1 10 14 https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Apollo_and_Daphne/Apollo_and_Dephne.jpg 32ca54e728f3037edea4666cbfff2d70 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 Apollo and Daphne Description An account of the resource Bernini was an Italian sculptor and architect in the seventeen century. In the mature period of his career, he was also keen on city designing and theater directing, designing all their technical and visual installations by himself. He was famous for creating stage sets in which hallucinations are very vivid.[1] This also explains the development of the characteristics of his sculpture art that is full of transformations and movements. The art patron is Cardinal Scipione Borghese who commissioned a series of sculptures for 23-years-old Bernini. The series that the Apollo and Daphne belong to serves the decorative function for the Cardinal’s luxurious villa outside the Porta Poinciana. The city of Rome attracts many foreign visitors who are interested in its culture, and the art there is of great importance in attracting their attention. [2]Both Scipione and Bernini knew that the role of the villa is to attract viewers who come from foreign countries and have a well-educated background. And both the artist and the patron tried to establish their own outstanding status and distinction in the society of their fellows. [3] The sculpture comes from the characters Apollo and Daphne in the mythology of classical literature. The source of inspiration for the artist also comes from "The Metamorphosis" by Ovid. Apollo was deliberately shot a golden arrow by Cupid, which made Apollo crazily pursue Daphne. But at the same time, Daphne was hit by an arrow of the opposite effect, rendering her to avoid any pursuit of love. When she was about to be caught, Daphne begged her father, the river god Peneus, to rescue her by breaking her beauty that causes all the trouble. She was then turned into a laurel tree in response. But that didn’t stop Apollo’s obsession and he toughly grabbed the leaves of the laurel tree, but then he soon found out Daphne was no more merciful than before even after transformation. [3] The statue reveals its complexity when viewing from different angles. For example, from the left side perspective, the audience can perceive the complacent expression of Apollo and great fear in Daphne’s eyes.[1] However, in the exact front point of view, Daphne looks less scared and Apollo seems flustered and fatigue. Brilliantly, Bernini's sculpture depicts the transitional point exactly in terms of interaction and perception exchanges. Daphne took root from her toes, and her legs were gradually wrapped in bark. The top of her head and arms were growing out lush branches. Bernini recorded the midway process of this transition and highlighted the twisted direction and fast speed of the branch growth. At the same time, the artist's expression technique also reflects the transformation idea. [3] He converted the hard and cold marble into different realistic materials, like changing the marble to the human skin and then changing it to a rough tree trunk. From the elasticity and softness of the skin to the lightness and fragility of the leaves, they were all created in rich details with a series of contrasts in texture. [1]“Apollo and Daphne by Bernini in the Borghese Gallery.” Accessed November 19, 2020. https://borghese.gallery/collection/sculpture/apollo-and-daphne.html. [2]Genevieve, Desiderio and Diletto, 309 [3]Andrea, Speaking Statues: Bernini’s ‘Apollo and Daphne’ at the Villa Borghese, 1 Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived "Apollo and Daphne by Bernini in the Borghese Gallery.” Accessed November 19, 2020. https://borghese.gallery/collection/sculpture/apollo-and-daphne.html. Bolland, Andrea. "Desiderio and Diletto: "Vision, Touch, and the Poetics of Bernini's" Apollo and Daphne." The Art Bulletin 82, no. 2 (Jun 01, 2000): 309. https://doi.org/10.1111/j.0141-6790.2004.00428.x. Warwick, Genevieve. “Speaking Statues: Bernini’s ‘Apollo and Daphne’ at the Villa Borghese.” Art History 27, no. 3 (June 2004): IV-381. doi:10.1111/j.0141-6790.2004.00428.x. Image Source: Apollo and Daphne, 1622-25. New York: Bridgeman Images, 2004.https://search-proquest.com.proxy.lib.duke.edu/docview/1974054439/citation/CC2D375E9B6C4E84PQ/1?accountid=10598 Publisher An entity responsible for making the resource available Cardinal Scipione Borghese New York: Bridgeman Images Date A point or period of time associated with an event in the lifecycle of the resource 1622-25 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Copyright@ 2004 Bridgeman. All Rights Reserved. Format The file format, physical medium, or dimensions of the resource Marble, 243cm Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome, Italy https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Sacred_and_Profane_Love/download.jpg a741cad61912c9a339b6c8c06dd088ed 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 Sacred and Profane Love Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian, Author: “Sacred and Profane Love by Titian.” Galerie Borghèse, August 4, 2019. