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