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The inscription refers to Christ as the Lamb whose death was foretold. This symbolism of Christ as a sacrificial lamb who brings salvation derives from the feast of Passover, instituted after the Lord saved the Jews in Egypt who brushed the blood of slaughtered lambs over their doors.Although Ayala spent most of her life in Portugal, this work reflects the influence of the art of her native Seville, Spain. She has modeled her composition and her style-with the strong contrasts of light and dark and attention to realistic detail-on paintings of Francisco de Zurbarán (1598-1664), also from that city. Ayala was one of the few women artists active in Spain and Portugal. She was renowned for her ability to paint still lifes and portraits, subjects that were considered appropriate for female painters.

Page data

Page
1
Source index
0
Type
photo
Media ID
8266e791719ee364
Size
unknown

Document data

ID
8783
Core
obj
Type
drawing
DTO data
{
    "id": "8783",
    "sourceUrl": "https://purl.thewalters.org/art/37.1193",
    "contentType": "drawing",
    "stage": "normalized",
    "title": "The Sacrificial Lamb",
    "description": "The inscription refers to Christ as the Lamb whose death was foretold. This symbolism of Christ as a sacrificial lamb who brings salvation derives from the feast of Passover, instituted after the Lord saved the Jews in Egypt who brushed the blood of slaughtered lambs over their doors.Although Ayala spent most of her life in Portugal, this work reflects the influence of the art of her native Seville, Spain. She has modeled her composition and her style-with the strong contrasts of light and dark and attention to realistic detail-on paintings of Francisco de Zurbarán (1598-1664), also from that city. Ayala was one of the few women artists active in Spain and Portugal. She was renowned for her ability to paint still lifes and portraits, subjects that were considered appropriate for female painters.",
    "provenance": "Don Marcello Massarenti Collection, Rome; Henry Walters, Baltimore, 1902, by purchase; Walters Art Museum, 1931, by bequest.",
    "date": "ca. 1670-1684",
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    "dimensionsRaw": "H: 21 7/8 x W: 31 in. (55.5 x 78.7 cm); Framed H: 24 x W: 40 in. (60.96 x 101.6 cm)"
}

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Document identity
{
    "localId": "8783",
    "label": "The Sacrificial Lamb",
    "core": "obj",
    "dtoType": "drawing",
    "citationUrl": "https://purl.thewalters.org/art/37.1193"
}
Document source metadata
{
    "id": "8783",
    "sourceUrl": "https://purl.thewalters.org/art/37.1193",
    "contentType": "drawing",
    "stage": "normalized",
    "title": "The Sacrificial Lamb",
    "description": "The inscription refers to Christ as the Lamb whose death was foretold. This symbolism of Christ as a sacrificial lamb who brings salvation derives from the feast of Passover, instituted after the Lord saved the Jews in Egypt who brushed the blood of slaughtered lambs over their doors.Although Ayala spent most of her life in Portugal, this work reflects the influence of the art of her native Seville, Spain. She has modeled her composition and her style-with the strong contrasts of light and dark and attention to realistic detail-on paintings of Francisco de Zurbarán (1598-1664), also from that city. Ayala was one of the few women artists active in Spain and Portugal. She was renowned for her ability to paint still lifes and portraits, subjects that were considered appropriate for female painters.",
    "provenance": "Don Marcello Massarenti Collection, Rome; Henry Walters, Baltimore, 1902, by purchase; Walters Art Museum, 1931, by bequest.",
    "date": "ca. 1670-1684",
    "citationUrl": "https://purl.thewalters.org/art/37.1193",
    "rightsUri": "CC0",
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}
Document source extras
{
    "med": "oil on canvas",
    "creator_ids": [
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    ],
    "collection_ids": [
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    "exhibition_ids": [
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Page context
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