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Jaffé, David. Titian. London: The National Gallery Company/Yale University Press, 2003. Gould, Cecil. "Titian." Grove Art Online. (2003). Galleria Borghese. “Sacred and Profane Love.” Accessed November 18, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Publisher An entity responsible for making the resource available Commissioned by Niccolò Aurelio. Image Source: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612. Date A point or period of time associated with an event in the lifecycle of the resource c. 1515 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on Canvas; 118 cm x 279 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 Galleria Borghese, Rome, Italy Description An account of the resource Titian’s Sacred and Profane Love made circa 1515 is an oil painting that was commissioned by Niccolò Aurelio, who was a secretary to the Venetian Council of Trent. It was made to commemorate his marriage with a young widow named Laura Bagarotto [1]. In the painting, two women (who are said to illustrate different representations of the same person) are pictured sitting on a Roman sarcophagus. On the left, a bride is seen dressed in a long white dress, which was known as formal and rich clothing, typical of a courtesan at the time. She wears a myrtle in her hair, which is a flower sacred to Venus. This fully clothed woman is contrasted with the woman on the right, who is fully nude except for the white cloth draped upon her lap. The nude woman sits on the ledge with one hand in the air holding a vessel with some smoke coming out, which functions as lamp. The clothed woman rests on a metal bowl that sits on the ledge, and some say that the decoration inside the bowl is symbolic of the arms of Aurelio’s bride. The women are said to be figures representing “profane love” (clothed figure) and “sacred love” (nude figure) [2]. The presence of Cupid and the roses between the two women epitomizes the loving nature surrounding the women and the identification of these women as twin Venuses. The nude Venus represents a heavenly beauty that needs no materials to adorn her. In contrast, her twin symbolizes human love as she is dressed in the material splendor of the world [2]. Each twin dominates a side of the composition, which represents human love and divine love. Nude Venus is set in front of a background sky and is depicted above earthly nature. Meanwhile, clothed Venus is depicted in front of fertile trees and a landscape that includes a hill and a castle. Overall, Titian creates a calculated composition with contrasting halves to depict different levels of love and materiality [3]. [1] David Jaffé, “Titian,” London: The National Gallery Company/Yale University Press,(2003): 94. [2] Rona Goffen, "Titian's Sacred and Profane Love: Individuality and Sexuality in a Renaissance Marriage Picture, Studies in the History of Art 45 (1993): 124. [3] Cecil Gould, “Titian”, Grove Art Online, (2003): 2-3. https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/St._Mark_Preaching_in_Alexandria/download.png 8002c8083df8d66c289271ca9773b163 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 St. Mark Preaching in Alexandria Description An account of the resource This huge painting was commissioned from Gentile Bellini in 1504 as a decoration for the Scuola Grande di San Marco's reception room, one of the city’s most prestigious and powerful confraternities [1]. However, this painting was left incomplete upon Gentile Bellini’s death in 1507 [2]. Later on, his brother Giovanni Bellini was requested to finish this painting [2]. Although this painting's setting is in the cosmopolitan city of Alexandria, Gentile Bellini painted this city out of his imagination and his version of the celebrated Egyptian city[2]. Gentile Bellini even incorporated an image of the Basilica of San Marco in the background as the viewer can see. This painting's purpose was to capture a moment in time of St. Mark’s preaching and trying to convert the pagans from their ancient religion [1]. When Gentile Bellini tries to resemble the city of Alexandria out of his imagination, it is apparent that he combined factors from Venice and Egypt to achieve this goal. The red tiles on the ground and the arrangements of the buildings are very similar to the painting of Procession in St. Mark’s square, which is another painting in the same cycle. On the other hand, Gentile Bellini also added factors such as the palm tree in the background, exotic animals like giraffes and camels to convey the message to the viewers that this is in Egypt. Usually, in Bellini's brother’s painting, light is an essential factor to draw the viewer’s attention to a certain area. On the contrary, in this particular painting, the holy light did not reflect a certain person or area. It could be that the Bellini brother painted in this way on purpose so the painting can be viewed as a whole and let the viewer take in every detail. [1] “St. Mark Preaching in Alexandria - Gentile Bellini and Giovanni Bellini,” Pinacoteca di Brera, accessed November 19, 2020, https://pinacotecabrera.org/en/collezione-online/opere/saint-mark-preaching-in-a-square-of-alexandria-in-egypt/. [2] “St Mark Preaching in Alexandria,” St Mark Preaching in Alexandria by Giovanni Bellini, accessed November 19, 2020, http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. Creator An entity primarily responsible for making the resource Gentile Bellini and Giovanni Bellini Source A related resource from which the described resource is derived “St. Mark Preaching in Alexandria - Gentile Bellini and Giovanni Bellini.” Pinacoteca di Brera. Accessed November 19, 2020. <a href="https://pinacotecabrera.org/en/collezione-online/opere/saint-mark-preaching-in-a-square-of-alexandria-in-egypt/">https://pinacotecabrera.org/en/collezione-online/opere/saint-mark-preaching-in-a-square-of-alexandria-in-egypt/</a>. “St Mark Preaching in Alexandria.” St Mark Preaching in Alexandria by Giovanni Bellini. Accessed November 19, 2020. <a href="http://www.giovannibellini.org/st-mark-preaching-in-alexandria/">http://www.giovannibellini.org/st-mark-preaching-in-alexandria/</a>. Kren, Emil. “Mark Preaching in Alexandria.” Sermon of St Mark in Alexandria by BELLINI, Giovanni. Accessed November 19, 2020. <a