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(25.4 x 0.6 x 27.9 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "Printmakers of the Baroque: 17th-Century Explorations of Space and Light", La Salle University Art Museum, December 16, 2013 – February 28th, 2014:<BR/><BR/>Elsheimer’s small oil paintings on copper, featuring land­scapes with figures and magnificent light effects, were popular in Rome, where he made his career, and beyond. This print reproduces his lost painting of a scene from the </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Book of Tobit </SPAN><SPAN STYLE="font-size:10pt">in the Old Testament. With one arm, Tobit’s young son Tobias drags the large fish he tackled at the angel Raphael’s command, in order to extract medic­inal oil to heal his father’s blindness. Tobias’ other arm is in a sling because of injuries he sustained in the battle with the fish. In the landscape are Oriental poppies and rhubarb, plants then exotic to Europe and well known for their medicinal properties.<BR/><BR/>The relationship between the painter Elsheimer and the engraver Goudt was an unusual and strained one. Goudt was from a wealthy noble family, and yet he apprenticed as Elsheimer’s student. He lent money to his financial­ly-strapped master, and as part of the repayment Goudt came to own, reproduce, and earn revenue from some of Elsheimer’s most valuable paintings.<BR/><BR/>Amanda Hershock, '17<BR/></SPAN></SPAN>", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77-G-776.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77-G-776.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77-G-776.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77-G-776.jpg", "IsPrimary" : "1", "_SurrogateID" : "898", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 973, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/973", "Disp_Access_No" : "13-G-3587", "_AccNumSort1" : "", "Disp_Create_DT" : "1615", "_Disp_Start_Dat" : "1615", "_Disp_End_Date" : "1615", "Disp_Title" : "Moses and the Burning Bush", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Orazio Borgianni", "Sort_Artist" : "Borgianni, Orazio", "Disp_Dimen" : "6 x 7 1/4 in. (15.2 x 18.4 cm)", "Disp_Height" : "6 in.", "Disp_Width" : "7 1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "Printmakers of the Baroque: 17th-Century Explorations of Space and Light", La Salle University Art Museum, December 16, 2013 – February 28th, 2014:<BR/><BR/>Today little studied, Raphael’s frescoed cycle in the Log­gia of Pope Leo X in the Vatican Palace, 1518-1519, was one of the most reproduced works of art in the 16th and 17th centuries. Four scenes from the Old Testament adorn the vault of each of the 13 bays of the loggia. They depict scenes from the Creation of the World to the Consecration of the Temple of Solomon.1 This print il­lustrates a scene derived from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Exodus </SPAN><SPAN STYLE="font-size:10pt">3:1-20. Moses has fallen to his knees before the flaming bush that would not burn. From the bush comes a voice. God commands him to lead the Israelites out of captivity in Egypt. The barefooted Moses covers his eyes in fear.<BR/><BR/>Orazio Borgianni was one of many 17th-century artists to reproduce Raphael’s frescos. Unbound and without a frontispiece, his prints of all 52 scenes were issued out of the well-known and successful publishing establishment of Giovanni Giacomo Rossi in Rome in 1615. The art­ist’s monogram HB, for “Horatio” (a Latinized version of Orazio) Borgianni, appears on all the numbered prints.<BR/><BR/>Borgianni is well known as a painter who adopted the style of Caravaggio in 1604 after he settled in Rome.4 He turned to etching only in the last years of his short life. The loose and scratchy handling of the etchings, which privileges the pochéd line over cross-hatching, is characteristic of all Borgianni’s graphic work.<BR/><BR/>Taylor Strickland, '14<BR/><BR/></SPAN></SPAN>", "Dedication" : "Gift of James T. 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Below him, bathed in the divine light, kneel the startled father and son.<BR/><BR/>A still life of a well-crafted metal serving dish and some ewers can be seen in the lower left. A donkey, cows and horned sheep, all oddly shadowed in the angel’s glow, surround the father and son. They are indicators that 17th-century Dutch viewers would recognize as signs that the family’s material wealth was restored. 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The creatures in the print suggest that the city was much like the Garden of Eden. Cantarini’s efforts at flattering his patron might not have been appreciated. 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His etched interpretations of Raphael’s frescoes stressed the pure forms, the logical shadowing and the appropriate expression in the master’s composition. Raphael’s style was studied and appreciated in late 17th-century Rome for its idealism. Pietro Bellori, an art critic and theorist at the court of Christina of Sweden, called for an ide­alism in the visual arts, advocating a classical Baroque style as opposed to the dramatic Baroque styles of Cara­vaggio and Bernini. <BR/><BR/>-Taylor Strickland, '14<BR/>-Susan Dixon, Associate Professor and Chair, Department of Fine Arts</SPAN>", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/81-G-1167.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/81-G-1167.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/81-G-1167.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/81-G-1167.jpg", "IsPrimary" : "1", "_SurrogateID" : "919", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 165, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/165", "Disp_Access_No" : "05-G-3308", "_AccNumSort1" : "", "Disp_Create_DT" : "18th Century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1799", "Disp_Title" : "Tarquinius and Lucretia", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Domenico Tiepolo", "Sort_Artist" : "Tiepolo, Giovanni Domenico", "Disp_Dimen" : "9 x 7 in. 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