{ "objects" : [ { "embark_ID" : 198, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/198", "Disp_Access_No" : "HC.P.1937.12.(E)", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1858 - 1859", "_Disp_Start_Dat" : "1858", "_Disp_End_Date" : "1859", "Disp_Title" : "Giulia Bellelli", "Alt_Title" : "Giulia Bellelli", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edgar Degas", "Sort_Artist" : "Degas, Edgar Hilaire Germain", "Disp_Dimen" : "36.2 cm x 24.77 cm (14 1/4 in. x 9 3/4 in.)", "Disp_Height" : "36.2 cm", "Disp_Width" : "24.77 cm", "Dimen_Extent" : "", "Medium" : "essence/graphite", "Support" : "thin buff wove paper", "Disp_Medium" : "essence/graphite on thin buff wove paper", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "House Collection", "Obj_Name" : "", "Period" : "", "Style" : "Realist", "Edition" : "", "Related_Sibling" : [ ], "Curator" : "Family Portrait, also called The Bellelli Family 1858-67 Oil on canvas 78? x 98 3/8 in. (200 x 250 cm) Musée d''Orsay, Paris (RF2210) Lemoisne 79 Family Portrait, latterly identified as a portrait of the Bellelli family, was undoubtedly the highlight of the atelier sales held after Degas''s death. It immediately stood out as the masterpiece of his early years, and is still recognized as such. At the time of his last move, on 22 February 1913, Degas had left this painting at Durand-Ruel, along with some other cumbersome canvases (see cat. no.255); there it remained, apparently in very poor condition: “It isn''t much to look at, has been very badly treated by time, and even appears not to have been given the care it should have received in the artist''s studio. It has a shabby makeshift frame, the canvas has been torn, and it is covered with an ancient coat of dust that has not been disturbed for years.” (André Michel, “E. Degas,” Journal des Débats Politiques et Littéraires, 6 May 1918) Although this was a portrait of his beloved relatives and a painting on which he had labored for several years, Degas does not seem to have regarded it with the same interest and affection he displayed for Semiramis (cat. no.29) and Young Spartans (cat. no.40). It remained hidden from the few visitors he had—perhaps rolled up in a corner of each of his successive studios. Since it is so difficult to trace the history of this work prior to its sudden appearance in 1918, there has even been some question as to whether or not Degas exhibited it at the Salon. However, it seems improbable that he would have tackled such a large painting—only The Daughter of Jephthah (cat. no.26), which he began soon after, is comparable in size—simply as a remembrance of his Florentine relatives or to thank them for their extended hospitality. He clearly hoped to have it accepted at the Salon and to make his debut with an enormous work. In April 1859, without referring specifically to the project, he wrote to his father asking him to look for a studio so that he could work on a canvas for the exhibition. The only Salon at which the painting could conceivably have been exhibited was some years later, in 1867. The catalogue for that year gives the same title, “Family Portrait,” for the two paintings Degas exhibited under nos. 444 and 445-and that was the only name by which this work was known until the scholarly research of Louis Gonse, Paul Jamot, and Marcel Guerin between the wars made it possible to identify the sitters. Unfortunately, the reviews in 1867 were even more niggardly than in 1866, when The Steeplechase (fig. 67) was exhibited at the Salon. Only Castagnary, without going into any detail, praised Degas''s "Two Sisters," which has led some to believe that he may have been referring to the Los Angeles double portrait (cat. no.65). However, two comments from a later period corroborate the hypothesis that The Bellelli Family was exhibited at the Salon of 1867. The clearest is a reference made by the critic Thiebault-Sisson, who met with Degas on several occasions. In 1879, he had a chance to see "the admirable Family Portrait of 1867" in the artist''s studio; his description is undoubtedly of the Bellelli family portrait. In January 1881, in conversation with Emile Durand-Greville, Jean-Jacques Henner (who knew Degas at the beginning of the 1860s) discussed his colleague''s early difficulties and mentioned his successive failures at the Salon: "Degas used to exhibit at the Salon. He stopped doing so because his