href="https://www.wga.hu/html_m/b/bellini/giovanni/1500-09/185serm.html">https://www.wga.hu/html_m/b/bellini/giovanni/1500-09/185serm.html</a>. “Gentile Bellini.” Encyclopædia Britannica. Encyclopædia Britannica, inc., February 4, 2019. https://www.britannica.com/biography/Gentile-Bellini. Carrier, David. "A Renaissance Fantasy of the Egyptian Wrold"." Source: Notes in the History of Art 28, no. 1 (2008): 16-19. <a href="http://www.jstor.org/stable/23207968">http://www.jstor.org/stable/23207968</a>. Morse, Margaret A. "Domestic Portraiture in Early Modern Venice: Devotion to Family and Faith." In Domestic Devotions in Early Modern Italy, edited by Corry Maya, Faini Marco, and Meneghin Alessia, 117-38. LEIDEN; BOSTON: Brill, 2019. http://www.jstor.org/stable/10.1163/j.ctvbqs499.12. Publisher An entity responsible for making the resource available St Mark Preaching in Alexandria by Giovanni Bellini. Accessed November 19, 2020. http://www.giovannibellini.org/st-mark-preaching-in-alexandria/ Date A point or period of time associated with an event in the lifecycle of the resource 1504-1507 Contributor An entity responsible for making contributions to the resource Emily Song Rights Information about rights held in and over the resource For academic and non-profit use only Format The file format, physical medium, or dimensions of the resource Oil on canvas, 347cm × 770cm 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 Pinacoteca di Brera, Milano, Italy https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Apollo_and_Daphne/Apollo_and_Daphne.jpg 686ae0602be2edf08f0d22cb6051be42 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 Apollo and Daphne Description An account of the resource Depicted here is the story of Apollo and Daphne. In the foreground is Apollo, half-naked and only covered by a shimmering green fabric--a feature Dossi incorporated from Titian’s work at the Ferrara court.¹ Following Apollo’s muscular body, the viewer immediately identifies the figure as Apollo as a result of the wreath, as well as the stringed-instrument and bow that he holds (Apollo was also the god of music). It is important to note that this representation of Apollo is novel; usually, the god is depicted in a more stable, less emotional manner. However, the story depicted allows Dossi to change the stance.² Dossi uses the fact that Apollo is the god of music to add drama to the scene through the playing of a lira da braccio, an instrument used in the Renaissance by Italian poets.³ Once the viewer has processed the figure of Apollo, it is noticed that Apollo’s figure is slightly off-centered, with his right leg and arm creating diagonal lines that not only point back to Apollo, but also separate a space of the canvas in the shape of a rough triangle from the rest of the canvas. Within this space is Daphne--yet another proof of the subject matter--in the process of becoming a tree after running away from Apollo. The space contrasts with the space in the rest of the canvas, using bright shades of yellow and green in contrast to the darker hues of blue found in the sky and the darker hues of green and brown in the rest of the canvas. This use of yellow, in conjunction with the rough shape of a triangle, makes the space appear to emanate from Apollo’s armpit in the manner of a sunray--more evidence for the subject matter. Given the background of the story, this sunray may have more purpose than just identifying Apollo. Since Daphne is the romantic subject of Apollo, the sunray may emphasize Apollo’s desire for Daphne. As she slowly becomes a tree, the ray becomes smaller, as seen by the small space occupied by Daphne compared to the rest of the canvas. The growing darkness, therefore, may symbolize Apollo’s growing sadness at the inability to have a relationship with Daphne. Since the ray points towards the chest, one can infer that it is a sadness that resides deep within the heart. Through this depiction of Apollo, Dossi Dosso strengthens the notion that he was known for embedding messages through the portrayals of mythological subject matters. <ol> <li style="font-weight:400;">Peter Humfrey, "Dosso and Battista Dossi: Trento," The Burlington Magazine 156, no. 1338 (2014): 627-28, <a href="http://www.jstor.org/stable/24241894">http://www.jstor.org/stable/24241894</a>.</li> <li style="font-weight:400;">William Hansen, Handbook of Classical Mythology, (ABC-CLIO, 2004). <a href="http://publisher.abc-clio.com/9781851096343">http://publisher.abc-clio.com/9781851096343</a></li> <li style="font-weight:400;">James Melo, ”Ferrara; New York; Los Angeles: Dosso Dossi: Court Painter in Renaissance Ferrara,” Music in Art: International Journal for Music Iconography 23, no. 1 (1998): 103–9, <a href="https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=505740407&site=ehost-live&scope=site">https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=505740407&site=ehost-live&scope=site</a></li> </ol> Creator An entity primarily responsible for making the resource Dosso Dossi Source A related resource from which the described resource is derived <ul> <li>Journal Article 1: HUMFREY, PETER. "Dosso and Battista Dossi: Trento." The Burlington Magazine 156, no. 1338 (2014): 627-28. Accessed November 19, 2020. <a href="http://www.jstor.org/stable/24241894">http://www.jstor.org/stable/24241894</a>.</li> </ul> <ul> <li>Journal Article 2: Melo, James. 