{"data":{"id":59847,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/59847","is_boosted":true,"title":"Cupid Chastised","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAABobGCUcEy4fFSYfGCkhGjMiGiclJDQtIzYtIz4vJTcxK0ExIUM6L0c9LFkyIlM6KVNJO3xpTXtyYYZoUAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURIDAQxqEUQfM4whJNCcJIUAgAOw==","width":7445,"height":10426,"alt_text":"Large painting of cupid being whipped, a woman tries to hold back the a man in red dress."},"main_reference_number":"1947.58","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1613,"date_end":1613,"date_display":"1613","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Bartolomeo Manfredi (Italian, 1582\u20131622)","place_of_origin":"Italy","description":"<p><em>Cupid Chastised<\/em> depicts a moment of high drama: Mars, the god of war, violently whips the young boy, Cupid, as punishment for embroiling the god in an affair with the boy\u2019s mother, Venus, the goddess of love. Venus tries in vain to stop the beating. Surrounded by darkness, the three \ufb01gures are boldly illuminated from the left, intensifying the composition\u2019s dynamism and impact. The physicality of the \ufb01gures conveys the violent discord of the scene: the crouching, wide-eyed Venus; the furious, muscular Mars; and Cupid, whose naked \ufb02esh and recumbent position render him particularly vulnerable. On one level a tale of interpersonal con\ufb02ict, the story also symbolizes the eternal con\ufb02ict between love and war.<\/p>\n<p>Bartolomeo Manfredi chose to depict ordinary individuals in scenes from the Bible and Greek and Roman mythology. In so doing, he was following the example of the revolutionary early seventeenth-century artist Caravaggio, who had demonstrated to an entire generation of European artists that such lofty themes could be transformed into events experienced by ordinary people. Manfredi began his career as an artist in Rome by producing copies of Caravaggio\u2019s works, including a painting (now lost) that likely inspired Cupid Chastised, commissioned by Caravaggio\u2019s \ufb01rst major patron, the in\ufb02uential collector Cardinal Francesco Maria del Monte. Manfredi carried the Caravaggesque style forward, assimilating and adapting elements of the older artist\u2019s approach, like the naturalistic portrayal of studio models in mythological roles and the dramatic contrast of light and shadow, known in Italian as <em>chiaroscuro<\/em>.<\/p>\n","short_description":"This dramatic scene by Bartolomeo Manfredi shows Mars, the god of war, beating Cupid for having caused his affair with Venus, the goddess of love. The sheer physicality of the figures as well as the bold illumination from the left further the work's dynamism. The composition is on one level a tale of domestic disturbance but also symbolizes the eternal conflict between love and war.","dimensions":"175.3 \u00d7 130.6 cm (69 \u00d7 51 3\/8 in.)","dimensions_detail":[{"depth":null,"width":130,"height":175,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Charles H. and Mary F. S. Worcester Collection","catalogue_display":null,"publication_history":"Giulio Mancini, Considerazioni sulla pittura, 1619-21, vol. 1 (Rome, 1956), p. 251.\n\nAnna, Lady Miller (n\u00e9e Anna Riggs), Letters from Italy vol. 3 (Dublin, 1776), p. 72.\n\nEttore Sestieri, \"Un Caravaggio di pi\u00f9,\" L' Arte  8 (October 1937), pp. 264-283, figs. 1, 4,7,9, 13, 15.\n\nHermann Voss, \"The Chastisement of Love by Caravaggio,\" Apollo 27 (1938), pp. 31-2, ill. op. p. 31.