1 10 1 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