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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