\n\nThomas Carr Howe, Jr., \u201cSan Francisco Explores An Era Rediscovered by Modern Taste,\u201d Art News 40 (1941), p. 28, ill.\n\nN[uma] S. Trivias, \u201cItalian Baroque Painting in San Francisco,\u201d Apollo 34 (1941), p. 44, ill on cover.\n\nGeorge Isarlo, Caravage et le Caravagisme europ\u00e9en (Aix-en-Provence, 1941), p. 93.\n\nRoberto Longhi, \"Ultimi studi sul Caravaggio e la sua cerchia,\" in Proporzioni, studi di storia dell'arte, ed. by Roberto Longhi, vol. 1 (Florence, 1943), pp. 25, 49, fig. 53.\n\nKatharine Kuh, \"The Worcester Gift,\" The Art Institute of Chicago Bulletin 41 (1947), pp. 59, 61, p. 62, ill.\n\n\"Chicago's Worcester Collection,\" Art News 47 (1947), p. 37, p. 36, ill.\n\nThe Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1948), p. 26, ill.\n\n\"The Glory of Italian Painting: The Highest Peak of Art Since Ancient Greece,\" Masterpieces 1 (1950) p. 28, ill. p. 29.     \n\nUgo Galetti and Ettore Camesasca, Enciclopedia della pittura italiana, vol. 2 (Milan, 1950), pp. 1534-35.\n\nCarla Guglielmi, \"Intorno all'opera pittorica di Giovanni Baglione,\" Bollettino d'arte 39 (1954), p. 325, n. 17.\n\nFritz Baumgart, Caravaggio: Kunst und Wirklichkeit (Berlin, 1955), p. 113, no. 11.\n\nA[ndor] Pigler, Barockthemen: Eine Auswahl von Verzeichnissen zur Ikonographie des 17. Und 18. Jahrhunderts, vol. 2 (Budapest, 1956), pp. 15-16.\n\nKurt Bauch, \"Aus Caravaggios Umkreis,\" Mitteilungen des Kunsthistorischen Institutes in Florenz 7 (1956), pp. 332-33.\n\nThe Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1956), p. 26, ill.\n\nValentino Martinelli, \"L'Amor divino 'tutto ignudo' di Giovanni Baglione e la cronologia dell' intermezzo caravaggesco,\" Arte Antica e Moderna 5 (1959), p. 96.\n\nThe Art Institute of Chicago, Paintings in the Art Institute of Chicago (Chicago, 1961), p. 273, p. 56, ill.\n\nHans Huth, \"Italienische Kunstwerke im Art Institute von Chicago, USA,\" R\u00f6mische Forschungen der Biblioteca Hertziana, vol. 16 (1961), p. 518.\n\nAlfred Moir, \"'Boy with a Flute' by Bartolomeo Manfredi,\" Los Angeles County Museum Bulletin of the Art Division 13 (January-March 1961), pp. 3-4, 13, fig. 2.\n\nAlfred Moir, Art in Italy 1600-1700, exhib. cat. (Detroit Institute of Arts, 1965), pp. 30-31, under no. 9.\n\nEvelina Borea, Caravaggio e i Caravaggeschi (Milan, 1966), fig. 9.\n\nAlfred Moir, The Italian Followers of Caravaggio, vol. 1 (Cambridge, Mass., 1967), pp. 30, 42-3, 58, 61-2, 64, 87, 124, 305; II, 37, 84, fig. 47.\n\nBenedict Nicolson, \"Bartolommeo Manfredi,\" in Studies in Renaissance & Baroque Art presented to Anthony Blunt on his 60th Birthday (London and New York, 1967), pp. 110-1.\n\nAngela Ottino della Chiesa, L'opera completa del Caravaggio (Milan, 1967), p. 110, no. 115, ill.\n\nMichael Kitson, The Complete Paintings of Caravaggio (New York, 1967), p. 111, no. 115, ill.\n\nJohn Maxon, The Art Institute of Chicago (London, 1970), pp. 42-3, ill., 283.\n\nCarlo Volpe, \"Caravaggio e caravaggeschi nelle Gallerie di Firenze,\" Paragone 21 (November 1970), p. 115.\n\nMina Gregori, \u201cCaravaggio O.K.,\u201d Bolaffiarte 2 (November 1971), p. 9.\n\nBurton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972) pp. 118, 470, 571.\n\nEvelina Borea, \u201cConsiderazioni sulla Mostra \u2018Caravaggio e i suoi seguaci\u2019 a Cleveland,\u201d Bollettino d'Arte 57 (1972), p. 161, fig. 13.\n\nJulius S. Held, \u201cCaravaggio and His Followers,\u201d Art in America 60 (May-June 1972), pp. 43-44, ill. p. 46.