6 10 83 https://european-mastectomy.artinterp.org/files/original/cdd6c73a8ad984877654f4a1a532bfa4.jpg ff8cb4c5c7179cc4536bcf02f71b7f41 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Saints Apollonia, Agatha, Cecilia, and Ursula Description An account of the resource 23,2 x 16 cm Publisher An entity responsible for making the resource available Flanders Date A point or period of time associated with an event in the lifecycle of the resource c. 1500 Contributor An entity responsible for making contributions to the resource Staatliche Museum, Berlin https://id.smb.museum/object/952779/die-heiligen-apollonia%2C-agathe%2C-c%C3%A4cilia-und-ursula- https://european-mastectomy.artinterp.org/files/original/b9392ce1271c779ead2fee535e568499.jpg fba7f9169d5209e984b72324eb70413d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Martyrdom of Saint Agatha Description An account of the resource "From a large number of initials cut from choir-books, attributed to the miniaturist active in Lombardy in the decades around and after 1500, some are signed B. F. (or B.). The identification of the artist is controversial. Wescher would like to recognize Francesco Binasco in him and resolve the signature as "Binasco fecit". Characteristic are the pronounced drawing style with strange bulging broken folds and the hair treatment ending in the finest curls. The ubiquitous Leonardesque influence in Milan is particularly noticeable in the faces. The initial D, formed from horns with colored leaves and a blue leaf mask on the stem, depicts the martyrdom of St. Agatha shown. Because she did not want to renounce her faith, both her breasts were cut off (legenda aurea) after a number of tortures at the behest of Prefect Quintinian, who is enthroned with the judge's staff on the left. Her tormentors have tied her to an 'ancient' pillar (which may have been the support of a pagan idol) with her arms raised, and a henchman is setting the knife. In the background, the crenellated wall of Catania delimits the place of execution." 16,2 x 16,8 cm Date A point or period of time associated with an event in the lifecycle of the resource c. 1500-25 Contributor An entity responsible for making contributions to the resource Staatliche Museum, Berlin https://id.smb.museum/object/1051992/initiale-d-mit-martyrium-der-hl--agathe blade breasts fleur-de-lis poker saint agatha tools torture https://european-mastectomy.artinterp.org/files/original/f7d3de4f3fba059f1de8f0ae2e86044a.jpg 18405e46d67d3d1e28e2277a162d0580 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Martyrdom of Saint Agatha Description An account of the resource "One of the most classic creations from Tiepolo's Venetian years is the former high altar picture of the Benedictine monastery church of S. Agata in Lendinara near Rovigo, which the artist painted around 1755 after his return from Würzburg in 1753. It depicts the death of the titular saint, who lived in Catania in the first half of the 3rd century and suffered martyrdom in 251. She came from a wealthy noble family and dedicated her life to Christ from an early age. She was subjected to various temptations, arrested and tortured by young Quintian. An executioner severed her breasts. Brought back to the dungeon, Peter appeared to her and healed her. When tortured again, part of the building suddenly collapsed, burying two executioners. An earthquake broke out in Catania. After the prayer of thanks that her body was unharmed, she died. Etna erupted on the anniversary of her death. The cloth covering her grave was carried towards the flow of lava, stopping it. Her protection was henceforth invoked to ward off earthquakes. While early Baroque Italian painters were fond of depicting the episode of St. Agatha's healing by Peter in prison, Tiepolo's picture depicts her martyrdom. Half slumped on the steps of an ancient building, she gazes submissively upwards while a servant with the A cloth covers the mutilated breast and a youth next to her carries the severed breasts on a bowl. Tiepolo did not depict the moment of the execution of the torture, thus avoiding the drastic nature of the horrible, bloodthirsty man. Rather, what is decisive is the impression of firmness, calm trust in God and strength of faith that emanates from the saint. Her face is held and framed, as it were, by the heads of the youth and the servant, who gently and snuggly turn towards her, while the impetuous, threatening figure of the brutal executioner, appearing