https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Virgin_and_Child_with_Saints_Dorothy_and_George/65257805-c6ba-4727-bdb1-cb97a47da0fd.jpg 349cf0fb2f377b34c6ead34b9f76d487 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 14: Prado Museum (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 Museo Nacional del Prado, Madrid, Spain 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 Virgin and Child with Saints Dorothy and George Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Phillip II Date A point or period of time associated with an event in the lifecycle of the resource 1515 - 1518 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource University of California, San Diego Format The file format, physical medium, or dimensions of the resource Oil on panel, 83 x 130 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 Prado, Madrid, Spain Description An account of the resource Titian, or Tiziano Vecellio, first gained popularity for his religious pieces and for applying the colorito technique and providing innovative twists to classical interpretations of biblical stories, such as in The Virgin and Child with Saints Dorothy and George, [1-3] which he painted for King Phillip II. [2-1] In this piece, Titian provides an inventive depiction of the traditional interpretation of the sacra conversazione, or the depiction of the Virgin Mary in conversation with various saints by arranging his figures in a manner that differs from the expected axial layout. [3-2] He used a manipulation of light, position, and setting to provide an unprecedented and inventive interpretation of this classical religious portrayal. Immediately upon viewing this piece, four individuals can be identified—The Virgin Mary, the child Jesus, St. Dorothy, and St. George. The Virgin Mary holds the child Jesus and is clothed in a rich red dress and vivid, deep blue shawl as St. Dorothy and St. George approach her from the viewer’s left side. All the figures are situated in front of a green double curtain that exposes a section of the brilliant and clouded sky. Immediately, the viewer can recognize the centrality of and emphasis on the Virgin in this piece as she is elevated above all the others. Due to the positioning of the other figures, including the Child Jesus, their eyes and, thus, their gazes are pointed towards the Virgin Mary, which establishes her as the key figure of this piece and leads the viewer to immediately look upon her as well. Furthermore, the positioning of the two saints under the sky gives a sense of movement to this piece that conveys the notion that the saints have entered this sacred space that is occupied by the Virgin and Child Jesus. [2] This idea is further bolstered by Titian’s manipulation of light. As the three figures turn to gaze at the Virgin Mary, their faces are cast in shadows. However, the Virgin’s face is not cast in shadow; in fact, her face possesses an illumination and brightness that highlights her divinity as if she is the source of God’s light in this scene. She is further illuminated and accentuated through the coloring and detailing of her clothes. Of all the figures, her clothes are the brightest, richest, and most vibrant of all the figures, which further conveys the idea that the Virgin Mary is the key focus of this piece. The centrality and importance placed on the Virgin Mary in this piece is a reflection of the Virgin Mary’s importance to the Venetian people. Through his innovative interpretation, Titian emphasizes the Virgin’s divinity and reminds viewers of her divine connection to God. Viewers of this piece, at the time, would have seen the exaggerated importance as a reminder of her integral role in the city’s divine connection to God. She was their protector and a divine figure that they valued greatly as seen by the grandeur of this piece and the care with which Titian has depicted her. [1] Cecil Gould, “Titian”, Grove Art Online, (2003): 2. [2] Frederick Ilchman, Titian, Tintoretto, and Veronese: Rivals in Renaissance Venice, (MFA Publications: 2009), 23. [3] “The Virgin and Child with Saints Dorothy and George”, Museo del Prado, accessed October 15, 2020, https://www.museodelprado.es/en/the-collection/art-work/the-virgin-and-child-with-saints-dorothy-and/cb4b0922-04a4-4318-91ed-bbc4c7b60d78?searchid=838189fd-7f34-bc81-ba0c-6861e9fbabb4. Source A related resource from which the described resource is derived <ul> <li>Humfrey, Peter. Titian. London: Phaidon, 2007.</li> <li>Zuffi, Stefano. Titian. Milan: Arnoldo Mondadori Arte, 1991.</li> <li>Museo del Prado. “The Virgin and Child with Saints Dorothy and George”, Last modified August 10, 2020. Museo del Prado, accessed October 15, 2020, https://www.museodelprado.es/en/the-collection/art-work/the-virgin-and-child-with-saints-dorothy-and/cb4b0922-04a4-4318-91ed-bbc4c7b60d78?searchid=838189fd-7f34-bc81-ba0c-6861e9fbabb4. </li> <li>Gould, Cecil. "Titian." Grove Art Online. (2003).</li> <li>Ilchman, Frederick. Titian, Tintoretto, and Veronese: Rivals in Renaissance Venice. MFA Publications, 2009.</li> </ul>