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http://utw10658.utweb.utexas.edu/files/original/5ef2e3193325f8556ac4e319d7ea28d5.tif
3e7ec54b89b69caa8fb77cf52c4ffba0
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/593.1999.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/593.1999.zif
Requires
A related resource that is required by the described resource to support its function, delivery, or coherence.
16466
Identifier
An unambiguous reference to the resource within a given context
593.1999
Creator
An entity primarily responsible for making the resource
Claude Vignon
Date
A point or period of time associated with an event in the lifecycle of the resource
Tours, France, 1593 - 1670, Paris, France
Date Created
Date of creation of the resource.
circa 1620-1623
Rights Holder
A person or organization owning or managing rights over the resource.
The Suida-Manning Collection
Spatial Coverage
Spatial characteristics of the resource.
133.7 cm x 98 cm (52 5/8 in. x 38 9/16 in.)
Medium
The material or physical carrier of the resource.
Oil on canvas
Title
A name given to the resource
David with the Head of Goliath
Description
An account of the resource
This painting represents the victorious David with the severed head of Goliath, the giant Philistine warrior that he defeated with a sling. In David’s right hand is Goliath’s sword, which he used to cut off the giant’s head. The shepherd boy’s sumptuous headdress and clothes originally belonged to Jonathan, the son of King Saul, who took off his princely robes and gave them to the courageous young man as a token of affection. David is depicted as androgynous, which reflects an ideal of beauty for young men in the sixteenth and seventeenth centuries.
Painted during Claude Vignon’s final years in Rome before his return to Paris, the work shows the French artist’s masterful interpretation of Caravaggio’s work. The strong shaft of light coming from the upper left increases the sense of drama in a seemingly calm scene by contrasting the beauty of the protagonist with the horror of the preceding event.
593.1999