https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/The_Adoration_of_the_Kings/n-0268-00-000062-hd.jpg 9cac01d8e9e45c7ec6aa60c1e5ba8978 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 October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK 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 Adoration of the Kings Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived <ul> <li>Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online, (October 2011). <a href="https://doi.org/10.1093/gao/9781884446054.article.T089003">https://doi.org/10.1093/gao/9781884446054.article.T089003</a></li> <li>The National Gallery, London.“Paolo Veronese.” accessed October 5, 2020. https://www.nationalgallery.org.uk/artists/paolo-veronese.</li> <li>Brook, Irene. "Veronese," Renaissance Studies 30, no. 3 (2015): 457. </li> <li>Cocke, Richard. Veronese. London: Chaucer Press, 2005.</li> <li>Salomon, Xavier. Veronese. London: National Gallery Company, 2014.</li> </ul> Publisher An entity responsible for making the resource available Church of San Silvestro Date A point or period of time associated with an event in the lifecycle of the resource 1573 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource ©The National Gallery, London National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996 Format The file format, physical medium, or dimensions of the resource Oil on canvas, 355.6 x 320.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery, London, United Kingdom Description An account of the resource Paolo Veronese, or Paolo Caliari, painted the Adoration of the Kings, a piece that is also known as The Adoration of the Magi, in the early 1570s for the Scuola de San Giuseppe for the Church of San Silvestro [1]. In this piece, Veronese’s distinct style, which had been influenced by his contemporaries, Titian and Tintoretto, [2] of creating a distinctly fluid and harmonious style while utilizing exquisite detailing and vivid coloring can be seen in his depiction of the birth of Jesus. [3] In this particular biblical scene, the three kings, or the three magi, have come to visit the Virgin Mary and the child Jesus to pay their respects to these important, divine figures. Though there is an abundance of color and detail in this piece, the viewer cannot help but be drawn to the figure of the Virgin Mary. Veronese utilizes line in conjunction with color to create an emphasis on the Virgin. From the top left corner diagonally to the Virgin, a bright, golden light emanates from the heavens to illuminate the Virgin’s face. This detail works in hand with the contrast of light and dark in this piece to emphasize the Virgin. Particularly, there is a brightness and illumination on the Virgin and Child Jesus when compared to the surrounding figures, such as the three kings and the other individuals around her. These factors combine to create an emphasis on the Virgin Mary and Jesus and place them as the key and central figures of this piece. Further contributing to the importance of the central figures in this scene, is the positioning of the Virgin Mary and the child Jesus she holds in her arms. She is placed above the visiting magicians in a manner that elevates her above them both in a physical manner and in a divine manner. Her elevation above them bolsters the portrayal of her divinity and marks her as a conduit of God’s protection and connection to the natural and profane world. This allusion paired with her gaze, down towards the three kings, can extend to show her as a divine figure looking down towards the visiting kings in approval. Beyond the individual details surrounding the Virgin Mary and child, there is an abundance of detail and color in the piece as a whole. The patterning on the clothes of the magi and the grandiose roman arches in concord with the deep blue of the sky and the shining greens and reds of the fabric coalesce to signify to viewers, both of the time and contemporary, of the importance of the scene. Veronese has created a fitting piece for such a central biblical event. His manipulation of light, color, line, and position not only create an emphasis on the Virgin Mary and child as important figures but does so in a manner that celebrates their divinity and emphasizes their divine connection to the natural world of Venice. [1] Irene Brook, "Veronese," Renaissance Studies 30, no. 3 (2015): 457. [2] “Paolo Veronese,” The National Gallery, accessed October 5, 2020, <a href="https://www.nationalgallery.org.uk/artists/paolo-veronese">https://www.nationalgallery.org.uk/artists/paolo-veronese</a>. [3] Diana, Gisolfi, "Veronese [Caliari], Paolo" Grove Art Online, (October 2011): 1.