2 10 12 https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Judith/Judith.jpg c8c221690cd59004a9b35970e5260957 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 Dana's Collection 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 Judith Subject The topic of the resource The biblical heroine, Judith standing over the decapitated head of Holofernes Creator An entity primarily responsible for making the resource <a href="https://giorgionetempesta.blogspot.com/2011/04/giorgione-judith.html">Giorgione</a> Source A related resource from which the described resource is derived <ul> <li>Brine, Kevin, Elena Ciletti and Henrike Lahnemann, eds. The Sword of Judith: Judith Studies Across the Disciplines. Cambridge: Open Book Publishers, 2010.</li> <li>Dal Pozzolo, Enrico Maria and Lionello Puppi, eds. Giorgione. Milan: Skira, 2009.</li> <li>Fomicieva, T. "The History of Giorgione's 'Judith' and its Restoration." Burlington Magazine 115, no. 844 (1973): 417-21.</li> </ul> Image Source: <a href="https://www.arthermitage.org/Giorgione/Judith.html">The Hermitage Museum</a> Publisher An entity responsible for making the resource available Provenance: Collection of baron L.A. Crozat de Tierra, Paris, 1772 Date A point or period of time associated with an event in the lifecycle of the resource 1504 Contributor An entity responsible for making contributions to the resource Dana Hogan Format The file format, physical medium, or dimensions of the resource Oil on canvas, 144.0 x 68.0 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 Hermitage Museum, St. Petersburg, Russia Description An account of the resource Giorgione’s Judith is a beautiful young widow who has already slain the Assyrian general Holofernes. In fifteenth and sixteenth-century Italy, Judith often served as an allegorical figure of Virtue triumphant, or as the victor in a number of binary oppositions such as the Church vs. the Ottoman Turks. Judith also served as an exempla virtutis for women – an example of the gendered qualities of obedience, humility, and chastity. She became a problematic figure at times: while she was a model of familial and civic virtue, she was also a woman who outsmarted a man and cut off his head. Some preachers and treatise writers warned that her example would lead unintelligent women to kill their husbands, and unflattering prints depicting her as a femme fatale were circulated throughout Europe. This Judith strikes a balance between modest, virtuous woman and symbol of power. Her eyes are averted from the viewer, cast low in a gesture of humility that was typical of portraits of women at this time. Her sword is held loosely at her side, neither bloodied nor wielded high as in other images. However, the positioning of her right arm and the shading of her gown draw the eye to the split seam and her exposed leg. Judith’s bare leg, thrust forward toward the viewer and exerting pressure on Holofernes’s severed head, shows her dominance and is suggestive of the means by which she bested Holofernes. During this time, Judith’s detractors claimed that she seduced Holofernes in order to kill him, whereas her supporters insisted that she remained chaste and won her victory as the handmaiden of God. Giorgione’s rendering leaves room for either interpretation, or further, the possibility of a heroine who embodies that is both sensual and divine. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Galleon_at_Sea/Galleon-new.png 13b034331333671f49fc324d36853133 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 Dana's Collection 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 Galleon at Sea Subject The topic of the resource A galleon ship in Giovanna Garzoni's calligraphy book Description An account of the resource This calligraphic drawing was created as part of Giovanna Garzoni's "Libro de’ caratteri cancellereschi corsivi," or “Book of Chancery Cursive Letterforms.” Garzoni, an itinerant artist, was born in Ascoli Piceno to a Venetian family and is believed to have moved to Venice during her childhood. While in Venice she received training with the calligraphy instructor Giacomo Rogni. This book may be considered both an exercise book and a portfolio of her skill. Aoife Cosgrove has shown that the source of this particular image is likely Jan van de Velde the Elder's "A Messieurs de l’Admirauté à Rotterdam," a model published in a writing manual in Rotterdam in 1605. Both the subject and its source reflect Giovanni's global imagination: more than most women of her time, she traveled among international courts in Italy, France, and England where she created representations of circulating objects such as exotic fruits from the Americas and precious Ming vases exported from China. This exercise also offers insight into the early modern audience of the work. Created in a single, fluid stroke, this calligraphic drawing may have been used as a type of party trick, as proposed by Sheila Barker. At a court gathering, Garzoni may have created the drawing in front of a group of onlookers who followed her swirling lines, guessing at the subject. When her upside-down drawing was complete, Garzoni would have turned the page to reveal her elegant ship. This offered both entertainment to the members of court and proof of Garzoni's artistic skill, possibly attracting future commissions. Creator An entity primarily responsible for making the resource Giovanna Garzoni (Ascoli Piceno 1600 – Rome 1670) Source A related resource from which the described resource is derived <ul> <li>Casale, Gerardo. Giovanna Garzoni: 'Insigne Miniatrice,' 1600-1670. Milan: 1991 (120)</li> <li>Barker, Sheila. "Marvellously Gifted: Giovanna Garzoni's First Visit to the Medici Court." Burlington Magazine 160 (2018): 654-659. (657)</li> <li>Barker, Sheila. "Galleon at Sea" and "A Messieurs de l’Admirauté à Rotterdam." In "The Immensity of the Universe" in the Art of Giovanna Garzoni, exhibition catalogue edited by Sheila Barker, 120-22. Livorno: Sillabe, 2020.</li> </ul> Publisher An entity responsible for making the resource available Rome, Accademia Nazionale di San Luca, ms. 1117 Date A point or period of time associated with an event in the lifecycle of the resource circa 1617–1622 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Rome, Accademia Nazionale di San Luca Relation A related resource Modeled after "A Messieurs de l’Admirauté à Rotterdam" by Jan van de Velde the Elder (Antwerp 1568 – Haarlem 1623) (engraved by Simon Frisius, also known as Simon Wynhoutsz. de Vries) Format The file format, physical medium, or dimensions of the resource in: Giovanna Garzoni, Libro de’ caratteri cancellereschi corsivi, fol. 44r black ink on prepared paper, 29.0 x 20.5 cm (closed); 29.0 x 41.5 cm (open) Type The nature or genre of the resource Calligraphic drawing Identifier An unambiguous reference to the resource within a given context ms. 1117 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Accademia Nazionale di San Luca, Rome, Italy