behind and above her on the right and pointing his right arm, forms the dramatic counterpart. The energy of his head, which is thrown to the left, is checked by the mighty towering column, the vertical of which symbolically and formally absorbs the saint's upward gaze. However, the column is no longer visible in its full original height. As the etching by Giovanni Battista's son Giovanni Domenico shows, the picture originally ended in a semicircle at the top. The shaft of the column ended in a fracture, the ruinous state perhaps alluding to the collapse of the palace and the earthquake. On the left in the clouds was the vision of the saints, the flaming heart of Christ surrounded by the crown of thorns, with two angels' heads hovering around it. As early as 1795 the picture was in poor condition. It disappeared from the church when the monastery was secularized in 1810 or at the latest in 1832/35 when a priest acquired the church building from the Austrian administration and handed it over to the Capuchins, who redecorated the church and dedicated the high altar to St. Francis. Tiepolo's image was also cropped by 15 centimeters at the bottom. Two preliminary drawings for the head of the saint are in the Berlin Print Room, a study for the youth's hands holding the bowl, is kept in the Museo Correr in Venice. | 200 masterpieces of European painting - Gemäldegalerie Berlin, 2019 ______________________________ One of the most classical creations of Tiepolo's Venetian years is the former high altar of the Benedictine monastery church of Sant'Agata in Lendinara near Rovigo, which the artist painted 1745–50 after returning from Würzburg in 1753. It depicts the death of the tutelary saint, who lived in Catania during the first half of the third century, and suffered martyrdom in 251. Saint Agatha came from a wealthy noble family, and devoted her life to Christ already in her younger years. She was exposed to various temptations, imprisoned, and tortured by the young Quintian. An executioner cut off her breasts. After she was returned to prison, Saint Peter appeared to her and healed her. Upon continued torture, a section of the building suddenly collapsed, burying two executioners. Then an earthquake occurred in Catania. After giving thanks for the fact that her body had remained unharmed, she died. On the anniversary of her death, Mount Etna erupted. The sheet that had covered her grave was held up to the stream of lava, bringing it to a standstill. She has been invoked as a protectress from earthquakes ever since. While the Italian painters of the early Baroque preferred as a rule to illustrate the episode when Agatha is healed in prison by Saint Peter, Tiepolo's picture depicts her martyrdom. She has slumped down halfway onto the steps of an antique building, and gazes upward into the heavens with an expression of surrender, while a female servant uses a cloth to cover her mutilated chest and a nearby youth carries the severed breasts on a tray. Tiepolo has not depicted the moment of the actual act of torture itself, hence avoiding the greatest extremes of cruelty and gruesomeness. Decisive here instead is an impression of steadfastness, of belief in God, and strength in faith that is expressed by the figure of the saint. Her face is held so to speak and framed by the heads of the youth and the female servant, who turn toward her with gentleness and solicitude, while the ferocious, brutal figure of the executioner, a dramatic antagonist, looms up behind her making an expansive pointing gesture with his right hand. The energy of his head, turned toward the left, is arrested by the powerfully towering column, whose vertical takes up the saint's upward gaze, both symbolically and formally. The column is however no longer visible in its original height. As shown by an etching executed by Giambattista's son Giandomenico, the upper terminus of this picture was originally semi-circular. The top of the shaft of the column was broken off, its ruinous condition perhaps an allusion to the collapse of the palace and the earthquake. Depicted on the left-hand side in the clouds was the saint's vision, the flaming heart of Christ surrounded by the crown of thorns and flanked by a pair of angel's heads. As early as 1795, the picture was found in poor condition. It vanished from the church when the monastery was secularized in 1810, or perhaps as late as 1832/35, when a priest acquired the church building from the Austrian administration and transferred it to the Capuchins, who redecorated the church and dedicated the high altar to Saint Francis. Approximately 15 centimeters were removed from Tiepolo's picture at the bottom. Two preliminary drawings for the head of the saint are found in the Berlin Kupferstichkabinett, while a study of the youth who holds the tray, is preserved in the Museo Correr in Venice.