https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Venus_of_Urbino/SCALA_ARCHIVES_1031314662.jpg e836b7a1454507a3e4c570fecb51c97a 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy 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 Venus of Urbino Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library-artstor-org.proxy.lib.duke.edu/asset/SCALA_ARCHIVES_1031314662. <div> <div class="gtx-trans-icon"> Grabski, Józef. ""Victoria Amoris": Titian's "Venus of Urbino." A Commemorative Allegory of Marital Love." Artibus Et Historiae 20, no. 40 (1999): 9-33. Accessed November 3, 2020. doi:10.2307/1483663. “Venus of Urbino, 1538 by Titian.” Titian, Paintings, Quotes, and Biography, 2011. https://www.titian.org/venus-of-urbino.jsp. Takac, Balasz. “Venus of Urbino, Titian's Most Sensual Painting.” Widewalls, April 17, 2020. https://www.widewalls.ch/magazine/titian-venus-of-urbino. </div> </div> Publisher An entity responsible for making the resource available Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library-artstor-org.proxy.lib.duke.edu/asset/SCALA_ARCHIVES_1031314662. Date A point or period of time associated with an event in the lifecycle of the resource 1538 Contributor An entity responsible for making contributions to the resource Jacey Curd 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, 119 x 165 cm 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 Gallerina degli Uffizi, Tuscany, Italy Description An account of the resource Venus of Urbino, created by Titian, shows a nude woman lounging on a bed in the foregound of the painting. Besides this figure, there are several other symbolic elements with significance [1]. One of these is the bouquet of roses she holds in her hand, which symbolize love. The white sheets she lays on symbolize purity, and the red bed represents love. The little dog that is curled up by her feet is a representation of fidelity [2]. These symbols are what lead many scholars to believe that this woman is Venus, goddess of love, and not another woman, though this is continually disputed. I would side with the scholars who believe this is a depiction of Venus, given both the symbolism and history of the work. Titian is known for many of his paintings depicting mythological scenes, and this particular painting bears strong resemblance to Giorgone's Sleeping Venus in its composition, which was actually finished by Titian [1]. There is also debate among scholars as to whether Titian's interpretation highlights the sensuality of the figure or her virtue and fidelity, given the figures she appears with. What is particularly striking about this work is the gaze of the main female figure, looking directly towards the viewer. Her body is twisted away from her gaze, but this gaze increases the sensuality of the figure in comparison with Giorgone's Sleeping Venus. She has many features that would have been considered the ideal of feminine beauty, such as her curled blonde hair and rosy cheeks. These features of the work, in combination with the symbolism and history discussed earlier, are what lead me to believe that this is a representation of Venus, and not simply a beautiful woman that Titian wanted to paint. [1] Grabski, Józef. ""Victoria Amoris": Titian's "Venus of Urbino." A Commemorative Allegory of Marital Love." Artibus Et Historiae 20, no. 40 (1999): 9-33. Accessed November 3, 2020. doi:10.2307/1483663. [2] “Venus of Urbino, 1538 by Titian.” Titian, Paintings, Quotes, and Biography, 2011. https://www.titian.org/venus-of-urbino.jsp.