1998. “Ferrara; New York; Los Angeles: Dosso Dossi: Court Painter in Renaissance Ferrara.” Music in Art: International Journal for Music Iconography 23 (1/2): 103–9. <a href="https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=505740407&site=ehost-live&scope=site">https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=505740407&site=ehost-live&scope=site</a></li> </ul> <ul> <li>Book: Hansen, William. Handbook of Classical Mythology. ABC-CLIO, 2004. <a href="http://publisher.abc-clio.com/9781851096343">http://publisher.abc-clio.com/9781851096343</a></li> </ul> <ul> <li>Museum: “Analysis of Apollo and Daphne Painting by Dosso Dossi in the Borghese Gallery.” Galerie Borghèse, February 14, 2020. <a href="https://borghese.gallery/collection/paintings/apollo-and-daphne-dosso-dossi.html">https://borghese.gallery/collection/paintings/apollo-and-daphne-dosso-dossi.html</a>.</li> </ul> <ul> <li>Image Source: Dosso Dossi. c. 1525. Apollo and Daphne. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_1039779741">https://library.artstor.org/asset/SCALA_ARCHIVES_1039779741</a>.</li> </ul> Publisher An entity responsible for making the resource available Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1525 Contributor An entity responsible for making contributions to the resource Muhib Methani 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, 191 x 116 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 Galleria Borghese https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Finding_of_the_Body_of_Saint_Mark_[Discovery_of_the_Body_of_Saint_Mark]/SCALA_ARCHIVES_1039779478.jpg 73a65e01a4a823118221555deca35820 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 Finding of the Body of Saint Mark (Discovery of the Body of Saint Mark) Subject The topic of the resource Tommaso Rangone, a Venetian patron, commissioned Tintoretto to create a painting cycle that depicted multiple episodes of St.Mark's life. The cycle follows the story of St.Mark's body and how it was found in the city of Alexandria and then returned to the city of Venice. One of the paintings included in the cycle shows the discovery of Saint Mark's body in Alexandria, Egypt and is known as Finding of the Body of Saint Mark. The painting was orignally displayed in the Scuola Grande di San Marco, but it now resides in the Brera Museum of Milan. Description An account of the resource The first thing that viewer's eyes are drawn to is the larger than life man on the left hand side of the painting. He is clothed in blue and light red cloth, with one arm on his hip and one outstretched towards the center of the painting. The cloth that this man is adorned in has been studied by historians and has revealed Tintoretto's technique when achieving perfect coloration.[1] The halo around the man's head allows the audience to determine that this is Saint Mark. As the viewer begins to move around the painting, various figures can be seen strewn across the painting, posed in dramatic position. A seemingly dead body with grey and white skin can be seen lying at the feet of Saint Mark. Kneeling next to the body is a man with grey hair and a beard. He is adorned in a shimmering orange cloak that flows in the traditional Renaissance style. The man, has been identified as Tommaso Rangone, the commissioner of the painting. Four men on the right side of the painting are pulling the body of Saint Mark out of the tomb and lowering it carefully with a sheet. The men are all dressed in shades of red, brown and black that Tintoretto uses to complement the dark color pallete. Towards the bottom of the painting, a small altercation can be seen on the right side. A faceless-man wearing all black is being restrained from a woman dressed in salmon and white. The man restraining the attacker is partially shirtless revealing a carefully porportioned body. The meticulous details on the man show that Tintoretto had an interest in the human body. The background of the painting is truly amazing because of how intricate it is and because of the extra information that it gives us about the painting. For one, the background of the painting is not in Alexandria, but rather the Procuratie in Venice. [2] Tintoretto may have changed the setting to glorify the city of Venice. Furthermore, the lines of the tile flooring are fading, which has allowed scholars to determine that the background was created before the figures. Tintoretto did this so that he could set the stage for his characters and then position them correctly.[3] This unique painting deals with the subject of religion while also glorifying the city of Venice's architecture and its patron saint. [1]Osticioli, I., Pagliai, M., Comelli, D., Schettino, V., & Nevin, A. (2019, June 13). Red lakes from Leonardo's Last Supper and other Old Master Paintings: Micro-Raman spectroscopy of anthraquinone pigments in paint cross-sections. [2]Levey, M. (1965). TINTORETTO AND THE THEME OF MIRACULOUS INTERVENTION. Journal of the Royal Society of Arts, 113(5109), 714. [3]Pham, V. K. (1995). Theatricality in Tintoretto's religious paintings (Master's thesis, Montréal, McGill Univ., Magisterarb, 1995) (pp. 25) Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived References Levey, M. (1965). TINTORETTO AND THE THEME OF MIRACULOUS INTERVENTION. Journal of the Royal Society of Arts, 113(5109), 707-725. Retrieved November 18, 2020, from http://www.jstor.org/stable/41367901 Osticioli, I., Pagliai, M., Comelli, D., Schettino, V., & Nevin, A. (2019, June 13). Red lakes from Leonardo's Last Supper and other Old Master Paintings: Micro-Raman spectroscopy of anthraquinone pigments in paint cross-sections. Retrieved November 18, 2020, from https://www.sciencedirect.com/science/article/pii/S1386142519306638 Pham, V. K. (1995). Theatricality in Tintoretto's religious paintings (Master's thesis, Montréal, McGill Univ., Magisterarb, 1995) (pp. 25-26). McGill University. Tintoretto, J. (1562-66). Finding of the Body of Saint Mark (Discovery of the Body of Saint Mark) [Painting found in Brera Pinacoteca, Milan, Italy]. Retrieved November 18, 2020, from https://library.artstor.org/#/asset/SCALA_ARCHIVES_1039779478 Publisher An entity responsible for making the resource available Tommaso Rangone Jacopo Tintoretto. 