https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Bacchus_and_Ariadne/bacchus_and_ariadne.jpg 9eabf64416e03057ac021ea03fbe8bf3 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 Bacchus and Ariadne Description An account of the resource The painting Bacchus and Ariadne, created by Titian between 1520 and 1523, is a depiction of the Myth of Ariadne. Specifically, it depicts the version in the 64th poem of Catullus [2]. In the myth Ariadne, daugther of the King of Crete, helps the hero Theseus through the labyrinth of the minotaur [1]. Theseus promises to take Ariadne back to the city of Athens with him, but instead abandons the princess on the island of Naxos, the setting of this painting. She is searching for Theseus when the god Bacchus comes to the island, the moment of the myth captured by Titian in this painting [2]. Ariadne stands on the left side of the painting, relatively alone. Her gaze looks towards Bacchus, but her body is turned towards the sea, with her right arm reaching out. This gives her the appearance of looking for Theseus, perhaps just having seen his ship sailing for Athens. Bacchus returns her gaze, and is jumping out of his chariot towards her. Bacchus' chariot is pulled by two cheetahs, which are nimble and exotic animals. Some scholars have debated on why this choice may be significant [3], but in Tresidder's analysis of the painting and history he concludes that cheetahs were likely the most common type of big cat in 16th century Italy [3], and complimented the flightiness of Bacchus well. They could also be included due to the Duke of Ferrera's love of exotic animals. Behind the god there are several other mythological creatures, including several satyrs, who are often depicted in scenes with Bacchus [2]. Titian uses colors that are very bright and strong including many bright blues and pinks. Ariadne is surrounded mostly in blue, with a small piece of red fabric over her shoulder, while Bacchus is mostly nude with a piece of pink fabric moving around him. There is a lot of movement in this work, both in the fabric and the positioning of the figures. The movement of the figures behind Bacchus draws the viewer's eye to the leaping Bacchus. Additionally, the use of light in the painting places emphasis on Ariadne and Bacchus, as they appear much brighter than the other figures, shadowed by the trees. These elements both draw the eye to the couple and show their immediate connection as they see each other. [1] Daviau, Donald G., and George J. Buelow. "The Ariadne Myths." In The "Ariadne Auf Naxos" of Hugo Von Hofmannsthal and Richard Strauss, 87-99. University of North Carolina Press, 1975. Accessed October 7, 2020. doi:10.5149/9781469657363_daviau.9. [2] Thompson, Graves H. "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 7, 2020. http://www.jstor.org/stable/3292884. [3] Tresidder, Warren. "The Cheetahs in Titian's 'Bacchus and Ariadne'." The Burlington Magazine 123, no. 941 (1981): 481-85. Accessed October 7, 2020. http://www.jstor.org/stable/880424. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library-artstor-org.proxy.lib.duke.edu/asset/ANGLIG_10313768527. Daviau, Donald G., and George J. Buelow. "The Ariadne Myths." In The "Ariadne Auf Naxos" of Hugo Von Hofmannsthal and Richard Strauss, 87-99. University of North Carolina Press, 1975. Accessed October 7, 2020. doi:10.5149/9781469657363_daviau.9. Thompson, Graves H. "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 7, 2020. http://www.jstor.org/stable/3292884. Tresidder, Warren. "The Cheetahs in Titian's 'Bacchus and Ariadne'." The Burlington Magazine 123, no. 941 (1981): 481-85. Accessed October 7, 2020. http://www.jstor.org/stable/880424. Huffman, Kristen. “A Virtual Tour: National Gallery of Art London.” Duke University. Lecture presented at the Duke University, September 2020. Publisher An entity responsible for making the resource available Patron: Duke Alfonso I d'Este of Ferrara Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library-artstor-org.proxy.lib.duke.edu/asset/ANGLIG_10313768527. Date A point or period of time associated with an event in the lifecycle of the resource 1520-1523 Contributor An entity responsible for making contributions to the resource Jacey Curd Rights Information about rights held in and over the resource National Gallery, London National Gallery Picture Library Format The file format, physical medium, or dimensions of the resource 176.5 x 191 cm, Oil on Canvas Type The nature or genre of the resource Painting, oil on canvas 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