https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_John_the_Evangelist_on_Patmos/saint_john_the_evangelist_on_patmos_1957.14.6.jpg a9b19571ff212e00270bba80807669a2 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 September 23: National Gallery of Art (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, Washington, DC 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 Saint John the Evangelist on Patmos Subject The topic of the resource Saint John the Evangelist is stranded on the island of Patmos, where he receives a vision of the Second Coming of Christ and is inspired to write the Book of Revelations. Creator An entity primarily responsible for making the resource Titian Date A point or period of time associated with an event in the lifecycle of the resource c. 1547 Contributor An entity responsible for making contributions to the resource Vik Manocha Format The file format, physical medium, or dimensions of the resource Oil on canvas, 237.6 x 263.0 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 National Gallery of Art, Washington D.C., USA Source A related resource from which the described resource is derived Echols, Robert. "Titian's Venetian Soffitti: Sources and Transformations." Studies in the History of Art 45 (1993): 28-49. http://www.jstor.org/stable/42621876. Fredriksen, Paula. "Apocalypse and Redemption in Early Christianity: From John of Patmos to Augustine of Hippo." Vigiliae Christianae 45, no. 2 (1991): 151-83. doi:10.2307/1584421. Schulz, Juergen. "Titian's Ceiling in the Scuola di San Giovanni Evangelista." The Art Bulletin 48, no. 1 (1966): 89-95. doi:10.2307/3048341. Image Source: NGA Online Editions, accessed September 21, 2020. https://www.nga.gov/collection/art-object-page.43725.html. Publisher An entity responsible for making the resource available Image Source: NGA Online Editions, accessed September 21, 2020. https://www.nga.gov/collection/art-object-page.43725.html. Rights Information about rights held in and over the resource Public Domain. Image Source: NGA Online Editions, accessed September 21, 2020. https://www.nga.gov/collection/art-object-page.43725.html. Description An account of the resource In this painting by Titian, we see Saint John on the peak of a mountain astounded and in awe at the vision of God that appears to him. This occurs following his exile from Rome by Domition in a wave of anti-Christian persecutions [1]. Our sight is drawn up to God the Father, led by rays of light that converge on him surrounded by angels that part the clouds. The transition from muted browns and blues to vibrant reds and yellows further draws our gaze up towards the top of the painting. Additionally, certain aspects of the work alert us of the fact that the scene is being captured in the middle of the action. We can observe that the eagle at Saint John’s feet in mid-caw and that Saint John himself appears to be caught off guard with his robes flowing haphazardly around him. He is standing in contrapposto, which continues to develop the narrative of an active and lively figure. The work Saint John the Evangelist on Patmos originally comprised part of a ceiling ensemble located at the Scuola di San Giovanni Evangelista in Venice [2]. Evidence of this can be seen in the painting itself, as it is portrayed from a low viewpoint and so stretches the scene vertically as it approaches the top. This gives the effect of the series of paintings flowing into the ceiling itself. As viewers, we stand closer to the base of the mountain to acknowledge with a physical barrier our separation from the divine. Both the eagle and the subject allude to the patron of the work: both represent Saint John, the patron saint of the Scuola di San Giovanni Evangelista [3]. The placement of this painting would then suggest that its purpose is to remark on the power and influence of one of the five Scuola Grandi of Venice. Any visitor to the location would instantly make the connection between the scuola and God. [1] Paula Fredriksen, "Apocalypse and Redemption in Early Christianity: From John of Patmos to Augustine of Hippo," Vigiliae Christianae 45, no. 2 (1991): 152. [2] Robert Echols, "Titian's Venetian Soffitti: Sources and Transformations," Studies in the History of Art 45 (1993): 29. [3] Juergen Schulz, "Titian's Ceiling in the Scuola di San Giovanni Evangelista," The Art Bulletin 48, no. 1 (1966): 91.