1562-66. Finding of the Body of Saint Mark (Discovery of the Body of Saint Mark). painting. Place: Pinacoteca di Brera. https://library.artstor.org/asset/SCALA_ARCHIVES_1039779478. Date A point or period of time associated with an event in the lifecycle of the resource 1562 - 6 Contributor An entity responsible for making contributions to the resource Darien Sansosti 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 396 x 400 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 Brera Pinacoteca; Milan, Italy https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Saint_Mark_Preaching_in_Alexandria/SCALA_ARCHIVES_1039614920.jpg 34c69f5b81cb9a85e214f1b81926da53 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 Saint Mark Preaching in Alexandria Description An account of the resource In this painting, we see Saint Mark preaching in Alexandria. Giovanni and Gentile Bellini pull the focus onto the details of the landscape in multiple ways. First, with regards to the composition of the image, Bellini scattered objects of Venetian and Islamic significance throughout the painting in addition to cramming the landscape with people, not giving anything for viewers to focus on and thus forcing to consider the image in its entirety to discover the meaning behind the painting. Second, he used a variety of colors in the painting, which created a scattered feel to the painting and did not add specific contrast for a viewer’s eye to be drawn to. In addition, Bellini did not point to a specific source of light, rather just making the whole painting uniformly light, which is very different from the normal beam of light that either emanates from or shines on central figures in most religious painting and moves the focus away from the saint himself to include the rest of the painting. Finally, Bellini added texture to most of the figures in the foreground as compared to the background of the painting, which increases the viewer’s focus on the foreground and the objects in the foreground; however, there is not any particularly textured area in the foreground, diffusing the focus throughout the foreground. Now, the question becomes why would the Bellinis want to make the entire landscape the focus of the painting rather than Saint Mark himself? First, the painting contains lots of details that have meaning in Venetian and Islamic culture; for example, the building in the background is the Basilica of San Marco from Venice, but it is surrounded by high-walled buildings with minarets, exemplifying the melding of cultures that is portrayed by Saint Mark’s, the patron saint of Venice, arrival in Alexandria [1]. Tiny details like these are scattered throughout the painting, and Bellini would want to bring attention to them, so the viewer would be able to understand the enhanced meaning of the painting In addition, Brahim Alaoui believes that because Saint Mark’s preaching in Alexandria was a less commonly depicted scene, Bellini was able to incorporate more of his artistic vision, such as by including a famous Venetian building in Alexandria, rather than having to stick to the traditional interpretation of the scene in Jacopo da Varagine’s Golden Legend [2]. Bellini’s ability to include his own artistic narrative is especially important for this painting as it allowed him to infuse socio-political commentary into the painting through the smooth incorporation of both Venetian and Islamic symbols, which perpetuated the idea that Venice, a city under the divine protection of Saint Mark, and Alexandria, an Islamic city, could co-exist and peaceful conversions could take place [3]. The inclusion of the many important symbols necessitated the lack of a clear focus on the central figure as it left room for the viewer to individually understand what the meaning of the painting was, playing into the idea of personal interpretations of religion and religious art that became increasingly popular with the advent of the Renaissance. [1] David Carrier, "A Renaissance Fantasy Image of the Islamic World: Gentile and Giovanni Bellini’s "Saint Mark Preaching In Alexandria"," in Source: Notes in the History of Art 28, no. 1 (United States: The University of Chicago Press, 2008), 16-19. [2] Brahim Alaoui, Deke Dusinberre, Venice and the Islamic World, 828-1797 (United Kingdom: Metropolitan Museum of Art, 2007), 128. [3] "St Mark Preaching In Alexandria By Giovanni Bellini" (2020), Giovannibellini.Org, http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. Creator An entity primarily responsible for making the resource Giovanni and Gentile Bellini Source A related resource from which the described resource is derived Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. Carrier, David. "A Renaissance Fantasy Image of the Islamic World: Gentile and Giovanni Bellini’s "Saint Mark Preaching In Alexandria"." Source: Notes in the History of Art 28, no. 1 (2008): 16-19. Accessed November 18, 2020. http://www.jstor.org/stable/23207968. Alaoui, Brahim., Dusinberre, Deke. Venice and the Islamic World, 828-1797. United Kingdom: Metropolitan Museum of Art, 2007. "St Mark Preaching In Alexandria By Giovanni Bellini". 