https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Paradise/SCALA_ARCHIVES_10310195577.jpg c14883bc07d012d93ad0988caa514ea8 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 16: Visual Analysis of work from Correr and Ducal Palace Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 <em>Paradise</em> Creator An entity primarily responsible for making the resource Jacopo Tintoretto (1518-1594) and Domenico Tintoretto (1560-1635) Publisher An entity responsible for making the resource available Signoria of Venice<br /><strong>Image Source:</strong> Jacopo Tintoretto. After 1588. Paradise. painting. Place: Palazzo ducale (Venice, Italy). https://library.artstor.org/asset/SCALA_ARCHIVES_10310195577. Date A point or period of time associated with an event in the lifecycle of the resource 1588-1592 Contributor An entity responsible for making contributions to the resource Carmel Falek Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 700.0 cm x 2200.0 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 Palazzo Ducale, Venice, Italy Description An account of the resource The Venetian government, the Signoria, created a contest to see who would create a painting modeled after Dante’s <em>Paradise</em> on the wall of the Great Council Hall after the destruction of the fire of 1577. At first, Veronese was chosen to create the new artwork, but as a result of his death, Tintoretto was placed in charge of the commission. Tintoretto, a Venice native, was born into a family of textile workers. It is unclear who he trained under, however, it is noted that his techniques draw inspiration from Michelangelo and Titian [1]. While creating <em>Paradise</em>, Tintoretto suddenly died from a fever, leading to his son Domenico to continue the painting his father started along with the rest of the workshop.<br /><br />As mentioned previously, <em>Paradise</em> was modeled after Dante’s work and depicts over 800 figures, including the Four Evangelists, Archangels Michael and Gabriel, the Four Doctors of the Church, Old Testament figures, Saints, and Jesus and the Virgin Mary on top. Tintoretto and his son composed the piece to draw the viewer’s attention to Mary and Christ at the top. The painting curves with the center focusing on the two figures. As Kinga Lipinska points out, Tintoretto designed <em>Paradise</em> in a linear fashion, with rows of biblical figures forming an arc [2]. The characters are painted as if they are floating in midair, like they are in heaven. The painting is composed to be chaotic with free space only existing around Mary and Christ in order to focus on them. The father and son utilized a dark and subdued color palette for the painting in order to draw the viewer’s attention to the source of light at the top radiating from the two figures’ heads. <br /><br />Tintoretto and his son aimed to depict the ideal state of heaven, or in other words, paradise. They utilize light, an arc structure, and a busy composition to create the feeling as if one is in heaven. He creates this painting with the idea of inviting the viewer to this ideal state. As Tom Nichols puts it, <em>Paradise</em> fuses the concepts of government and heaven to create the sense that the Venetian Senate was created under divine forces [3]. Venice, in the eyes of Tintoretto, is a result of God and heaven above.<br /><br />[1] "Cavallini to Veronese - Italian Renaissance Art",  Accessed September 10, 2020, https://cavallinitoveronese.co.uk/general/view_artist/79. <br /><br />[2] Kinga Lipinska, “Tintoretto's Vision of Paradise,” <em>Liturgical Arts Journal</em>, June 11, 2019, https://www.liturgicalartsjournal.com/2019/06/tintorettos-vision-of-paradise.html <br /><br />[3] Tom Nichols, "Tintoretto: Tradition and Identity," London: Reaktion Books, 1999  Source A related resource from which the described resource is derived <br />Lipinska, Kinga. “Tintoretto's Vision of Paradise.” Liturgical Arts Journal, June 11, 2019. https://www.liturgicalartsjournal.com/2019/06/tintorettos-vision-of-paradise.html. <br /><br />Nichols, Tom. Tintoretto: Tradition and Identity. London: Reaktion Books, 1999. "Tintoretto.” <br /><br />Cavallini to Veronese - Italian Renaissance Art. Accessed September 10, 2020. https://cavallinitoveronese.co.uk/general/view_artist/79. <br /><br />Tietze, Hans. "The Tintoretto Exhibition at Venice." The Burlington Magazine for Connoisseurs 71, no. 414 (1937): 133-35.<br /><br /><strong>Image Source:<br /></strong>Jacopo Tintoretto. After 1588. Paradise. painting. Place: Palazzo Ducale (Venice, Italy). https://library.artstor.org/asset/SCALA_ARCHIVES_10310195577.