1 10 1 http://utw10658.utweb.utexas.edu/files/original/9c151e1237fcdd2169b82219444245b9.tif 8cd25e5de8cfe2f87d824f22defebc5a 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/65.1999.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/65.1999.zif Requires A related resource that is required by the described resource to support its function, delivery, or coherence. 16297 Identifier An unambiguous reference to the resource within a given context 65.1999 Creator An entity primarily responsible for making the resource Follower of Bramantino (Bartolomeo Suardi) Date A point or period of time associated with an event in the lifecycle of the resource Milan (?), Italy, circa 1465 - 1530 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. 43 cm x 35.5 cm (16 15/16 in. x 14 in.) Medium The material or physical carrier of the resource. Oil on wood panel Title A name given to the resource Madonna and Child Description An account of the resource This panel is a fine example of late 15th-century Milanese painting. While grounded in the ornamental style that had dominated the school before the arrival of Leonardo, and conditioned by early Netherlandish painting, it incorporates the geometric order that the most ambitious local painters were deducing from his art. In a major study, William Suida described it as an early work by Bramantino, the most cerebral and rigorous exponent of this kind of synthesis. It is much more likely by a master who also absorbed the charming, anecdotal style of another local, Ambrogio Bergognone, and anticipated the greatest native painter of the next generation, Bernardino Luini. 65.1999