work was badly hung and, in his opinion, the public did not pay enough attention to it, although the artists gave him the appreciation he deserved. The portrait of his brother-in-law (I believe) and his family is a great work." Despite the vague identification of the painting, Henner''s remarks explaining Degas''s bitterness and desire to renounce any sort of official career must surely refer to The Bellelli Family. It probably also explains why there were so few comments about this masterpiece: if the painting was poorly hung, it would have been difficult to see, in spite of its size. There is one other indication that The Bellelli Family was indeed exhibited in 1867: in several places (most notably in the multicolored embroidery lying on the table), the paint has developed a crackle because of hasty retouching before the canvas had had time to dry. We know from a letter Degas wrote to the Surintendant des Beaux-Arts shortly before the opening of the Salon that at the last minute the painter wanted to retouch the two works he had already sent to the Palais de l''Industrie, where the Salon was held. He was finally granted permission to remove them for three days, which he did. In his haste, Degas used a large amount of a drying agent, which mixed with the paint layer and produced blackish streaks in places. While the condition of the canvas, together with the recollections of Henner and Thiebault-Sisson, leads to the conclusion that the painting was indeed exhibited in 1867, its fate up to the time of Degas''s death in 1917 remains a mystery. Riccardo Raimondi, a Neapolitan lawyer who married one of the painter''s grandnieces, has proposed a very different history for this canvas. According to him, the painting remained at the Bellelli apartment when Degas left Florence in the spring of 1859, and was brought to Naples when the family finally returned from exile. Many years later, at the home of Giulia Bellelli-Maiuri (the little girl on the right, the painter''s cousin), the canvas fell on an oil lamp, which left holes and burns. Sometime between 1898 and 1909, after one of his trips to Naples, Degas brought the canvas back to Paris to restore it and "neglected" to return it to those who, for nearly forty years, had been its owners. This account is widely accepted, but it appears to be pure fantasy. For one thing, it is contradicted by the evidence that the work was exhibited at the Salon of 1867 and seen in the painter''s studio about 1880. Nor does it tally with the condition of the painting itself, which, as its restorer Sarah Walden confirmed in 1984, appears not to have been burned, but rather torn by some sharp object (as Andre Michel had earlier observed). Finally, the large size of the canvas would have made transportation and handling difficult. It therefore seems certain that it never left any of the painter''s studios until it was stored with Durand-Ruel in 1913. Contrary to what Raimondi and most other writers say, The Bellelli Family could not have been finished when Degas left Florence. Once again, however, unclear accounts leave room for doubt. The story begins late in the summer of 1858. Degas arrived in Florence, which he had never visited before, early in August and was staying with his uncle Gennaro Bellelli, who had been exiled to the Tuscan capital. Relations between the two were cool and sometimes difficult. Degas was bored; his only companions were the taciturn John Pradier and the English water-colorist John Bland. He was impatiently awaiting the arrival of his aunt Laura and his two cousins, who had been delayed in Naples by the death of Hilaire Degas on 31 August. As he would do in Paris the following year, Degas bided his time, copying some works by Venetian artists-Giorgione, Veronese-and (on the advice of Gustave Moreau, who was in Venice) reading Pascal''s Les provinciales, “in which regarding oneself as hateful is recommended." He was like someone who "has only himself in front of himself, sees only himself, thinks only of himself." He made little effort to hide his boredom at having to do portraits of some of his Florentine relatives. After the arrival of his aunt and cousins early in November, however, he started on what was to become, after many transformations, The Bellelli Family. This was to be not just another portrait, but a picture ("un tableau"-in a letter to Moreau, he repeated the word and underlined