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http://utw10658.utweb.utexas.edu/files/original/1385054f7d75cb07503aecefaa6d5b28.tif
6729395e058b772494d26be3f47174f8
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/359.1999.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/359.1999.zif
Requires
A related resource that is required by the described resource to support its function, delivery, or coherence.
16435
Identifier
An unambiguous reference to the resource within a given context
359.1999
Creator
An entity primarily responsible for making the resource
Nicolas de Largillière
Date
A point or period of time associated with an event in the lifecycle of the resource
Paris, France, 1656 - 1746, Paris, France
Date Created
Date of creation of the resource.
circa 1715
Rights Holder
A person or organization owning or managing rights over the resource.
The Suida-Manning Collection
Spatial Coverage
Spatial characteristics of the resource.
92.2 cm x 75.4 cm (36 5/16 in. x 29 11/16 in.)
Medium
The material or physical carrier of the resource.
Oil on canvas
Title
A name given to the resource
Portrait of a Man
Description
An account of the resource
Nicolas de Largillière was one of the most prolific portraitists of his time, with more than 1500 portraits to his credit. He enjoyed the patronage of the royal families and aristocrats in England and France, who frequently had their painted likenesses reproduced as engravings in order to distribute them widely. Portraiture was generally reserved for the nobility as a means to display an individual’s lineage, social status, personal virtues, and fame. With the rise of the middle class in the seventeenth and eighteenth centuries, however, the bourgeoisie increasingly commissioned portraits of themselves, which is also reflected in Largillière’s oeuvre. The sitter’s casual garb and amiable attitude in this portrait may indicate his friendly relationship with the painter. More specifically, the elegantly unkempt dress, similar to that in Largillière’s portrait of the sculptor Nicolas Coustou painted around 1713, which is now in the collection of the Gemäldegalerie in Berlin, may suggest that the sitter is also an artist.
359.1999