1
10
1
-
http://utw10658.utweb.utexas.edu/files/original/b66b2088be75d0620f7ce8574f3eaa04.tif
6389c351f703952053982e01d751c3f2
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/324.1999.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/324.1999.zif
Requires
A related resource that is required by the described resource to support its function, delivery, or coherence.
16458
Identifier
An unambiguous reference to the resource within a given context
324.1999
Creator
An entity primarily responsible for making the resource
Guercino (Giovanni Francesco Barbieri)
Date
A point or period of time associated with an event in the lifecycle of the resource
Cento, Italy, 1591 - 1666, Bologna, Italy
Date Created
Date of creation of the resource.
circa 1624-1625
Rights Holder
A person or organization owning or managing rights over the resource.
The Suida-Manning Collection
Spatial Coverage
Spatial characteristics of the resource.
114.94 cm x 94.3 cm (45 1/4 in. x 37 1/8 in.)
Medium
The material or physical carrier of the resource.
Oil on canvas
Title
A name given to the resource
Saint Mary Magdalene
Description
An account of the resource
<span>Guercino's style, its optical intensity and sensory appeal, offered an alternative to the more schematic naturalism of Caravaggio and the early classicism of Annibale Carracci. Guercino, however, was reciprocally affected by those prevailing currents, as well as by the weight of the city’s earlier artistic traditions. Just as other painters like Giovanni Lanfranco and Pietro da Cortona began to explore and extend the possibilities of Guercino’s style, he tempered them.<br /><br />This painting is an excellent example of Guercino’s shift toward a less intuitive style in the aftermath of his sojourn in Rome. Transcending her contemplation of death and repentance of sins, the Magdalene looks heavenward in a rapture that is echoed by the shaft of light from the upper left. Because her figure derives from a painting of around 1619, a Raising of Lazarus in the Louvre, Guercino’s development is all the more apparent. The composition is more deliberate, its forms more constructed, his touch more measured. What painting may have lost in restless vitality, it has gained in solemn power. Later, however, these tendencies would lead to an ever more self-conscious, and nonetheless beautiful, approximation of Baroque classicism.<br /><br />When Guercino went to Rome in 1621-23, he brought with him the style of the Suida-Manning Collection’s exquisite Landscape, to the left. That style, its optical intensity and sensory appeal, offered an alternative to the more schematic naturalism of Caravaggio and the early classicism of Annibale Carracci. Guercino, however, was reciprocally affected by those prevailing currents, as well as by the weight of the city’s earlier artistic traditions. Just as other painters like Giovanni Lanfranco and Pietro da Cortona began to explore and extend the possibilities of Guercino’s style, he tempered them.<br /><br />This painting is an excellent example of Guercino’s shift toward a less intuitive style in the aftermath of his sojourn in Rome. Transcending her contemplation of death and repentance of sins, the Magdalene looks heavenward in a rapture that is echoed by the shaft of light from the upper let. Because her figure derives from a painting of around 1619, a <span style="font-style:italic;">Raising of Lazarus</span> in the Louvre, Guercino’s development is all the more apparent. The composition is more deliberate, its forms more constructed, his touch more measured. What painting may have lost in restless vitality, it has gained in solemn power. Later, however, these tendencies would lead to an ever more self-conscious, and nonetheless beautiful, approximation of Baroque classicism.<br /><br /><br /><br /><br /></span>
324.1999