it). It was to be a large and ambitious work, with a wide variety of models for inspiration; in his correspondence, Degas mentions a potpourri of names including van Dyck, Giorgione, Botticelli, Rembrandt, Mantegna, and Carpaccio. He wrote of painting his two young cousins, experimenting (as in the final canvas) with tones of black and white: "I am doing them in their black dresses and their little white pinafores, in which they look delightful." Impatient letters from Auguste De Gas in Paris, awaiting his son''s continually postponed return, provide information about the work''s progress: "If you had begun the portrait of your aunt, I could understand your wanting to finish it. But you haven''t even roughed it out, and the sketch must dry for some time before you can go back and add something, or else you make a mess of it. If you want this to be good and lasting, it is unfortunately impossible for you to do it in a month, and the more rushed you are, the more your impatience will make you do'' it and redo it and thus waste time. It seems to me, therefore, that rather than begin a canvas you''ll have to limit yourself to making a drawing. Take my advice, leave your aunt a drawing that shows off your talents and then hurry and pack up your belongings and get back here." Auguste continued to send more advice-"If you have begun painting your aunt''s portrait in oil, you''ll find yourself making a mess in your hurry to finish"-as well as warnings. He was torn between wanting to be reunited at last with the son he had not seen for over two years and wanting him to finish the work he had begun without ruining it. In late December, Degas abandoned what seems to have been a double portrait, depicting only his cousins, in order to start work on a large picture. It is not clear whether he was already working on the Orsay canvas or was doing more sketches in preparation for this large work. His father wrote: "You start such a large painting on 29 December and think you will finish it by 28 February. That''s extremely doubtful. If I can give you a piece of advice, it''s to do it calmly and patiently; otherwise you run the risk of not finishing it at all and giving your uncle Bellelli good reason to complain. Since you decided to undertake this picture, you must finish it and finish it properly. I dare to hope that your habits have changed, but I admit that I have so little faith in your resolutions that it will be a great weight off my mind when your uncle writes to tell me that you have completed your painting and completed it well."In any case, Degas''s sketches were beginning to include the figure of Gennaro Bellelli, which would explain Auguste''s concern, for he knew his brother-in-law''s irascible nature. In a sketchy canvas, now in a private Italian collection, Degas depicts Gennaro standing alone behind his two daughters (fig. 35). It is not clear exactly how much work the young painter had done when, in late March 1859, he finally made up his mind to leave Florence. Certainly The Bellelli Family was not finished, since Degas made and dated another drawing of Gennaro Bellelli when he returned to Florence for a month in 1860 Cabinet des Dessins, Musée du Louvre [Orsay], Paris, RF15484, inscribed "Florence 1860"). It is unlikely that he had begun painting the huge Orsay canvas; he could hardly have done anything as large in the bourgeois apartment in the Piazza Maria Antonia, where there was no studio. The theory advanced by Hanne Finsen in the very comprehensive catalogue for the Bellelli Family exhibition (1983 Ordrupgaard) seems, in the absence of any further documentation, the most plausible. Finsen postulates that when he left Florence, Degas took with him, besides the numerous sketches he had done in his notebooks, a number of studies on separate sheets of paper (see cat. nos. 21-25)-some very detailed, such as the Dumbarton Oaks study of Giulia Bellelli (cat. no. 25)-and a compositional study in pastel, now in Ordrupgaard (fig. 36), which shows the pose and position of each figure but is noticeably different from the final painting in its treatment of the room. In the first few months after his return to Paris, it seems that Degas did not enjoy the peace of mind he needed to work on such a complex painting. He was slow to readjust to Parisian life, had no studio for several months, missed the encouragement of Moreau, who was still in Italy, clashed