1 10 1 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