| 200 Masterpieces of European Painting - Gemaldegalerie Berlin, 2019" 187,8 x 135,5 cm Creator An entity primarily responsible for making the resource Giovanni Battista Tiepolo Publisher An entity responsible for making the resource available Place of manufacture: Italy (country) Place of origin: Venice (city) Date A point or period of time associated with an event in the lifecycle of the resource 1753-55 Contributor An entity responsible for making contributions to the resource Staatliche Museum https://id.smb.museum/object/866587/das-martyrium-der-heiligen-agathe 1878 Ankauf von Charles Sedelmeyer, Paris breasts saint agatha sword tiepolo torture https://european-mastectomy.artinterp.org/files/original/1cd39ab746d1f026e0ce53984608bff0.jpg f392e8e24c9da361648bd34a0f48930d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Martyrdom of Saint Agatha Description An account of the resource etching Creator An entity primarily responsible for making the resource Giovanni Domenico Tiepolo after Giovanni Battista Tiepolo Italian Date A point or period of time associated with an event in the lifecycle of the resource c. 1727-1804 Contributor An entity responsible for making contributions to the resource The National Gallery of Art (Washington, D.C.) Ailsa Mellon Bruce Fund https://www.nga.gov/collection/art-object-page.54056.html Relation A related resource 1906 Vesme, Alexandre de (Baudi di Vesme, Alessandro). Le peintre-graveur italien; ouvrage faisant suite au peintre-graveur de Bartsch. Milan: Ulrico Hoepli, 1906. 1971 Rizzi, Aldo. The Etchings of the Tiepolos. Complete edition. London: Phaidon, 1971. breasts saint agatha sword torture https://european-mastectomy.artinterp.org/files/original/c9484cdd36c4419aa2da5464f7f3414b.jpg 00285f3ec0d36385c32dcff5b65f9d96 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Creator An entity primarily responsible for making the resource Israhel van Meckenem German Date A point or period of time associated with an event in the lifecycle of the resource 1465 Contributor An entity responsible for making contributions to the resource National Gallery of Art, D.C. Rosenwald Collection (William Schab, New York); purchased by Lessing J. Rosenwald [1891-1979], 1940; gift to NGA, 1943. Relation A related resource 1908 Lehrs, Max. Geschichte und kritischer Katalog des deutschen, niederlandischen und franzosischen Kupferstichs im XV. Jahrhundert. 9 vols. and 1 plate vol. Vienna: Gesellschaft fur vervielfaltigende Kunst, 1908-1934. 1949 Hollstein, F.W.H. et al. German engravings, etchings and woodcuts ca. 1400-1700. 8 vols. Amsterdam: Menno Hertzberger, 1954-1868. Dutch and Flemish etchings, engravings and woodcuts, ca. 1450-1700. Vols. I-XV, XVIII, XIX. Amsterdam: Menno Hertzberge 1967 Shestack, Alan. Fifteenth Century Engravings of Northern Europe from the National Gallery of Art, Washington, D.C.. Exh. cat. Washington: National Gallery of Art, 1967: no. 156. breasts pincers saint agatha https://european-mastectomy.artinterp.org/files/original/3535e5129e7d938d15fd3875ed19c541.jpg 2689da2d7f8409a2573f54741bb72650 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Martyrdom of Saint Agatha Creator An entity primarily responsible for making the resource Parmigianino Source A related resource from which the described resource is derived Location Abbazia di San Giovanni Evangelista, Parma, Italy Date A point or period of time associated with an event in the lifecycle of the resource c. 1523-24 Contributor An entity responsible for making contributions to the resource San Giovanni Evangelista Format The file format, physical medium, or dimensions of the resource fresco breasts pincers saint agatha tools torture https://european-mastectomy.artinterp.org/files/original/8b18c2332529862381fc53a2ed7d630f.jpeg 27fd33fa8bfa4a8d565165a8757bb203 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Subject The topic of the resource Series/Book Title: Illustration from Philippus Bergomensis, De Claribus Mulieribus. Ferrara, Rossi Description An account of the resource woodcut Creator An entity primarily