\n\nRichard E. Spear, \"Unknown Pictures by the Caravaggisti (with Notes on \u2018Caravaggio and His Followers\u2019),\u201d Storia dell'arte 14 (1972), p. 160.\n\nRobert Enggass, \u201cRichard E. Spear's \u2018Caravaggio and His Followers\u2019,\u201d The Art Bulletin 55 (1973), p. 461.\n\nMaurizio Marini, Io Michelangelo da Caravaggio (Rome, 1974), pp. 346-7, under no. 10.\n\nLuigi Salerno, \"A Painting by Manfredi from the Giustiniani Collection,\" Burlington Magazine 116 (1974), p. 616.\n\nLivia Moscone,  \u201cBartolomeo Manfredi,\u201d in Dizionario enciclopedico Bolaffi dei pittori e degli incisori italiani dall'XI al XX secolo vol. 7 (Turin, 1975), p. 142.\n\nAlfred Moir, Caravaggio and His Copyists (New York, 1976), p. 143, no. 240iv.\n\nArnauld Br\u00e9jon, \"New Paintings by Bartolomeo Manfredi, Burlington Magazine 121 (1979), p. 309.\n\nBenedict Nicolson, The International Caravaggesque Movement: Lists of Pictures by Caravaggio and his Followers throughout Europe from 1590 to 1650 (Oxford, 1979), pp. 70, 210, 226.\n\nCharles McCorquodale, The Baroque Painters of Italy (Oxford, 1979), pp. 32-33, ill.\n\nSeymour Howard, \"Identity Formation and Image Reference in the Narrative Sculpture of Bernini's Early Maturity: Hercules and Hydra & Eros Triumphant,\" The Art Quarterly 2 (1979), pp. 70, 210, 226.\n\nJean Pierre Cuzin, \"Manfredi's Fortune Teller and Some Problems of \u2018Manfrediana Methodus\u2019,\" Bulletin of The Detroit Institute of Arts 58 (1980), p. 22.\n\nKl\u00e1ra Garas, \"Unbekannte italienische Gem\u00e4lde in Gotha: Probleme um Bigot und Manfredi, Acta Historiae Artium 26 (1980), p. 274.\n\nJohn T. Spike, Italian Baroque Paintings From New York Private Collections, exhib. cat. (The Art Museum, Princeton University, 1980), p. 76.\n\n\u00c1gnes Szigheti, \u201cVariazioni sul triangolo ancora una volta sul dipinto di battistello a Budapest: Adamo ed Eva piangono su abele,\u201d Acta Historiae Artium 28 (1982), p. 298, pl. 7.\n\nRichard E. Spear, The Age of Caravaggio, exhib. cat. (Metropolitan Museum of Art, 1985), pp. 90-2, under no. 15.\n\nJohn T. Spike, \u201cLetter From New York: The Age of Caravaggio,\u201d Apollo 121 (1985), p. 416.\n\nAlfred Moir, \"An examination of Bartolomeo Manfredi's \u2018Cupid Chastised\u2019,\" The Art Institute of Chicago Museum Studies 11 (1985), pp. 157-67, ill. op. p. 157.\n\n\"Chicago 1986 - A Critic's Poll,\" New Art Examiner 13 (May 1986), p. 32, ill. p. 30.\n\nMina Gregori, \u201cDal Caravaggio al Manfredi,\u201d in Dopo Caravaggio: Bartolomeo Manfredi e la Manfrediana Methodus, exhib. cat. (Centro Culturale Citt\u00e0 di Cremona, Santa Maria della Piet\u00e0, 1987), pp. 15-18, 23, ill.\n\nGiuseppe Merlo, \u201cIpotesi per il percorso del Manfredi,\u201d in Dopo Caravaggio: Bartolomeo Manfredi e la Manfrediana Methodus, exhib. cat. (Centro Culturale Citt\u00e0 di Cremona, Santa Maria della Piet\u00e0, 1987), pp. 27, 29, 60, under no. 2, 62-3, under no. 3, 64, under no. 4, 70, under no. 7, 74, under no. 9, 82, under no. 13.\n\nRaffaella Morselli, \u201cLa fortuna critica,\u201d in Dopo Caravaggio: Bartolomeo Manfredi e la Manfrediana Methodus, exhib. cat. (Centro Culturale Citt\u00e0 di Cremona, Santa Maria della Piet\u00e0, 1987), p. 40.\n\nThe Art Institute of Chicago, Master Paintings in The Art Institute of Chicago (Chicago, 1988), pp. 9, 26, ill.\n\nErich Schleier, \u201cLa pittura a Roma nel Seicento,\u201d in La pittura in Italia: Il Seicento, vol. 1 (Milan, 1988), p. 441, fig. 265.