with his father over financial matters, was apparently very much absorbed by a brief and mysterious love affair with a Mlle Bréguet (could it have been the Louise Bréguet who was to marry Ludovic Halevy?), and was soon busy with another painting, probably suggested to him by the Peace of Villafranca, The Daughter of Jephthah (cat. no.26). He could not have made much progress with The Bellelli Family. Assuming that the Ordrupgaard pastel gives an indication of the work as Degas had planned it in 1859 and that the Orsay canvas was exhibited, after last-mlnute retouching, at the Salon of 1867, the most notable differences are in the setting: in place of the pastel''s simple arrangement (the background unbroken except for a gilt frame and an opaque mirror), Degas developed a more elaborate setting, brightening the blue wall with a sprinkling of white flowers, opening the view to another room on the left, and reflecting in the mirror the crystal pendants of a chandelier, part of a painting (apparently a racing scene,which, since Degas did not use this theme earlier, would confirm a date in the 1860s), and a door or window frame. Much later, perhaps in the 189OS, when he restored the damaged painting, Degas sewed up-or had Chialiva sew up-the tears, put a little gesso on them, and redid the badly damaged face of Laura Bellelli, at the same time retouching the faces of his uncle and cousins. An overzealous restorer, probably when the canvas was being relined before the sale, must have thought the entire work had been repainted, and scraped off Degas''s last retouchings, seriously marring the faces of Giulia and Gennaro. The Bellelli Family is not merely a group portrait, but rather, as Degas himself stressed, a "picture"-one in which he displays, to use Jamot''s felicitous words, "his taste for domestic drama, a tendency to discover hidden bitterness in the relationships between individuals...even when they seem to be presented merely as figures in a portrait." In November 1858, after awaiting her return with great impatience, Degas was reunited with his aunt Laura, clearly his favorite among his father''s sisters. The young woman''s health was fragile, and she seems to have been slightly unbalanced. In the letters she wrote to her nephew after his return to Paris, she dwelt on the sorrows of a prolonged exile, far from her Neapolitan family and in a "detestable country," and on her sad life with a husband whose character was "immensely disagreeable and dishonest." She refers constantly to the madness she thought was stalking her ("I truly believe that I will end up in a hospital for the insane") and to her imminent death, which would find her abandoned by those closest to her ("I believe you will see me die in this remote corner of the world, far from all those who care for me." "Living with Gennaro, whose detestable nature you know and who has no serious occupation, shall soon lead me to the grave"). Suffering from what could be called a persecution complex, convinced that the very heavens were utterly against her ("Am I right in saying that nothing goes my way in this world, and that even my most innocent desires are forbidden me by chance, or by I know not what fate that hounds me right to the grave?"), and plunged into despair at the slightest disagreement with her husband,.Laura found support and consolation only in the affection of her nephew. It stands to reason that, what with the “disagreeable countenance" of a bitter and always idle Gennaro on one hand and the "sad face" of a seriously neurotic Laura on the other, there must have been days when the atmosphere in the apartment was suffocating, despite the lively presence of the two little girls. Enlarged to the size of a history painting, The Bellelli Family depicts a family.drama: Laura, lost in her black thoughts, poses as if for an official portrait; Giovanna, as in the 1856 portrait (L10,Musée d''Orsay,Paris), gazes intently at the painter; Gennaro, reading by the fireplace and, to use the cruel words of his wife, "without any serious occupation to make him less boring to himself," deigns, with a show of indifference, to turn his head slightly; Giulia, in the center of the painting, is the only link between a mother and father who are visibly estranged. She sits awkwardly on her small chair, showing signs of the boisterousness and impatience to be expected in a child her age, and