plugins/Dropbox/files/object_images/ART New/2005.151.zif
Requires
A related resource that is required by the described resource to support its function, delivery, or coherence.
17580
Identifier
An unambiguous reference to the resource within a given context
2005.151
Creator
An entity primarily responsible for making the resource
Luca Cambiaso
Date
A point or period of time associated with an event in the lifecycle of the resource
Moneglia, Italy, 1527 - 1585, El Escorial, Spain
Date Created
Date of creation of the resource.
early 1550s
Rights Holder
A person or organization owning or managing rights over the resource.
Purchase as a gift of the Cain Foundation in honor of Charmaine Hooper Denius, 2005
Spatial Coverage
Spatial characteristics of the resource.
92 cm x 80.5 cm (36 1/4 in. x 31 11/16 in.)
Medium
The material or physical carrier of the resource.
Oil on wood panel
Title
A name given to the resource
Madonna and Child with the Young Saint John the Baptist
Description
An account of the resource
This is an early work by Luca Cambiaso, the first great master of sixteenth-century Genoa and the virtual founder of its distinctive school of painting. The monumentality of the Virgin, the thrust of the Child, and the bold plasticity of every form suggest study with the followers of Michelangelo in mid-century Rome. At the same time, this powerful description has been circumscribed by Cambiaso’s exaggerated regularity of shapes, as in the figures’ heads, and embellished with the unnatural grace of their extremities, which recalls the works that Raphael’s follower Perino del Vaga had created for Genoa. Throughout, from the luscious frosting of the Virgin’s white sleeve to the exquisite filaments about the eyes, there is evident delight in the sheer matter of paint and possibilities of the brush. This virtuosity is conspicuous because of the work’s execution on panel and the excellent preservation of most of its surface. The painting demonstrates the young artist’s startling ambition, explains his first synthesis of influences, and predicts his place among the major figures of Mannerism.
The Suida-Manning Collection includes six paintings and at least two dozen autograph drawings by Cambiaso. These represent the most significant holdings of his work outside Genoa. Preceding the earliest Suida-Manning picture by some fifteen years, and the only example on panel, this painting is the cornerstone of the entire group.
2005.151