Ask the Scholar

Page 2 of 2
I can add historical knowledge about this page.

Page image

Page 2

Document source description

The bust-length Christ appears in a three-quarter view with his hand slightly raised, as if he is about to turn and offer the viewer a gesture of blessing. The parapet in the foreground is a motif derived from Netherlandish portaiture. "Portraits” of Christ, such as this, became popular in the northern Italy in the early 16th century. They were usually intended for domestic interiors, where they served as the focus for daily prayer and allowed the figure of Christ to keep a watchful eye over the household. This example, attributed to Giovanni Speranza, is derived from a painting now at the Galleria Sabauda, Turin, by Speranza’s teacher, Bartolomeo Montagna (ca. 1450-1523). For a work by Montagna at the Walters, see 37.1036.

Page data

Page
2
Source index
0
Type
photo
Media ID
4aebf0b0c216b8b8
Size
unknown

Document data

ID
18057
Core
obj
Type
drawing
DTO data
{
    "id": "18057",
    "sourceUrl": "https://purl.thewalters.org/art/37.527",
    "contentType": "drawing",
    "stage": "normalized",
    "title": "Christ as the Savior",
    "description": "The bust-length Christ appears in a three-quarter view with his hand slightly raised, as if he is about to turn and offer the viewer a gesture of blessing. The parapet in the foreground is a motif derived from Netherlandish portaiture. \"Portraits” of Christ, such as this, became popular in the northern Italy in the early 16th century. They were usually intended for domestic interiors, where they served as the focus for daily prayer and allowed the figure of Christ to keep a watchful eye over the household. This example, attributed to Giovanni Speranza, is derived from a painting now at the Galleria Sabauda, Turin, by Speranza’s teacher, Bartolomeo Montagna (ca. 1450-1523). For a work by Montagna at the Walters, see 37.1036.",
    "provenance": "Bernard Berenson [date and mode of acquisition unknown]; Henry Walters, Baltimore, ca. 1915 [mode of acquisition unknown] [through Berenson]; Walters Art Museum, 1931, by bequest.",
    "date": "ca. 1510 (Renaissance)",
    "citationUrl": "https://purl.thewalters.org/art/37.527",
    "rightsUri": "CC0",
    "language": "en",
    "genreSpecific": [
        "Painting & Drawing",
        "oil paintings (visual works)"
    ],
    "iiifBase": "https://art.thewalters.org/images/art/CON_37.527_XR_1951.jpg",
    "thumbnailUrl": "https://art.thewalters.org/images/art/CON_37.527_XR_1951.jpg",
    "largeImageUrl": "https://art.thewalters.org/images/art/CON_37.527_XR_1951.jpg",
    "imageCount": 2,
    "pageCount": 2,
    "source": "import",
    "dimensions": [
        {
            "units": "cm",
            "width": 59.6,
            "height": 45.1,
            "depth": 2
        }
    ],
    "dimensionsRaw": "Painted surface H: 23 7/16 x W: 17 3/4 x D: 13/16 in. (59.6 x 45.1 x 2 cm)"
}

Context sent to Scholar

Document identity
{
    "localId": "18057",
    "label": "Christ as the Savior",
    "core": "obj",
    "dtoType": "drawing",
    "citationUrl": "https://purl.thewalters.org/art/37.527"
}
Document source metadata
{
    "id": "18057",
    "sourceUrl": "https://purl.thewalters.org/art/37.527",
    "contentType": "drawing",
    "stage": "normalized",
    "title": "Christ as the Savior",
    "description": "The bust-length Christ appears in a three-quarter view with his hand slightly raised, as if he is about to turn and offer the viewer a gesture of blessing. The parapet in the foreground is a motif derived from Netherlandish portaiture. \"Portraits” of Christ, such as this, became popular in the northern Italy in the early 16th century. They were usually intended for domestic interiors, where they served as the focus for daily prayer and allowed the figure of Christ to keep a watchful eye over the household. This example, attributed to Giovanni Speranza, is derived from a painting now at the Galleria Sabauda, Turin, by Speranza’s teacher, Bartolomeo Montagna (ca. 1450-1523). For a work by Montagna at the Walters, see 37.1036.",
    "provenance": "Bernard Berenson [date and mode of acquisition unknown]; Henry Walters, Baltimore, ca. 1915 [mode of acquisition unknown] [through Berenson]; Walters Art Museum, 1931, by bequest.",
    "date": "ca. 1510 (Renaissance)",
    "citationUrl": "https://purl.thewalters.org/art/37.527",
    "rightsUri": "CC0",
    "language": "en",
    "genreSpecific": [
        "Painting & Drawing",
        "oil paintings (visual works)"
    ],
    "iiifBase": "https://art.thewalters.org/images/art/CON_37.527_XR_1951.jpg",
    "thumbnailUrl": "https://art.thewalters.org/images/art/CON_37.527_XR_1951.jpg",
    "largeImageUrl": "https://art.thewalters.org/images/art/CON_37.527_XR_1951.jpg",
    "imageCount": 2,
    "pageCount": 2,
    "source": "import",
    "dimensions": [
        {
            "units": "cm",
            "width": 59.6,
            "height": 45.1,
            "depth": 2
        }
    ],
    "dimensionsRaw": "Painted surface H: 23 7/16 x W: 17 3/4 x D: 13/16 in. (59.6 x 45.1 x 2 cm)"
}
Document source extras
{
    "med": "oil on wood panel",
    "creator_ids": [
        "3241"
    ],
    "collection_ids": [
        "REN"
    ],
    "exhibition_ids": []
}
Page context
{
    "seq": 2,
    "pageIndex": 0,
    "type": "photo",
    "url": "https://art.thewalters.org/images/raw/CON_37.527_XR_1951.jpg",
    "mediaId": "4aebf0b0c216b8b8"
}