breaks the oppressive and solemn atmosphere. The recently departed Hilaire Degas good-naturedly surveys the entire scene: on the wall, Degas has hung his most informal image of his grandfather-here the artist is playing with a small oil he had painted some time before (L33, Musée d''Orsay, Paris), disguising it with red chalk, a gray mat, and a wide gilt frame to make it look like a "master drawing." It would be difficult to find, among paintings done at the time, a work equivalent to this masterpiece. Many diverse influences have been cited, including works by the old masters-Holbein and (especially for Laura''s pose) van Dyck, whom Degas discovered with admiration on his trip to Genoa in April 1859. There are the works of nineteenth- century artists as well, such as Ingres with his family portraits and even Courbet''s After Dinner at Ornans, which could have influenced the overall composition. However, as Daniel Schulman points out in a forthcoming publication, Degas''s picture may be closest to Daumier; the composition is strikingly similar to that of an 1837 caricature by Daumier entitled A Man of Property (fig. 37).The group formed by Laura and her two daughters is reminiscent of Goya (whom Degas must have discovered through Bonnat) and his Family of Charles IV (fig. 38). It also recalls Bonnat and his portrait Mother Bonnat with Two Orphans (fig. 39), painted in the 1850S. Bonnat''s picture too plays with tones of black and white and with the monumentality of its protective figure who, like one of the Virgins of Mercy, looks after waifs and strays. But Degas sets himself apart from Daumier by the large scale of his canvas and from Bonnat by the complex arrangement of his interior scene. This remote and difficult painting, "conceived, painted, and presented without any desire to please and without the slightest concession to the taste of the average viewer," thus remains unique in the painter''s oeuvre and unique among the works of his contemporaries. This explains the universal astonishment caused by its appearance after Degas''s death and its immediate purchase by the Musée du Luxembourg. The enormous price that the French National Museums paid to acquire it before the atelier sales provoked an animated response from the press, giving the diehards a chance to let fly. "The family portrait, "said Sâr Péladan, "is as dull as a Flemish interior, although the dry technique is distinctive. ...400,000 francs for the Degas family portrait! And what a ballyhoo over this name! It is certainly not at all sincere." A "Fevre nephew," during the difficult negotiations with the museums, even went so far as to maintain that "it was not one of his uncle''s better paintings." Although the critics were obviously baffled by a work they did not know how to approach, the admiring reviews carried the day. These were especially favorable and emotional because, in a country still at war, the profoundly French character of The Bellelli Family was not unnoticed, François Poncetton asked that it be hung in the Louvre next to the Pietà of Avignon: "The faces of the woman and of the children have the same grave quality we so admire in the calm, radiant faces of the donors. This modern primitive renews that gentle tradition." Paul Paulin, an old friend of Degas''s, felt the same way, and, running out of superlatives, in his enthusiasm he mixed together some very illustrious references: "This work should be in the Louvre. It is so beautiful and personal; it definitely reminds one of Ingres, but it is pure Degas; the litde girl''s slender leg is inspired, and the woman''s face recalls Holbein as well as Ingres. " Jean Sutherland Boggs (Met) Giulia Bellelli, study for The Bellelli Family 1858-59 Essence on buff wove paper mounted on panel 15 1/8 x 10½ in. (38.5 x 26.7 cm) Signed lower right in crayon: Degas Dumbarton Oaks Research Library and Collection, Washington, D.C. (H.37.12) Lemoisne 69 PROVENANCE: Manzi collection, Paris (Manzi sale, Galerie Manzi-Joyant, Paris, 13-14 March 1919, no.32, repr.). Dikran Khan Kelekian, New York (Kelekian sale, American Art Association, New York, 30-31 January 1922, no.101, repr., bought in through Durand-Ruel, at $2,900). Robert Woods Bliss, 1937-40; gift of Mrs. Robert Woods Bliss to Harvard University, for the Dumbarton Oaks Research Library and Collection, November 1940. EXHIBITIONS: 1921, New York, Brooklyn Institute of Arts and