responsible for making the resource Anonymous Italy (Ferrara) 1497, Italian Publisher An entity responsible for making the resource available Creation Place: Europe, Italy, Emilia, Ferrara Date A point or period of time associated with an event in the lifecycle of the resource 15th c Contributor An entity responsible for making contributions to the resource Fogg Art Museum https://hvrd.art/o/252385 Philip Hofer, Cambridge, gift; to Fogg Art Museum, 1929 pincers print saint agatha tools https://european-mastectomy.artinterp.org/files/original/8fb624a32a4dde6a02905183919b1689.jpeg 0015b902831a7eb88990fe65862989b0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Description An account of the resource engraving Creator An entity primarily responsible for making the resource Paolo Toschi, Italian (1788 - 1854) After Parmigianino, Italian (Parma, Italy 1503 - 1540 Casalmaggiore, Italy) Publisher An entity responsible for making the resource available Italian Date A point or period of time associated with an event in the lifecycle of the resource 19th c Contributor An entity responsible for making contributions to the resource Fogg Art Museum https://hvrd.art/o/279188 Francis Calley Gray, bequest to nephew, 1856. William Gray, gift to Harvard University, 1857. breasts pinchers saint agatha torture https://european-mastectomy.artinterp.org/files/original/8e9fc3d07220c3fb0dd125f1f35ff6ee.jpeg fb7c4ee730e92561b4336344fe45b5b3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Martyrdom of Saint Agatha; verso: Figure Study Description An account of the resource Medium Brown ink, brown and gray wash, and black chalk over graphite on cream antique laid paper (?), partial framing line in brown ink, mounted overall to cream antique laid paper with gold leaf remnants from a previous mount; verso: red chalk and black chalk or graphite Dimensions 27.3 x 17 cm (10 3/4 x 6 11/16 in.) Inscriptions and Marks inscription: lower left, brown ink: L. 2461 (Thomas Thane) collector's mark: lower right, black ink, stamp: L. 2170 (Jonathan Richardson, Jr.) inscription: mount, verso, center, graphite: B. 821 [encircled] inscription: mount, verso, lower right, graphite, erased: 5 [encircled] inscription: verso, right center, ink: 116 [? as visible throught mount] watermark: in mount: VILLEDARY inscription: verso, lower right, ink: 4 inscription: verso, brown ink: Arpino [? as visible through mount] Publisher An entity responsible for making the resource available Flemish? Date A point or period of time associated with an event in the lifecycle of the resource 17th c Contributor An entity responsible for making contributions to the resource Fogg Art Museum https://hvrd.art/o/312475 blacksmithing pincers saint agatha tools torture https://european-mastectomy.artinterp.org/files/original/230910c027fdd400700f98be55cd8df7.jpeg 307372a878709a4fd47aa6639fbb9e44 https://european-mastectomy.artinterp.org/files/original/c8264fe862a5820d1dbd9fa867684ea3.jpeg 9d4a09398b2f00a2deab19e56a050bb0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Description An account of the resource Black ink and white gouache on blue-gray prepared antique laid paper Dimensions 19.2 x 14 cm (7 9/16 x 5 1/2 in.) Creator An entity primarily responsible for making the resource Bernhard Strigel, German (1460 - 1528) Date A point or period of time associated with an event in the lifecycle of the resource 15th-16th century Contributor An entity responsible for making contributions to the resource Fogg Art Museum https://harvardartmuseums.org/collections/object/297272?position=2 [Steinmeyer] sold; to Paul J. Sachs, Cambridge, MA (by 1927), gift; to Fogg Art Museum, 1959 Relation A related resource Sydney J. Freedberg, "A Drawing by Bernhard Strigel", Bulletin of the Fogg Art Museum (November 1938), VIII, no. 1, pp. 18-24, pp. 18-24, fig. 2 Agnes Mongan and Paul J. Sachs, Drawings in the Fogg Museum of Art, Harvard University Press (Cambridge, 1940), no. 397, fig. 205 Allene Talmey, "The Fogg Art Museum at Harvard", Vogue, Conde Nast (New York, July 15, 1947), 15 July, pp. 44-49, 78-80, repr. p. 44 Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums and Abbeville Press (Cambridge and New York, 1986), no. 260, p. 223, repr. Penley Knipe, "Grounds on Paper: An Examination of Eight Early Drawings" (thesis (certificate in conservation), Straus Center for Conservation and Technical Studies, 1998), Unpublished, pp. 1-22 passim blacksmithing breasts pincers saint agatha tools