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The subject is from the romantic epic Orlando furioso by Ludovico Ariosto. Written in 1516 and expanded throughout the author’s life, this work and its fantastic stories were popular throughout Europe in the 1500s, and well into the 1700s. A complicated fantasy is set during a long siege of Paris in 885‒86 by Muslim North African Arabs. Here, Angelica, a Chinese princess, and the Muslim knight Medoro, amorously intertwined, are celebrating their love by carving each other’s names into trees. Flying cupids and a torch allude to their burning love. This episode of the lovers was very popular with 18th-century artists and patrons, who found eroticism handled with a light touch charming. The artist’s audience of aristocrats would have enjoyed projecting themselves into the story: perhaps as a consequence, neither Angelica nor Medoro is depicted as a person of color, as they were in the poem.

Page data

Page
1
Source index
0
Type
photo
Media ID
3e0c94c30880f808
Size
unknown

Document data

ID
38261
Core
obj
Type
drawing
DTO data
{
    "id": "38261",
    "sourceUrl": "https://purl.thewalters.org/art/37.414",
    "contentType": "drawing",
    "stage": "normalized",
    "title": "Angelica and Medoro",
    "description": "The subject is from the romantic epic Orlando furioso by Ludovico Ariosto. Written in 1516 and expanded throughout the author’s life, this work and its fantastic stories were popular throughout Europe in the 1500s, and well into the 1700s. A complicated fantasy is set during a long siege of Paris in 885‒86 by Muslim North African Arabs. Here, Angelica, a Chinese princess, and the Muslim knight Medoro, amorously intertwined, are celebrating their love by carving each other’s names into trees. Flying cupids and a torch allude to their burning love. \tThis episode of the lovers was very popular with 18th-century artists and patrons, who found eroticism handled with a light touch charming. The artist’s audience of aristocrats would have enjoyed projecting themselves into the story: perhaps as a consequence, neither Angelica nor Medoro is depicted as a person of color, as they were in the poem.",
    "provenance": "Don Marcello Massarenti Collection, Rome [date and mode of acquisition unknown]; Henry Walters, Baltimore, 1902, by purchase; Walters Art Museum, 1931, by bequest.",
    "date": "ca. 1720-1750 (Baroque)",
    "citationUrl": "https://purl.thewalters.org/art/37.414",
    "rightsUri": "CC0",
    "language": "en",
    "genreSpecific": [
        "Painting & Drawing",
        "oil paintings (visual works)"
    ],
    "iiifBase": "https://art.thewalters.org/images/art/POL_37.414_Fnt_SL.jpg",
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    "largeImageUrl": "https://art.thewalters.org/images/art/POL_37.414_Fnt_SL.jpg",
    "imageCount": 1,
    "pageCount": 1,
    "source": "import",
    "dimensions": [
        {
            "units": "cm",
            "width": 49.7,
            "height": 37.2
        }
    ],
    "dimensionsRaw": "Painted surface H: 19 9/16 x W: 14 5/8 in. (49.7 x 37.2 cm)"
}

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Document identity
{
    "localId": "38261",
    "label": "Angelica and Medoro",
    "core": "obj",
    "dtoType": "drawing",
    "citationUrl": "https://purl.thewalters.org/art/37.414"
}
Document source metadata
{
    "id": "38261",
    "sourceUrl": "https://purl.thewalters.org/art/37.414",
    "contentType": "drawing",
    "stage": "normalized",
    "title": "Angelica and Medoro",
    "description": "The subject is from the romantic epic Orlando furioso by Ludovico Ariosto. Written in 1516 and expanded throughout the author’s life, this work and its fantastic stories were popular throughout Europe in the 1500s, and well into the 1700s. A complicated fantasy is set during a long siege of Paris in 885‒86 by Muslim North African Arabs. Here, Angelica, a Chinese princess, and the Muslim knight Medoro, amorously intertwined, are celebrating their love by carving each other’s names into trees. Flying cupids and a torch allude to their burning love. \tThis episode of the lovers was very popular with 18th-century artists and patrons, who found eroticism handled with a light touch charming. The artist’s audience of aristocrats would have enjoyed projecting themselves into the story: perhaps as a consequence, neither Angelica nor Medoro is depicted as a person of color, as they were in the poem.",
    "provenance": "Don Marcello Massarenti Collection, Rome [date and mode of acquisition unknown]; Henry Walters, Baltimore, 1902, by purchase; Walters Art Museum, 1931, by bequest.",
    "date": "ca. 1720-1750 (Baroque)",
    "citationUrl": "https://purl.thewalters.org/art/37.414",
    "rightsUri": "CC0",
    "language": "en",
    "genreSpecific": [
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        "oil paintings (visual works)"
    ],
    "iiifBase": "https://art.thewalters.org/images/art/POL_37.414_Fnt_SL.jpg",
    "thumbnailUrl": "https://art.thewalters.org/images/art/POL_37.414_Fnt_SL.jpg",
    "largeImageUrl": "https://art.thewalters.org/images/art/POL_37.414_Fnt_SL.jpg",
    "imageCount": 1,
    "pageCount": 1,
    "source": "import",
    "dimensions": [
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        }
    ],
    "dimensionsRaw": "Painted surface H: 19 9/16 x W: 14 5/8 in. (49.7 x 37.2 cm)"
}
Document source extras
{
    "inscriptions": [
        "[Transcription] On stone in lower right corner: ANGELICA",
        "MED RO."
    ],
    "med": "oil on canvas",
    "creator_ids": [
        "6655"
    ],
    "collection_ids": [
        "BAR"
    ],
    "exhibition_ids": []
}
Page context
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    "url": "https://art.thewalters.org/images/raw/POL_37.414_Fnt_SL.jpg",
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