Sciences, 26 March-24 April, Paintings by Modem French Masters, no.74; 1924 Paris, no.21, repr. p. 215; 1931 Paris, Rosenberg, no.51; 1934 New York, no.4; 1936 Philadelphia, no.59, repr.; 1937, Washington, D.C., Phillips Memorial Gallery, 15-30 April, Paintings and Sculpture Owned in Washington; 1938, Washington, D.C., Museum of Modern Art Gallery, 22 February-20 March, Portraits of Children; 1940, Washington, D.C., Phillips Memorial Gallery, 7 April-1 May, Exhibition of Great Modern Drawings, no.36; 1947, San Francisco, California Palace of the Legion of Honor, 8 March-6 April, 19th Century French Drawings, no.89, repr.; 1958-59 Rotterdam, no.33, repr. (color), in Paris and New York no.159, pi. 152; 1962 Baltimore, no.30; 1983 Ordrupgaard, no.33, repr. (color). SELECTED REFERENCES: Collection Kelekian: tableaux de I''ecole fran(aise moderne, Paris, 1920, repr.; Lemoisne [1946-49], II, no.. 69; Boggs 1955, p. 131, fig. 11; Minervino 1974, no.141. Jean Sutherland Boggs In July 1858, Degas began a nine-month visit to Florence with his paternal aunt Laura Bellelli, her husband, and their two daughters, Giovanna and Giulia. In letters written during this visit, Degas expressed eagerness to begin a major work, for which he soon began preparatory studies. On November 27 he wrote enthusiastically to Gustave Moreau, "I am doing [the girls] in their black dresses and their little white pinafores, in which they look delightful." On December 29, Degas began work on the canvas that was to become his first masterpiece, The Bellelli Family, now in the Musee d''Orsay. Back in Florence in the spring of 1860, Degas was still at work on the painting and did several more preparatory drawings. The Dumbarton Oaks study, Giulia Bellelli, is the most complete and perhaps the last of the several single-figure studies of her for the painting. In this drawing Giulia sits on the front of a chair in a provocative pose, both defiant and petulant. Placed in the center of the finished painting, she serves as a link between the estranged parents. In his letter to Moreau, Degas described Giulia as having "some of the spirit of a demon and some of the goodness of an angel." Giulia Bellelli entered the collection of Michel Manzi sometime before 1919, when renowned antiquarian Dikran Kelekian purchased it. Beginning in 1913, Mildred and Robert Woods Bliss had acquired scores of antiquities from Kelekian''s New York City gallery. As Kelekian was also known as a connoisseur of modern French art, in 1937-38 the Blisses turned to him for several important Impressionist and Post-Impressionist works, including the Degas drawing. At this time the Blisses were beginning negotiations to convey their Washington, D.C., property and its collections, library, and gardens to Harvard University to establish the Dumbarton Oaks Research Library and Collection, which occurred in November 1940. It is clear that the Blisses, conscious of the humanist legacy they were creating, desired additional important artworks, even at this crucial juncture in their collecting history. Correspondence between the Blisses and Kelekian highlights the calculated maneuvers that typified most of their art purchases. Kelekian almost always had "another seriously interested buyer" for pieces the Blisses found interesting, and the Blisses often held pieces for long periods without commitment, even releasing their hold on them, only later to buy them at more advantageous prices. The drawing Giulia Bellelli was purchased together with an ancient Egyptian ivory statuette, for which the original combined asking price in 1936 was $37,500 but which Kelekian sold to the Blisses on April 9,1937, for $20,000. On that date Kelekian wrote to Robert Woods Bliss: I am glad that you acquired these two exceptional pieces. I sold them to you at your price for three reasons: first, because you and Mrs. Bliss liked them and I wanted to please you; second, I wanted to have the pride of seeing two other most important objects added to your collection containing already several other first class objects purchased from me; and third, I wanted to hurt myself by making a sacrifice on the price so that I should remember the hardship caused to me by relatives towards whom I had been generous [he was at the time involved in litigation with his nephew]. However, I am a good sport and can stand losses. My only wish is that, since you have such good taste and knowledge, you should not pay attention to the advice of ambulant, so-called experts who are far from being disinterested. James N. Carder ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/HC.P.1937.12.