1 10 1 http://utw10658.utweb.utexas.edu/files/original/63b78608eafd14513bea64bf73a01049.tif b95b55dfe06a2b4db57c4a3cfa2ae58f 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/45.1999.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/45.1999.zif Requires A related resource that is required by the described resource to support its function, delivery, or coherence. 16307 Identifier An unambiguous reference to the resource within a given context 45.1999 Creator An entity primarily responsible for making the resource Attributed to Giovanni Ambrogio Bevilacqua Date A point or period of time associated with an event in the lifecycle of the resource Milan (?), Italy, circa 1460 - 1516 Date Created Date of creation of the resource. circa 1500 Rights Holder A person or organization owning or managing rights over the resource. The Suida-Manning Collection Spatial Coverage Spatial characteristics of the resource. 44.5 cm x 21.6 cm (17 1/2 in. x 8 1/2 in.) Medium The material or physical carrier of the resource. Tempera on wood panel Title A name given to the resource Christ on the Road to Calvary Description An account of the resource If not a significant agent in the development of Milanese painting, Bevilacqua does epitomize the complicated situation of that school at the close of the 15th century. On the one hand, through appropriations from more innovative compatriots like Foppa and Bergognone, his style reflects a wide range of progressive elements, from the leading painter in North Italy, Mantegna, to early Netherlandish painting. On the other, these appropriations are subsumed by the school’s traditional concerns with rich decoration and material splendor, and there is no sign of the influence of long-time resident Leonardo da Vinci. Praised by the early chroniclers of Milanese painting, Bevilacqua was nearly forgotten until his rediscovery as a coherent personality in recent decades. This panel confirms a painter of conservative cast but narrative gift and considerable refinement. The only example of his work in this country, it must have been served as part of a portable altarpiece for private devotion. 45.1999