{
  "supercards_format": "1.1.0",
  "deck": {
    "title": "Masterworks of the Baroque",
    "summary": "10 essential Baroque paintings spanning Caravaggio, Rembrandt, Vermeer, Velázquez, Gentileschi, Rubens, and de La Tour.",
    "source": "Generated by Claude — URL image fetch test (verified Wikimedia Commons URLs)",
    "color": "#1A1A1A",
    "card_size": "medium"
  },
  "cards": [
    {
      "title": "The Calling of Saint Matthew",
      "front": [
        {
          "type": "image",
          "src": "https://commons.wikimedia.org/wiki/Special:FilePath/Caravaggio_-_La_vocazione_di_San_Matteo.jpg?width=800",
          "alt": "The Calling of Saint Matthew by Caravaggio",
          "size": "full-width"
        }
      ],
      "back": [
        { "type": "text", "text": "The Calling of Saint Matthew", "role": "heading" },
        { "type": "text", "text": "Caravaggio  ·  1599–1600", "role": "subheading" },
        { "type": "text", "text": "A beam of light follows Christ's gesture toward Matthew, who sits among tax collectors in a contemporary Roman tavern. This masterpiece of dramatic chiaroscuro revolutionized religious art by grounding a biblical scene in gritty everyday life.", "role": "body" },
        { "type": "text", "text": "Oil on canvas  ·  322 × 340 cm", "role": "caption" },
        { "type": "text", "text": "Contarelli Chapel, San Luigi dei Francesi, Rome", "role": "caption" }
      ]
    },
    {
      "title": "The Night Watch",
      "front": [
        {
          "type": "image",
          "src": "https://commons.wikimedia.org/wiki/Special:FilePath/The_Nightwatch_by_Rembrandt_-_Rijksmuseum.jpg?width=800",
          "alt": "The Night Watch by Rembrandt",
          "size": "full-width"
        }
      ],
      "back": [
        { "type": "text", "text": "The Night Watch", "role": "heading" },
        { "type": "text", "text": "Rembrandt van Rijn  ·  1642", "role": "subheading" },
        { "type": "text", "text": "Depicts Captain Frans Banning Cocq's militia company in dynamic motion rather than static poses. Rembrandt broke with group portrait convention, using dramatic lighting to create a sense of emergence from shadow that gives the painting its misleading name.", "role": "body" },
        { "type": "text", "text": "Oil on canvas  ·  363 × 437 cm", "role": "caption" },
        { "type": "text", "text": "Rijksmuseum, Amsterdam", "role": "caption" }
      ]
    },
    {
      "title": "Girl with a Pearl Earring",
      "front": [
        {
          "type": "image",
          "src": "https://commons.wikimedia.org/wiki/Special:FilePath/Meisje_met_de_parel.jpg?width=800",
          "alt": "Girl with a Pearl Earring by Vermeer",
          "size": "full-width"
        }
      ],
      "back": [
        { "type": "text", "text": "Girl with a Pearl Earring", "role": "heading" },
        { "type": "text", "text": "Johannes Vermeer  ·  c. 1665", "role": "subheading" },
        { "type": "text", "text": "Often called the 'Mona Lisa of the North,' this is a tronie (character study) rather than a commissioned portrait. The luminous pearl earring and the girl's direct gaze over her shoulder create an intimate, enigmatic quality unique in Dutch Golden Age painting.", "role": "body" },
        { "type": "text", "text": "Oil on canvas  ·  44.5 × 39 cm", "role": "caption" },
        { "type": "text", "text": "Mauritshuis, The Hague", "role": "caption" }
      ]
    },
    {
      "title": "Las Meninas",
      "front": [
        {
          "type": "image",
          "src": "https://commons.wikimedia.org/wiki/Special:FilePath/Las_Meninas,_by_Diego_Vel%C3%A1zquez,_from_Prado_in_Google_Earth.jpg?width=800",
          "alt": "Las Meninas by Velázquez",
          "size": "full-width"
        }
      ],
      "back": [
        { "type": "text", "text": "Las Meninas", "role": "heading" },
        { "type": "text", "text": "Diego Velázquez  ·  1656", "role": "subheading" },
        { "type": "text", "text": "The Infanta Margarita stands with her entourage while Velázquez paints the king and queen, visible in a background mirror. Widely considered a meditation on the nature of seeing, representation, and the relationship between artist, subject, and viewer.", "role": "body" },
        { "type": "text", "text": "Oil on canvas  ·  318 × 276 cm", "role": "caption" },
        { "type": "text", "text": "Museo del Prado, Madrid", "role": "caption" }
      ]
    },
    {
      "title": "Judith Slaying Holofernes",
      "front": [
        {
          "type": "image",
          "src": "https://commons.wikimedia.org/wiki/Special:FilePath/Artemisia_Gentileschi_-_Judith_Beheading_Holofernes_-_WGA8563.jpg?width=800",
          "alt": "Judith Slaying Holofernes by Artemisia Gentileschi",
          "size": "full-width"
        }
      ],
      "back": [
        { "type": "text", "text": "Judith Slaying Holofernes", "role": "heading" },
        { "type": "text", "text": "Artemisia Gentileschi  ·  c. 1620", "role": "subheading" },
        { "type": "text", "text": "One of the most powerful depictions of this biblical subject. Gentileschi's Judith is physically strong and unflinching — a stark departure from other artists' passive heroines. The visceral realism and psychological intensity make it a landmark of Baroque art and early feminist art history.", "role": "body" },
        { "type": "text", "text": "Oil on canvas  ·  199 × 162.5 cm", "role": "caption" },
