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http://utw10658.utweb.utexas.edu/files/original/15f2295fe6960182ce1f23482c5ea8f0.tif
84fc9ac7dfd5f7ae9634276b2c2ff66d
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/36.1999.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
drawing
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/36.1999.zif
Requires
A related resource that is required by the described resource to support its function, delivery, or coherence.
16021
Identifier
An unambiguous reference to the resource within a given context
36.1999
Creator
An entity primarily responsible for making the resource
Stefano Della Bella
Date
A point or period of time associated with an event in the lifecycle of the resource
Florence, 1610 - 1664, Florence
Rights Holder
A person or organization owning or managing rights over the resource.
The Suida-Manning Collection
Spatial Coverage
Spatial characteristics of the resource.
21.6 cm x 19.7 cm (8 1/2 in. x 7 3/4 in.)
Medium
The material or physical carrier of the resource.
Red chalk with faint squaring in black chalk on ivory antique laid paper mounted on paper
Title
A name given to the resource
A Male Nude Pounding
Description
An account of the resource
Very few red chalk drawings by Stefano Della Bella survive. A collector of Rembrandt’s prints and influenced by Jacques Callot, he preferred layering washes of gray or golden inks with black chalk to red chalk. Working rapidly, he would often flip the sheet and rework the drawing on the other side from the ghost image coming through the paper. At the edges of this drawing, stains confirm that the paper is glued down, preventing us from comfirming that it is a two-sided drawing.
Della Bella’s delicate lines contrast with the intensity of the moment. Barely visible in the man’s raised hand is an object with three knobs. Supporting himself with the other arm, his whole body braces before the strike. His hair flows back, his mouth rages, and muscles strain. These are attributes normally associated with Samson who “with the jaw of an ass” killed “a thousand men” (Judges 15:16), but the drawing could also be a study of a man hammering, casting back to ten-year-old Della Bella’s apprenticeship in the shop of a metalsmith.
36.1999