\n\nGianni Papi, \u201cManfredi Bartolomeo,\u201d in La pittura in Italia: Il Seicento, vol. 2 (Milan, 1988), p. 799.\n\nHugh Brigstoke, review,  \u201cCremona Manfredi e la Manfrediana Methodus,\" Burlington Magazine 130 (November 1988), pp. 875-7.\n\nBenedict Nicholson, Caravaggism in Europe (Turin, 1989), vol. 1, pp. 21, 40, 142, 221, vol. 2, pl. 292.\n\nPeter C. Sutton, \u201cA Pair by Van Bjilert,\u201d Hoogsteder-Nauman Mercury 8 (1989), pp. 4 ff, fig. 11.\n\nR. Bruce Dold, \"'Erotic' Art?  Many just don't see it,\" Chicago Tribune (April 27, 1990), sec. 2, pp. 1, 4, ill.\n\nRobin Simon, \u201cThe Bottom Line,\u201d The Spectator (3 March 1990), pp. 45-46.\n\nAlmamaria Mignosi Tantillo, \u201cI Chigi ad ariccia nel \u2018600,\u201d in L\u2019arte per i Papi e per I principi nella campagna romana grande pittura del \u2019600 e del \u2019700, exhib. cat. (Rome, Museo nazionale del Palazzo di Venezia, 1990), pp. 104, n. 94.\n\nM. Kirby Tally, Jr., \"Bartolommeo Manfredi in Caravaggio's Shadow,\" Art News 90, no. 10 (1991), p. 45-6, ill.\n\nGianni Papi, Cecco del Caravaggio (Florence, 1992), pp. 20, 55, fig. 14.\n\nRita Randolphi, \"La vita di Bartolomeo Manfredi nei documenti romani e un'ipotesi sulla sua formazione artistica,\" Storia dell'arte 74 (1992), pp. 84-5.\n\nHerwarth R\u00f6ttgen, Caravaggio. Der irdische Amor (Frankfurt, 1992), pp. 30-32.\n\nRaffaella Morselli, \u201cBartolomeo Manfredi (1582-1622): Sandrart, al collezionista olandese Balthasar Coymans e alcune nuove proposte,\u201d Antichit\u00e0 viva 3-4 (1993), p. 27.\n\nMaria Giulia Aurigemma, \"Del cavalier Baglione,\" Storia dell'arte 80 (1994), p. 45, n. 98.\n\nAnna Ottani Cavina, \u201cUn dipinto di Cecco del Caravaggio,\u201d in Studi di Storia dell\u2019 Arte in onore di Mina Gregori, ed. by Elisa Acanfora and Micaela Sambucco Hamond (Milan, 1994), p. 159.\n\nRita Randolfi, \u201cBartolomeo Manfredi e la moda del tempo: signifcati e cronolgie,\u201d in  Caravaggio e il caravaggismo: dal corso di storia dell'arte moderna I, ed. by Silvia Danesi Squarzina, Giovanna Capitelli, Caterina Volpi (Rome, 1995), p. 180, fig. 3. \n\nJohn J. Chvostal, \"Bartolomeo Manfredi,\" in The Dictionary of Art vol. 20 (London, 1996), pp. 265-7, fig. 1.\n\nGianni Papi, \u201cCaravaggio e Cecco,\u201d in  Come dipingeva il Caravaggio, ed. by Mina Gregori (Milan, 1996), pp. 126-28.\n\nZygmunt Wazbinski, \"Bartolomeo Manfredi alla luce dei nuovi documenti: Un artista Caravaggesco e il mercato Romano nel secondo decennio del seicento,\" Bulletin du Mus\u00e9e National de Varsovie: Various Aspects of Caravaggism 37 (1996), pp. 137-52.\n\nMichele Maccherini, \"Caravaggio nel carteggio familiare di Giulio Mancini,\" Prospettiva (1997), pp. 71-2 (ill.), 76, 79, 84, 88.\n\nRoger Ward, \"Those Who Came Before: Caravaggio and His Principle Italian Followers,\" in Sinners and Saints: Darkness and Light: Caravaggio and His Dutch and Flemish Followers, exhib. cat. (Raleigh, North Carolina Museum of Art, 1997), pp. 27-8, ill., fig. 15.\n\nAlmamaria Mignosi Tantillo, \"I Chigi tra committenza e collezionismo,\" in Alessandro VII Chigi (1599-1667): Il Papa Senese di Roma Moderna, exhib. cat. (Palazzo Pubblico and Palazzo Chigi Zondadari, Siena, 2000-2001), p. 339.