(E).JPG", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/HC.P.1937.12.(E).JPG", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/HC.P.1937.12.(E).JPG", "IIIF_URL": "http://iiif.gallerysystems.com/HC.P.1937.12.(E).JPG", "IsPrimary" : "1", "_SurrogateID" : "21651", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 818, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/818", "Disp_Access_No" : "HC.P.1930.04.(O)", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1520", "_Disp_Start_Dat" : "1515", "_Disp_End_Date" : "1525", "Disp_Title" : "Portrait of Mary of Burgundy", "Alt_Title" : "Portrait of Mary of Burgundy", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bernhard Strigel", "Sort_Artist" : "Strigel, Bernhard", "Disp_Dimen" : "72.39 cm x 39.37 cm (28 1/2 in. x 15 1/2 in.)", "Disp_Height" : "72.39 cm", "Disp_Width" : "39.37 cm", "Dimen_Extent" : "", "Medium" : "oil", "Support" : "pine panel", "Disp_Medium" : "oil on pine panel", "Info_Page_Comm" : "Gift of Mildred and Robert Woods Bliss", "Dedication" : "Dumbarton Oaks Research Library and Collection, House Collection, Washington, D.C.", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "German", "Department" : "House Collection", "Obj_Name" : "", "Period" : "", "Style" : "Renaissance", "Edition" : "", "Related_Sibling" : [ ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/HC.P.1930.04.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/HC.P.1930.04.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/HC.P.1930.04.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/HC.P.1930.04.jpg", "IsPrimary" : "1", "_SurrogateID" : "54543", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 830, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/830", "Disp_Access_No" : "HC.P.1936.40.(O)", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1901", "_Disp_Start_Dat" : "1896", "_Disp_End_Date" : "1906", "Disp_Title" : "Child at a Window", "Alt_Title" : "Petite Fille à la Fenêtre Fillette à la fenêtre Annette à la fenêtre", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edouard Vuillard", "Sort_Artist" : "Vuillard, Edouard", "Disp_Dimen" : "34.29 cm x 25.4 cm (13 1/2 in. x 10 in.)", "Disp_Height" : "34.29 cm", "Disp_Width" : "25.4 cm", "Dimen_Extent" : "", "Medium" : "oil", "Support" : "cardboard adhered to cradled panel", "Disp_Medium" : "oil on cardboard adhered to cradled panel", "Info_Page_Comm" : "Gift of Mildred and Robert Woods Bliss", "Dedication" : "Dumbarton Oaks Research Library and Collection, House Collection, Washington, D.C.", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "House Collection", "Obj_Name" : "", "Period" : "", "Style" : "Post-Impressionist", "Edition" : "", "Related_Sibling" : [ ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/HC.P.1936.40.(O).JPG", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/HC.P.1936.40.(O).JPG", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/HC.P.1936.40.(O).JPG", "IIIF_URL": "http://iiif.gallerysystems.com/HC.P.1936.40.(O).JPG", "IsPrimary" : "1", "_SurrogateID" : "22018", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 944, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/944", "Disp_Access_No" : "HC.S.1937.06.(W)", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1521 - 1522", "_Disp_Start_Dat" : "1521", "_Disp_End_Date" : "1522", "Disp_Title" : "Virgin and Child on the Crescent Moon", "Alt_Title" : "Virgin and Child on the Crescent Moon", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Tilman Riemenschneider", "Sort_Artist" : "Riemenschneider, Tilman", "Disp_Dimen" : "95.25 cm x 35 cm x 21 cm (37 1/2 in. x 13 3/4 in. x 8 1/4 in.)", "Disp_Height" : "95.25 cm", "Disp_Width" : "35 cm", "Dimen_Extent" : "", "Medium" : "lindenwood", "Support" : "", "Disp_Medium" : "lindenwood", "Info_Page_Comm" : "Gift of Mildred and Robert Woods Bliss", "Dedication" : "Dumbarton Oaks, House Collection, Washington, D.C.", "Copyright_Type" : "", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "German", "Department" : "House Collection", "Obj_Name" : "", "Period" : "", "Style" : "Late Gothic", "Edition" : "", "Curator" : "Arthur P. 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