Ask the Scholar
Page 1 of 1
I can add historical knowledge about this page.
Page image
Document source description
This Virgin and Child subtly incorporates traditional allusions to the miraculous. Mary's long, loose hair identifies her as a virgin, alluding to the virgin birth. The palatial column evokes her future reign as Queen of Heaven, while the nakedness of the Christ Child, explicitly a little boy, reminds believers that, miraculously, Christ was fully human and fully God.Van Dyck worked in the Antwerp studio of Peter Paul Rubens before spending six years in Italy. Once returned, he created a style synthesizing that of Flanders and Italy, producing dramatic, yet elegant religious works such as this Virgin and Child, one of several versions; Van Dyck's personal touch is most evident here in the Virgin's face and hand. He subsequently became court painter to King Charles I of England, who raised him to the nobility.Further analysis within the context of the "Chamber of Wonders" installation plus bibliography
Page data
- Page
- 1
- Source index
- 0
- Type
- photo
- Media ID
- bc7807fb096ce4bc
- Size
- unknown
Document data
- ID
- 22581
- Core
- obj
- Type
- drawing
DTO data
{
"id": "22581",
"sourceUrl": "https://purl.thewalters.org/art/37.234",
"contentType": "drawing",
"stage": "normalized",
"title": "Virgin and Child",
"description": "This Virgin and Child subtly incorporates traditional allusions to the miraculous. Mary's long, loose hair identifies her as a virgin, alluding to the virgin birth. The palatial column evokes her future reign as Queen of Heaven, while the nakedness of the Christ Child, explicitly a little boy, reminds believers that, miraculously, Christ was fully human and fully God.Van Dyck worked in the Antwerp studio of Peter Paul Rubens before spending six years in Italy. Once returned, he created a style synthesizing that of Flanders and Italy, producing dramatic, yet elegant religious works such as this Virgin and Child, one of several versions; Van Dyck's personal touch is most evident here in the Virgin's face and hand. He subsequently became court painter to King Charles I of England, who raised him to the nobility.Further analysis within the context of the \"Chamber of Wonders\" installation plus bibliography",
"provenance": "Duke of Marlborough, Blenheim Palace, until 1886; Agnew, London, by purchase; Joseph Ruxton [date and mode of acquisition unknown]; Sale, Christie's, London, May 21-22, 1898, no. 70; T. J. Blakeslee, New York [date and mode of acquisition unknown]; Henry Walters, Baltimore, December 1898, by purchase; Walters Art Museum, 1931, by bequest.",
"date": "ca. 1630-1632 (Baroque)",
"citationUrl": "https://purl.thewalters.org/art/37.234",
"rightsUri": "CC0",
"language": "en",
"genreSpecific": [
"Painting & Drawing",
"paintings"
],
"iiifBase": "https://art.thewalters.org/images/art/PL1_37.234_Fnt_TR_T87III.jpg",
"thumbnailUrl": "https://art.thewalters.org/images/art/PL1_37.234_Fnt_TR_T87III.jpg",
"largeImageUrl": "https://art.thewalters.org/images/art/PL1_37.234_Fnt_TR_T87III.jpg",
"imageCount": 1,
"pageCount": 1,
"source": "import",
"dimensions": [
{
"units": "cm",
"width": 126.1,
"height": 114.6
}
],
"dimensionsRaw": "H: 49 5/8 x W: 45 1/8 in. (126.1 x 114.6 cm)"
}
Context sent to Scholar
Document identity
{
"localId": "22581",
"label": "Virgin and Child",
"core": "obj",
"dtoType": "drawing",
"citationUrl": "https://purl.thewalters.org/art/37.234"
}
Document source metadata
{
"id": "22581",
"sourceUrl": "https://purl.thewalters.org/art/37.234",
"contentType": "drawing",
"stage": "normalized",
"title": "Virgin and Child",
"description": "This Virgin and Child subtly incorporates traditional allusions to the miraculous. Mary's long, loose hair identifies her as a virgin, alluding to the virgin birth. The palatial column evokes her future reign as Queen of Heaven, while the nakedness of the Christ Child, explicitly a little boy, reminds believers that, miraculously, Christ was fully human and fully God.Van Dyck worked in the Antwerp studio of Peter Paul Rubens before spending six years in Italy. Once returned, he created a style synthesizing that of Flanders and Italy, producing dramatic, yet elegant religious works such as this Virgin and Child, one of several versions; Van Dyck's personal touch is most evident here in the Virgin's face and hand. He subsequently became court painter to King Charles I of England, who raised him to the nobility.Further analysis within the context of the \"Chamber of Wonders\" installation plus bibliography",
"provenance": "Duke of Marlborough, Blenheim Palace, until 1886; Agnew, London, by purchase; Joseph Ruxton [date and mode of acquisition unknown]; Sale, Christie's, London, May 21-22, 1898, no. 70; T. J. Blakeslee, New York [date and mode of acquisition unknown]; Henry Walters, Baltimore, December 1898, by purchase; Walters Art Museum, 1931, by bequest.",
"date": "ca. 1630-1632 (Baroque)",
"citationUrl": "https://purl.thewalters.org/art/37.234",
"rightsUri": "CC0",
"language": "en",
"genreSpecific": [
"Painting & Drawing",
"paintings"
],
"iiifBase": "https://art.thewalters.org/images/art/PL1_37.234_Fnt_TR_T87III.jpg",
"thumbnailUrl": "https://art.thewalters.org/images/art/PL1_37.234_Fnt_TR_T87III.jpg",
"largeImageUrl": "https://art.thewalters.org/images/art/PL1_37.234_Fnt_TR_T87III.jpg",
"imageCount": 1,
"pageCount": 1,
"source": "import",
"dimensions": [
{
"units": "cm",
"width": 126.1,
"height": 114.6
}
],
"dimensionsRaw": "H: 49 5/8 x W: 45 1/8 in. (126.1 x 114.6 cm)"
}
Document source extras
{
"med": "oil on canvas",
"creator_ids": [
"6861"
],
"collection_ids": [
"BAR"
],
"exhibition_ids": [
"2159",
"2674",
"2670"
]
}
Page context
{
"seq": 1,
"pageIndex": 0,
"type": "photo",
"url": "https://art.thewalters.org/images/raw/PL1_37.234_Fnt_TR_T87III.jpg",
"mediaId": "bc7807fb096ce4bc"
}