1 10 1 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