2020. Giovannibellini.Org. http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. Publisher An entity responsible for making the resource available Scuola Di San Marco, Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. Date A point or period of time associated with an event in the lifecycle of the resource 1504-1507 Contributor An entity responsible for making contributions to the resource Rhea Niyyar 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, 347 x 770 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 Pinacoteca di Brera, Milan, Italy. https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Venus_Blindfolding_Cupid/SCALA_ARCHIVES_1039779964.jpg 0bb4ff908ac2e0dd5e19ed433508c4e6 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 Blindfolding Cupid Description An account of the resource There have been several different interpretations of who the three female figures in this work are, and what they mean. At one point, it was identified as the Three Graces, but later the main figure was identified as Venus, blindfolding her son Cupid [1]. The other two female figures are likely nymphs, though some scholars identify the woman with the bow as another goddess, Diana. The two Cupids are likely Venus’s two sons, Eros and Anteros, who represent two contrasting sides of love [2]. Eros would be the Cupid being blindfolded by Venus [1], representing the blind and sensual part of love, while his brother represents the rational part [2]. The commissioner for this work is unknown, but in the context of this work Venus was likely used as a representation of love in marriage and chastity, so it may have been commissioned in celebration of a marriage. Though this work shows a mythical scene, the figures wear clothing more similar to the fashions of the time it was painted [2]. The colors used are still very rich, but much less bright than some of Titian’s other works. The predominate color is red, both in the sky in the background and the clothing of the two female figures beside Venus. Venus wears a bit of blue, drawing focus to her, and there is a bit of blue seen in the mountains of the background as well. Overall however, the darkness of the painting alongside the more somber and serious gazes of the figures create a sense of sadness and tension in the work, though the subject itself is not necessarily so. This is a different style than many of Titian’s other mythological paintings, such as Bacchus and Ariadne, but is similar to his other works from this time period. In many ways however, this work is similar to Titian’s other paintings, especially in his depictions of the female figure and the impressive sense of movement of each figure. [1] “Venus Blindfolding Cupid: Famous Artwork by Titian.” Galerie Borghèse, February 1, 2020. https://borghese.gallery/collection/paintings/venus-blindfolding-cupid.html. <div>[2] Peter Humfrey, “Italian 16th Century, Titian, Anonymous Artist, Titian/Venus Blindfolding Cupid/c. 1566/1570 or c. 1576/1580,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/41594 </div> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived “Venus Blindfolding Cupid: Famous Artwork by Titian.” Galerie Borghèse, February 1, 2020. https://borghese.gallery/collection/paintings/venus-blindfolding-cupid.html. Peter Humfrey, “Italian 16th Century, Titian, Anonymous Artist, Titian/Venus Blindfolding Cupid/c. 1566/1570 or c. 1576/1580,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/41594 “Venus Blindfolding Cupid.” Titian, Paintings, Quotes, and Biography. Accessed November 17, 2020. https://www.titian.org/venus-blindfolding-cupid.jsp. Titian. c. 1565. Venus Blindfolding Cupid. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_1039779964. Publisher An entity responsible for making the resource available Unknown commissioner Titian. c. 1565. Venus Blindfolding Cupid. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_1039779964. Date A point or period of time associated with an event in the lifecycle of the resource c. 1565 Contributor An entity responsible for making contributions to the resource Jacey Curd Rights Information about rights held in and over the resource 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 116 x 184 cm Type The nature or genre of the resource Oil on Canvas, 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 Galleria Borghese, Rome, Italy https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/St._Mark_Preaching_in_Alexandria/SCALA_ARCHIVES_1039614920.jpg 34c69f5b81cb9a85e214f1b81926da53 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 St. Mark Preaching in Alexandria Creator An entity primarily responsible for making the resource Gentile Bellini and Giovanni Bellini Contributor An entity responsible for making contributions to the resource Jackson Huether Format The file format, physical medium, or dimensions of the resource Oil on canvas, 347.0 x 770.0 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 Pinacoteca di Brera, Milan, Italy Date A point or period of time associated with an event in the lifecycle of the resource ca. 1504-1507 Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Image Source: Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. Description An account of the resource Upon the death of Gentile Bellini in 1507, it was prescribed in his will that his younger brother, Giovanni Bellini, would complete the work St. Mark Preaching in Alexandria commissioned by the Scuola Grande di San Marco [1]. Giovanni’s continuation of the work was confirmed by the Scuola only a few days after his death [1]. The work was a part of a restoration project after a fire had destroyed the Scuola’s hall in 1485 [2]. Saint Mark, the patron saint and esteemed figurehead of Venice, is located preaching on the left side of the scene as members of the confraternity stand behind him [2]. To the right are a group of white veiled Arab women and Turbaned men which dominate the crowd Saint Mark is preaching to [2]. Their clothing exhibits a peculiar attention to detail and texture, as the white fabric seems to flow off of their heads and the robes of the Turbaned men are brightly colored, possibly