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-wpu.jpg 5194ab54378f42281019d1b97fc7e768 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 (1528-1588) Publisher An entity responsible for making the resource available Church of Saint Silvestro Image Source: Veronese, Paolo. The Adoration of the Kings. The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings 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 Carmel Falek 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 was commissioned to paint The Adoration of the Kings by the Church of Saint Silvestro in Venice because the church wanted a painting for the nave of the building [1]. Born in 1528 to a family of stonecutters in Verona, Paolo made a name for himself as a revolutionary mannerist painter. As Nicholas Penny analyzes, Veronese's style drew from Raphael's techniques with an added aspect of looseness and fluidity [2]. He was comissioned by various churches and government departments in Venice as he was a popular painter there at the time [3]. During the time Veronese worked on The Adoration of the Kings, his workshop was also comissioned by another church, Santa Corona in Vicenza, to create a painting depicting the same biblical story, which can be seen in the striking similarities of both paintings [1]. The Adoration of the Kings was created by Veronese with the purpose of narrating a biblical story for the audience, the members of the church, to see when looking toward the nave of the building. He was commissioned to depict the biblical story of the three kings visiting baby Christ after his birth in the stable. The Virgin Mary sits on a throne off center holding the child as the men, including the kings, are on their knees, representing their praise and devotion to her and the newborn. Alluding to the birth of Christ in a farm stable, Veronese details cattle, goats, and horses, making the viewer feel as if they are in the scene, witnessing the miracle of Christ. He combines the run down stable architecture with the classical arches and columns from Greek and Roman building styles in the background. In addition, Veronese paints cherubs up above, looking down in awe of the newborn child, as a way to connect the heavenly realm to this scene on Earth. Veronese utilizes light to signify the key roles of Mary and Christ. This can be seen with the beam of light hitting only the Virgin, illuminating her and the child in the painting. They are the source of brightness, representing their importance in the scene. The rest of the painting is dark, illustrating the dichotomy between the holy and bright Virgin and Christ compared to the other humans. Veronese uses lines to shape the painting and highlight important aspects of the scene. He creates a straight diagonal line of light to draw the viewer's attention to Mary and Christ as it beams down on them. In addition, Veronese utilizes rich colors when depicting the clothing of the kings, emphasizing their position and importance in this religious scene. This can be seen with rich yellow and red fabrics that Veronese paints for the kings' robes. Specifically, he paints the fabrics with great detail, indicating the folding and patterns of the clothes. The use of these rich colors and precision with the small details draws the viewer's attention to the kings as well, demonstrating their key role in the story. He also composes the painting with a combination of free and compact space, as the ground is filled with people and animals looking and adoring the newborn child, conveying the biblical story. Meanwhile, Veronese incorperates free space in the upper half of the painting in order to focus more on the architectural and scenic background than on the characters and story. [1] “Paolo Veronese: The Adoration of the Kings: NG268: National Gallery, London,” The National Gallery, accessed September 29, 2020, https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings. [2] Nicholas Penny, "Composition, Gesture and Meaning in an Early Painting by Veronese," Artibus Et Historiae 35, no. 70 (2014): 211-212. [3] Barry Jones, "V," Dictionary of World Biography, 894. Source A related resource from which the described resource is derived Brooke, Irene. “Veronese.” Renaissance Studies 30, no. 3 (2015): 457–68. Jones, Barry. "V." In Dictionary of World Biography, 887-902. Acton ACT, Australia: ANU Press, 2019. “Paolo Veronese.” The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/artists/paolo-veronese. “Paolo Veronese: The Adoration of the Kings: NG268: National Gallery, London.” The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings. Penny, Nicholas. "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae 35, no. 70 (2014): 211-19. Tuohy, Thomas. "Works by Paolo Veronese in British Collections." The British Art Journal 14, no. 3 (2013): 3-8. Image Source: Veronese, Paolo. The Adoration of the Kings. The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings. Rights Information about rights held in and over the resource Public Domain. Image Source: Veronese, Paolo. The Adoration of the Kings. The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings