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In northern Europe, a taste for luxurious objects combined with the needs of the Catholic Counter Reformation for objects for private devotion resulted in a great demand for ivory statuettes of the Virgin or Christ. The strain put on Christ in this unnatural position-tied to the column-draws attention to his physical body and exposes his vulnerability, expressed through the emphasis on his soft skin, which can be beautifully represented in ivory.The subtle carving resembles the work of the German sculptor and carver Georg Petel (1601?-ca.1634), who drew inspiration from both German Renaissance and Italian baroque art. In 1624 when Petel was in Antwerp, the Flemish painter Peter Paul Rubens commissioned from him several ivories after his own drawings.

Page data

Page
1
Source index
0
Type
photo
Media ID
13f933dbb2148ce3
Size
unknown

Document data

ID
10077
Core
obj
Type
object
DTO data
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    "sourceUrl": "https://purl.thewalters.org/art/71.356",
    "contentType": "object",
    "stage": "normalized",
    "title": "Christ at the Column",
    "description": "In northern Europe, a taste for luxurious objects combined with the needs of the Catholic Counter Reformation for objects for private devotion resulted in a great demand for ivory statuettes of the Virgin or Christ. The strain put on Christ in this unnatural position-tied to the column-draws attention to his physical body and exposes his vulnerability, expressed through the emphasis on his soft skin, which can be beautifully represented in ivory.The subtle carving resembles the work of the German sculptor and carver Georg Petel (1601?-ca.1634), who drew inspiration from both German Renaissance and Italian baroque art. In 1624 when Petel was in Antwerp, the Flemish painter Peter Paul Rubens commissioned from him several ivories after his own drawings.",
    "provenance": "Paris; Henry Walters, Baltimore, [date of acquisition unknown] by purchase; Walters Art Museum, 1931, by bequest.",
    "date": "ca. 1625-1650 (Baroque)",
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        }
    ],
    "dimensionsRaw": "H: 9 13/16 × W: 3 9/16 × D: 2 3/4 in. (25 × 9 × 7 cm)"
}

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Document identity
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    "localId": "10077",
    "label": "Christ at the Column",
    "core": "obj",
    "dtoType": "object",
    "citationUrl": "https://purl.thewalters.org/art/71.356"
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Document source metadata
{
    "id": "10077",
    "sourceUrl": "https://purl.thewalters.org/art/71.356",
    "contentType": "object",
    "stage": "normalized",
    "title": "Christ at the Column",
    "description": "In northern Europe, a taste for luxurious objects combined with the needs of the Catholic Counter Reformation for objects for private devotion resulted in a great demand for ivory statuettes of the Virgin or Christ. The strain put on Christ in this unnatural position-tied to the column-draws attention to his physical body and exposes his vulnerability, expressed through the emphasis on his soft skin, which can be beautifully represented in ivory.The subtle carving resembles the work of the German sculptor and carver Georg Petel (1601?-ca.1634), who drew inspiration from both German Renaissance and Italian baroque art. In 1624 when Petel was in Antwerp, the Flemish painter Peter Paul Rubens commissioned from him several ivories after his own drawings.",
    "provenance": "Paris; Henry Walters, Baltimore, [date of acquisition unknown] by purchase; Walters Art Museum, 1931, by bequest.",
    "date": "ca. 1625-1650 (Baroque)",
    "citationUrl": "https://purl.thewalters.org/art/71.356",
    "rightsUri": "CC0",
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    "imageCount": 1,
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    "dimensions": [
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        }
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Document source extras
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    "med": "ivory",
    "creator_ids": [
        "6211"
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    "collection_ids": [
        "BAR"
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    "exhibition_ids": []
}
Page context
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