an illustration of their wealth, success, or commercial prowess. The inclusion of the distinctly Eastern clothing and cultural elements is a reflection of Gentile’s travels to the eastern region, specifically from when he spent time in Constantinople [1]. In the background stands Saint Marks basilica, but it is surrounded by high-walled buildings and minarets [2]. Camels and giraffes in the background further allude to the notion that this scene is of Egyptian origin [2]. The surrounding architecture is used to frame the scene and provide a stage for the unfolding events. They draw the viewer’s attention to Saint Mark in the foreground, highlighting his importance and power as a saintly figure. Saint Mark Preaching in Alexandria represents a reimagination or refitting of Venetian painting. As a direct inspiration of the Procession in the Piazza San Marco, it illustrates the application of Veneitan places, styles, and ideas onto the Islamic “Other” [3]. However, the serene nature of the scene (groups gathered peacefully, linear order among the participants, and clear skies) can allude to the establishment of peace between Venice and its Muslim neighbors [2]. While Gentile’s original contributions to the work were of mainly Eastern style, Giovanni picked up and finished the work applying, more heavily, a Venetian lens. [1] “'Mark Preaching in Alexandria' by Gentile and Giovanni Bellini,” warfare.ga, accessed November 18, 2020, http://warfare.ga/16/Bellini-Mark_Preaching_in_Alexandria.htm?i=1. [2] “St Mark Preaching in Alexandria,” www.giovannibellini.org, 2018, http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. [3] Carol Richardson, Locating Renaissance Art (New Haven, CT: Yale University Press, 2007), 243. Source A related resource from which the described resource is derived “'Mark Preaching in Alexandria' by Gentile and Giovanni Bellini.” warfare.ga. Accessed November 18, 2020. http://warfare.ga/16/Bellini-Mark_Preaching_in_Alexandria.htm?i=1. Richardson, Carol M. Locating Renaissance Art. New Haven, CT: Yale University Press, 2007. “St Mark Preaching in Alexandria.” www.giovannibellini.org, 2018. http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. Image Source: Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Image Source: Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/David_with_the_Head_of_Goliath/SCALA_ARCHIVES_1039488548.1.jpg 2b3f52f50ddd93cbbc60a2206541d820 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 David with the Head of Goliath Description An account of the resource Created by Michelangelo Caravaggio c. 1606-1610, David with the Head of Goliath was created as a gift for the papal court of Rome, specifically for Scipione Borgehese. Caravaggio was accused of murdering Tomassoni in May 1606, and fled from Rome, but spent his time creating this painting as petition for pardon so he could return to Rome. Caravaggio was indeed granted pardon, however, he unfortunately died before word of the pardon reached him [1]. Caravaggio was well-known for his mastery of biblical stories in a rather violent and somber tone, as shown in his creation of David with the Head of Goliath [2]. In this scene, Carvaggio interprets the traditional Old Testament story of David's battle, and ultimate victory, over Goliath. The painting depicts David with a sword holding the severed head of Goliath by his hair – David looks down at the head with a hardened look of remorse, but soft eyes, potentially expressing his pity at what he was forced to do. David's entire figure, as well as Goliath's head, are both highlighted in a bright tone, while the background is entirely dark. With this highlight, Caravaggio emphasizes the focus on the two main characters, and simultaneously creates a sense of David entering a lighted area – potentially showing him emerging from the darkness in the past, into a better era of light and happiness now that he has slain Goliath. While the painting is a fairly graphic interpretation of the story, the painting still elicits a sentiment of hope and relief. His illustration of David as remorseful suggests that Caravaggio is aware that murder is a sin in the Christian faith, no matter the circumstances. Caravaggio is believed to be projecting his own sentiments about his crimes and his exile onto the painting. David's remorse is reflective of his own regret about his sins, while Goliath's head is said to be a self-portrait of Caravaggio, encompassing his guilt into the punishment of Goliath [3]. While Caravaggio frequently represented Biblical stories in a dark and twisted light, this scene is shown in a more realistic tone, emphasizing Caravaggio's acceptance and apology of his sins, and hope for pardon. [1] "David with the Head of Goliath by Caravaggio", Borghese Gallery, Accessed November 17, 2020, https://borghese.gallery/collection/paintings/david-with-the-head-of-goliath.html. [2] "Caravaggio: Naples, Malta, Sicily, Naples, Porto Ercole: 1606-1610," Encyclopædia Britannica, Accessed November 17, 2020, https://www.britannica.com/biography/Caravaggio/Naples-Malta-Sicily-Naples-Porto-Ercole-1606-10. [3] Andrew Graham-Dixon, "David with the Head of Goliath," Caravaggio: a Life Sacred and Profane, 2011, 103-107 Creator An entity primarily responsible for making the resource Michelangelo Merisi da Caravaggio Source A related resource from which the described resource is derived Graham-Dixon, Andrew, "David with the Head of Goliath." In Caravaggio: a Life Sacred and Profane, 103-107. New York: W.W. Norton, 2011. <div> “Caravaggio: Naples, Malta, Sicily, Naples, Porto Ercole: 1606–10.