\n\nBernardina Sani, \u201cFamilia e citt\u00e0 d\u2019origine: Siena 1599-1626,\u201d in Alessandro VII Chigi (1599-1667): Il Papa Senese di Roma Moderna , exhib. cat. (Palazzo Pubblico and Palazzo Chigi Zondadari, Siena, 2000-2001), pp. 45, 58, 74-5, 83. \n\nGianni Papi, Cecco del Caravaggio (Soncino, 2001), p. 18, fig. 5. \n\nNicole Hartje, Bartolomeo Manfredi (1582-1622): Ein Nachfolger Caravaggios und seine Europ\u00e4ische Wirkung: Monografie und Werkverzeichnis (Weimar, 2004), pp. 104-10, 291-93, no. A1, fig. 1. \n\nSandra Richards, \u201cCaravaggio\u2019s Roman Collectors,\u201d Caravaggio and His Followers in Rome, Exh. cat. (Yale UP, 2012), p. 64, 65, (ill.). \n\nSebastian Smee, \u201cShame begets violence \u2014 and love pays the price: Manfredi\u2019s painting of Cupid being beaten invites a modern interpretation,\u201d Washington Post, November 4, 2020 < https:\/\/www.washingtonpost.com\/graphics\/2020\/entertainment\/bartolomeo-manfredi-cupid-chastised\/>\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 31 (ill.).","exhibition_history":"San Francisco, California Palace of the Legion of Honor, Exhibition of Italian Baroque Painting 17th and 18th Centuries, 1941, cat. 13 (ill. as Caravaggio).\n\nMilan, Palazzo Reale, Mostra del Caravaggio e dei caravaggeschi, 1951, cat. 62, fig. 59, as school of Caravaggio.\n\nSeattle Art Museum, Caravaggio and the Tenebrosi, 1954, no. cat., no. 3 on checklist, as school of Caravaggio.\n\nCleveland Museum of Art, Caravaggio and His Followers, 1971, cat. 44, p. 129, cat. by Richard E. Spear.\n\nNew York, The Metropolitan Museum of Art, The Age of Caravaggio, 1985, cat. 45 (ill.), traveled to Naples.\n\nArt Institute of Chicago, Among Friends and Rivals: Caravaggio in Rome, Sep. 8-Dec. 31, 2023, no cat.","provenance_text":"Commissioned by Agostino Chigi (died 1644), Siena, through the agency of Giulio Mancini in March 1613; painting completed by October 1613 [see Wazbinski, 1996]; by descent in the Chigi family, Siena and Rome [recorded in 1644 Chigi inventory: \"Un quadro con cornici di noce di alto braccia due 3\/4 large braccia due rappresenta un soldato [Mars] che spezza [Amour] presente Venere, la quale cerca difenderlo, opera di Bartolomeo Manfredi Milanese scudi cento 100,\" see Archivio Chigi Armadio CCCLI]; by descent to Fabio Chigi, later Pope Alexander VII (died 1667), Rome [recorded in 1657 Chigi inventory, no. 57, \u201cUn quadro dipinto di un Marte che spezza Amore e Venere che finge tenerlo [illegible] con strata alto p[a]lmi 7 incirca largo 5 1\/2 incirca di Bartolomeo Manfredi con cornice dorata liscia,\u201d see Archivio Chigi Armadio CCCLXXXI]; by descent to his nephew, Agostino Chigi III, Rome (died 1705) [Moir, 1985]; by descent to Prince Ludovico Chigi Albani della Rovere (1866-1951), Palazzo Chigi, Rome until at least 1917; the painting was probably moved to Ludovico Chigi's residence in Ariccia, near Rome, 1917, when the palazzo became property of the Italian government [according to c. 1983 draft of Moir article in Museum studies 1985, copy in curatorial file].  Armando Brasini (1879-1965), Rome, by c. 1935 [according to Carlo Sestieri\u2019s letter, October 3, 1988, in curatorial file stating that he saw it there when he was 13]; Wildenstein and Company, New York and Paris, by 1938 [Voss 1938, p. 30 and Moir 1985]; sold by Wildenstein to Charles H. Worcester, Chicago, 1939 [letters from Wildenstein to Worcester, Nov. 16 and 21, 1939, in curatorial file]; lent to the Art Institute from 1939; given to the Art Institute, 1947.