        { "type": "text", "text": "Uffizi Gallery, Florence", "role": "caption" }
      ]
    },
    {
      "title": "The Descent from the Cross",
      "front": [
        {
          "type": "image",
          "src": "https://commons.wikimedia.org/wiki/Special:FilePath/Peter_Paul_Rubens_-_Descent_from_the_Cross_-_WGA20212.jpg?width=800",
          "alt": "The Descent from the Cross by Rubens",
          "size": "full-width"
        }
      ],
      "back": [
        { "type": "text", "text": "The Descent from the Cross", "role": "heading" },
        { "type": "text", "text": "Peter Paul Rubens  ·  1612–1614", "role": "subheading" },
        { "type": "text", "text": "The monumental triptych centerpiece shows Christ's body being lowered from the cross. Rubens orchestrates a cascade of intertwined figures with extraordinary anatomical precision. The diagonal composition and rich color exemplify Flemish Baroque at its most theatrical.", "role": "body" },
        { "type": "text", "text": "Oil on panel  ·  421 × 311 cm", "role": "caption" },
        { "type": "text", "text": "Cathedral of Our Lady, Antwerp", "role": "caption" }
      ]
    },
    {
      "title": "The Supper at Emmaus",
      "front": [
        {
          "type": "image",
          "src": "https://commons.wikimedia.org/wiki/Special:FilePath/Caravaggio_-_Cena_in_Emmaus.jpg?width=800",
          "alt": "The Supper at Emmaus by Caravaggio",
          "size": "full-width"
        }
      ],
      "back": [
        { "type": "text", "text": "The Supper at Emmaus", "role": "heading" },
        { "type": "text", "text": "Caravaggio  ·  1601", "role": "subheading" },
        { "type": "text", "text": "Captures the moment the resurrected Christ reveals himself to two disciples at an inn. The foreshortened arms reaching toward the viewer, meticulous still-life details, and dramatic illumination against a dark background became hallmarks of the Caravaggist movement across Europe.", "role": "body" },
        { "type": "text", "text": "Oil on canvas  ·  141 × 196.2 cm", "role": "caption" },
        { "type": "text", "text": "National Gallery, London", "role": "caption" }
      ]
    },
    {
      "title": "Self-Portrait with Two Circles",
      "front": [
        {
          "type": "image",
          "src": "https://commons.wikimedia.org/wiki/Special:FilePath/Rembrandt_van_Rijn_-_Self-Portrait_with_Two_Circles_-_Google_Art_Project.jpg?width=800",
          "alt": "Self-Portrait with Two Circles by Rembrandt",
          "size": "full-width"
        }
      ],
      "back": [
        { "type": "text", "text": "Self-Portrait with Two Circles", "role": "heading" },
        { "type": "text", "text": "Rembrandt van Rijn  ·  c. 1665", "role": "subheading" },
        { "type": "text", "text": "Painted near the end of Rembrandt's life, this unflinching self-portrait shows the artist holding his palette and brushes before two mysterious circles. The broad, heavily textured brushwork and profound psychological depth represent the pinnacle of his late style.", "role": "body" },
        { "type": "text", "text": "Oil on canvas  ·  114 × 94 cm", "role": "caption" },
        { "type": "text", "text": "Kenwood House, London", "role": "caption" }
      ]
    },
    {
      "title": "The Milkmaid",
      "front": [
        {
          "type": "image",
          "src": "https://commons.wikimedia.org/wiki/Special:FilePath/Johannes_Vermeer_-_Het_melkmeisje_-_Google_Art_Project.jpg?width=800",
          "alt": "The Milkmaid by Vermeer",
          "size": "full-width"
        }
      ],
      "back": [
        { "type": "text", "text": "The Milkmaid", "role": "heading" },
        { "type": "text", "text": "Johannes Vermeer  ·  c. 1658", "role": "subheading" },
        { "type": "text", "text": "A kitchen maid pours milk with quiet concentration. Vermeer transforms a humble domestic scene into a meditation on light and stillness. The pointillé technique on the bread and basket creates an almost photographic texture unprecedented in 17th-century painting.", "role": "body" },
        { "type": "text", "text": "Oil on canvas  ·  45.5 × 41 cm", "role": "caption" },
        { "type": "text", "text": "Rijksmuseum, Amsterdam", "role": "caption" }
      ]
    },
    {
      "title": "The Penitent Magdalene",
      "front": [
        {
          "type": "image",
          "src": "https://commons.wikimedia.org/wiki/Special:FilePath/Georges_de_La_Tour_-_The_Penitent_Magdalen_-_Google_Art_Project.jpg?width=800",
          "alt": "The Penitent Magdalene by Georges de La Tour",
          "size": "full-width"
        }
      ],
      "back": [
        { "type": "text", "text": "The Penitent Magdalene", "role": "heading" },
        { "type": "text", "text": "Georges de La Tour  ·  c. 1640", "role": "subheading" },
        { "type": "text", "text": "A candlelit scene of profound stillness. Mary Magdalene gazes at a flame reflected in a mirror, a skull on her lap symbolizing mortality. La Tour's signature use of a single candle as the sole light source creates an atmosphere of intimate contemplation unmatched in Baroque painting.", "role": "body" },
        { "type": "text", "text": "Oil on canvas  ·  133.4 × 102.2 cm", "role": "caption" },
        { "type": "text", "text": "Metropolitan Museum of Art, New York", "role": "caption" }
      ]
    }
  ]
}