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed November 17, 2020. https://www.britannica.com/biography/Caravaggio/Naples-Malta-Sicily-Naples-Porto-Ercole-1606-10. “David with the Head of Goliath by Caravaggio.” Borghese Gallery. August 2, 2019. https://borghese.gallery/collection/paintings/david-with-the-head-of-goliath.html.</div> Publisher An entity responsible for making the resource available Scipione Borghese Image Source: Michelangelo Merisi da Caravaggio. c. 1609-10. David with the Head of Goliath. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488548. Date A point or period of time associated with an event in the lifecycle of the resource c. 1606-1610 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan 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, 125 cm x 101 cm Type The nature or genre of the resource Oil on canvas 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 Galleria Borgehese, Rome, Italy https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Sacred_and_Profane_Love/SCALA_ARCHIVES_10310195612.jpg 37a77c66fee494774ba4fe0ae5397c9b 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 <a href="https://library.artstor.org/#/asset/SCALA_ARCHIVES_10310195612" title="Sacred and Profane Love">Sacred and Profane Love</a> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Barolsky, Paul. "Sacred and Profane Love." Source: Notes in the History of Art 17, no. 3 (1998): 25. Cantelupe, Eugene B. "Titian's Sacred and Profane Love Re-examined." The Art Bulletin 46, no. 2 (1964): 219. Goffen, Rona. "Titian's Sacred and Profane Love: Individuality and Sexuality in a Renaissance Marriage Picture." Studies in the History of Art 45 (1993): 124. “Sacred and Profane Love, 1514 by Titian,” Assessed November 16, 2020. <a href="https://www.titian.org/sacred-and-profane-love.jsp">https://www.titian.org/sacred-and-profane-love.jsp</a>. “Sacred and Profane Love by Titian,” Assessed November 16, 2020. <a href="https://borghese.gallery/collection/paintings/sacred-and-profane-love.html">https://borghese.gallery/collection/paintings/sacred-and-profane-love.html</a>. Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1515 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Image Rights: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612</a>. Format The file format, physical medium, or dimensions of the resource Oil on canvas; 118 x 279 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 Galleria Borghese, Rome, Italy Description An account of the resource Titian painted Sacred and Profane Love in circa 1515. It was commissioned by Niccoló Aurelio in 1514, a superb chancellor in Venice's city government, on behalf of his matrimony to Laura Bagarotto of Padua [1]. In 1613, this composition was described as "beauty adorned and beauty unadorned," and both figures recommend kinship because they are the identical figure painted twice. If these depicted goddesses actually expressed the idea of Sacred and Profane Love, the left Venus is profane love, and the nude Venus is sacred love. Titian creates two identical Venuses with a Cupid sitting on a sarcophagus shaped fountain in a forest landscape. The sister Venuses, each dominating one half of the painting, express two levels of love, the human and the divine. Each of the elements specifying them contributes to the articulation of this hierarchical relationship [2]. Venus on the left is dressed in a beautiful, baby blue gown with a pink sleeve on her right arm. She is richly dressed, and her gown is commonly recognized as bridal clothing, although in the past, they were said to be typical of a courtesan [3]. She is blonde, sitting on the fountain very peacefully and staring right at the viewer. Venus on the right is nude with a red drape hanging off her shoulder, exposing her body with a white garment across her lap. She is also blonde, holding her weight up with her right hand, and her feet are crossed. She is staring at the other Venus with a pleasant expression on her face. The protagonists are separated by Cupid staring into the fountain and a rose bush in front of the fountain. The center of the painting, containing the two Venuses and Cupid, is more illuminated than the rest of the landscape. The separation of the two Venuses also shows a lighting difference in the background. The background's left side is a cityscape, dark, and crowded; The right side is a pastoral landscape, bright and spacious [4]. The sky is very cloudy, with different shades of blues, and you can see the array of oranges and yellows, depicting a sunset. On this sarcophagus shaped fountain, you can see how the objects carved into the fountain appear to be popping out, expressing a 3D effect. It was noticed a long time ago that Venetian Niccoló Aurelio's coat of arms appears on this sarcophagus, hinting at the commission [5]. [1] Barolsky, Paul. "Sacred and Profane Love." Source: Notes in the History of Art 17, no. 3 (1998): 25. [2] “Sacred and Profane Love, 1514 by Titian,” Assessed November 16, 2020. <a href="https://www.titian.org/sacred-and-profane-love.jsp">https://www.titian.org/sacred-and-profane-love.jsp</a>. [3] “Sacred and Profane Love by Titian,” Assessed November 16, 2020. <a href="https://borghese.gallery/collection/paintings/sacred-and-profane-love.html">https://borghese.gallery/collection/paintings/sacred-and-profane-love.html</a>. [4] Cantelupe, Eugene B. "Titian's Sacred and Profane Love Re-examined." The Art Bulletin 46, no. 2 (1964): 219. [5] Goffen, Rona. "Titian's Sacred and Profane Love: Individuality and Sexuality in a Renaissance Marriage Picture." Studies in the History of Art 45 (1993): 124. Publisher An entity responsible for making the resource available Commissioned by Niccoló Aurelio Image Rights: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612.">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612.</a>