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1947,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":31.1488,"color":{"h":212,"l":53,"s":36,"percentage":0.0031084892842352463,"population":31},"latitude":41.879183586631,"longitude":-87.6239507272839,"latlon":"41.879183586631,-87.623950727284","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 211","gallery_id":2147483626,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":41483,"artist_title":"Bartolomeo Manfredi","alt_artist_ids":[],"artist_ids":[41483],"artist_titles":["Bartolomeo Manfredi"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["oil on canvas","cupids","oil painting","oil paint (paint)","Renaissance","17th Century","painting techniques","painting","painting","paint","paint","oil paintings (visual works)","Italian","doves","violence","mother","sons","women","men","man","woman","arrows","arrow","helmets","breasts","Cuirass","gods (deities)","goddesses","Venus","war","love","nudes","conflict","Greek mythology","Greek gods","Roman","painting","european painting","painting (image making)","canvas","birds"],"style_id":"TM-5891","style_title":"Renaissance","alt_style_ids":["TM-13770"],"style_ids":["TM-5891","TM-13770"],"style_titles":["Renaissance","17th Century"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-10387","TM-78","TM-14164","TM-9","TM-54"],"classification_ids":["TM-66","TM-10387","TM-78","TM-14164","TM-9","TM-54"],"classification_titles":["oil on canvas","paint","oil paintings (visual works)","Italian","painting","european painting"],"subject_id":"TM-11224","alt_subject_ids":["TM-12843","TM-12307","TM-13798","TM-13432","TM-8735","TM-10121","TM-14974","TM-13813","TM-12912","TM-15328","TM-12514","TM-15506","TM-14955","TM-12066","TM-12067","TM-15716","TM-12728","TM-12167","TM-8649","TM-13625","TM-12707","TM-12633","TM-15336","TM-11211"],"subject_ids":["TM-11224","TM-12843","TM-12307","TM-13798","TM-13432","TM-8735","TM-10121","TM-14974","TM-13813","TM-12912","TM-15328","TM-12514","TM-15506","TM-14955","TM-12066","TM-12067","TM-15716","TM-12728","TM-12167","TM-8649","TM-13625","TM-12707","TM-12633","TM-15336","TM-11211"],"subject_titles":["cupids","doves","violence","mother","sons","women","men","man","woman","arrows","arrow","helmets","breasts","Cuirass","gods (deities)","goddesses","Venus","war","love","nudes","conflict","Greek mythology","Greek gods","Roman","birds"],"material_id":"TM-2451","alt_material_ids":["TM-13502","TM-2577","TM-3124"],"material_ids":["TM-2451","TM-13502","TM-2577","TM-3124"],"material_titles":["oil paint (paint)","painting","paint","canvas"],"technique_id":"TM-4273","alt_technique_ids":["TM-3971","TM-14210","TM-3891"],"technique_ids":["TM-4273","TM-3971","TM-14210","TM-3891"],"technique_titles":["oil painting","painting techniques","painting","painting (image making)"],"theme_titles":[],"image_id":"0f951635-312c-0829-451b-553f461c5518","alt_image_ids":[],"document_ids":["e25bc1a3-6cf4-1902-e0bc-9caf24d8f3bf"],"sound_ids":["e25bc1a3-6cf4-1902-e0bc-9caf24d8f3bf"],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"Cupid Chastised","suggest_autocomplete_all":[{"input":["1947.58"],"contexts":{"groupings":["accession"]}},{"input":["Cupid Chastised"],"weight":37908,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-05-29T11:00:26-05:00","updated_at":"2026-08-27T15:11:34-05:00","timestamp":"2026-09-01T23:01:55-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. All other data in this response is licensed under a Creative Commons Zero (CC0) 1.0 designation and the Terms and Conditions of artic.edu.","license_links":["https:\/\/creativecommons.org\/publicdomain\/zero\/1.0\/","https:\/\/www.artic.edu\/terms"],"version":"1.15"},"config":{"iiif_url":"https:\/\/www.artic.edu\/iiif\/2","website_url":"http:\/\/www.artic.edu"}}