1 10 12 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 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/Plaque_with_the_Personification_of_Africa_[_]/l_ps1_52150_fnt_dd_t16-tms.jpg fd71e7348881f40b0d3b4dd9f38e8fdf 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 Plaque with the Personification of Africa (?) Subject The topic of the resource A woman depicted as a huntress, possibly an allegorical figure representing Africa Creator An entity primarily responsible for making the resource Anonymous Venetian, Milanese, or Umbrian Source A related resource from which the described resource is derived <ul> <li>Kaplan, Paul H. D. “Isabella d’Este and Black African Women.” In Black Africans in Renaissance Europe, edited by Thomas Earle and Kate J. P. Lowe, 125-54. Cambridge: Cambridge University Press, 2005.</li> <li>Lowe, Kate. “Introduction: The Black African Presence in Renaissance Europe.” In Black Africans in Renaissance Europe, edited by Thomas Earle and Kate J. P. Lowe, 1-14. Cambridge: Cambridge University Press, 2005.</li> <li>Spicer, Joaneath. “European Perceptions of Blackness as Reflected in the Visual Arts.” In Revealing the African Presence in Renaissance Europe, edited by Joaneath Spicer, 35-60. Baltimore: The Walters Art Museum, 2012. Exhibition catalog.</li> <li>The Walters Art Museum. “Plaque with the Personification of Africa (?)” Accessed September 30, 2020. <a href="https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/">https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/</a></li> </ul> <a href="https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/">Image Source: The Walters Art Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1550-1575 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Creative Commons License Format The file format, physical medium, or dimensions of the resource Stamped gilded iron, 14.2 x 7.2 cm 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 The Walters Art Gallery, Baltimore, USA Description An account of the resource The ebony, semi-nude body of a woman emerges from a gold ground, positioned in a decorative niche as an allegorical figure. She is in motion, with one foot lifted as she stands in contrapposto, one arm raised to grasp a loop of billowing drapery near her head and the other crossing her body, pointing past the cloth that curves around her hip and flutters in an imagined breeze. The voluptuous, sensuous figure depicted here is believed to represent Africa with her exotically patterned fabric, huntress’ boots [1] and gold bands around her arms, neck, and chest. It is unclear whether the gold atop her head is cloth woven into a turban or tresses styled in an elaborate European coiffure. Though she is figured as a non-European, her dynamic figure is contained by European architecture, framed by all’antica columns and a geometrically-patterned, perspectival floor. Joaneath Spicer has provided an overview of the range of functions of images of people of color in early modern European art, from status symbols to allegorical foils. This image could be categorized both as a display of the worldliness, wealth, and political power of its owner, as well as an expression of an artist’s mastery of a medium – perhaps participating in the tradition of the black Venus type. Spicer has shown that luxurious mediums with a naturally black or brown hue such as iron, onyx, black marble, bronze, and rosewood were used to depict black African bodies in a dual representation of beauty and exoticism [2]. Little is known about the circumstances of the commission of this relief, though the curators at the Walters Museum have compared it to plaques used to decorate a casket commissioned by Emperor Maximilian II [1]. Images such as this were used to celebrate the expansion of European discovery of the world, and accompanied rising investments in European hegemony and cultural narratives that positioned Europe as the refined, intellectual continent with Africa, Asia, and America as foils. While this figure image may have been intended to convey messages of European conquest and global knowledge, she also possesses power and dignity as a beautiful huntress, dominating the space prescribed for her. As an allegorical figure, she is allowed a greater range of motion and activity than a depiction of a historical European woman (see, for example, the placid, bust-length portraits of <a href="https://venice.dahvc.org/fall-2020/items/show/27">Veronica Franco</a>, <a href="https://venice.dahvc.org/fall-2020/items/show/28">Tullia d’Aragona</a>, and <a href="https://venice.dahvc.org/fall-2020/items/show/25">Cameria</a>). Her motion may be compared to that of <a href="https://venice.dahvc.org/fall-2020/items/show/26">Corisca</a>, who manages to outwit and elude her captor. [1] “Plaque with the Personification of Africa (?)” The Walters Art Museum, accessed September 30, 2020. <a href="https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/">https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/</a> [2] Joaneath Spicer, “European Perceptions of Blackness as Reflected in the Visual Arts,” in Revealing the African Presence in Renaissance Europe, ed. Joaneath Spicer (Baltimore: The Walters Art Museum, 2012), 4. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Cameria_or_Mihrimah_Sultan_as_Saint_Catherine/cameria-daughter-of-suleiman-the-magnificent.jpg f66eee5b0c9cc6a766511f4d3933fe05 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 Cameria, or Mihrimah Sultan as Saint Catherine Subject The topic of the resource Cameria, or Mihrimah Sultan (1522-1578), daughter of Suleiman the Magnificent Creator An entity primarily responsible for making the resource Titian (Tiziano Vecellio) Source A related resource from which the described resource is derived <ul> <li>The Courtauld Institute of Art. “Cameria, Daughter of Suleiman the Magnificent, as Saint Catherine.” Accessed October 2, 2020. <a href="http://www.artandarchitecture.org.uk/images/gallery/f2d2f159.html">http://www.artandarchitecture.org.uk/images/gallery/f2d2f159.html</a></li> <li>Humfrey, Peter. Titian. London: Phaidon, 2007.</li> <li>Sotheby's. "Cameria, or Mihrimah Sultan (1522-1578), Daughter of Suleyman the Magnificent." Lot 216, Arts of the Islamic World & India including Fine Rugs and Carpets, 10 June 2020. https://www.sothebys.com/en/buy/auction/2020/arts-of-the-islamic-world-india-including-fine-rugs-carpets/cameria-or-mihrimah-sultan-1522-1578-daughter-of</li> </ul> Image Source: https://artuk.org/discover/artworks/cameria-daughter-of-suleiman-the-magnificent-as-saint-catherine-207525 Date A point or period of time associated with an event in the lifecycle of the resource ca. 1560 Rights Information about rights held in and over the resource The Samuel Courtauld Trust, The Courtauld Gallery, London. Relation A related resource <a href="http://www.nationaltrustcollections.org.uk/object/996348">Copy after Titian by Pieve di Cadore</a> <a href="https://www.sothebys.com/en/buy/auction/2020/arts-of-the-islamic-world-india-including-fine-rugs-carpets/cameria-or-mihrimah-sultan-1522-1578-daughter-of">Copy after Titian (Private Collection)</a> http://www.nationaltrustcollections.org.uk/object/960194 Format The file format, physical medium, or dimensions of the resource Oil on canvas, 99.3 x 71.5 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 Courtauld Gallery, London, England Contributor An entity responsible for making contributions to the resource Dana Hogan Description An account of the resource Cameria, the daughter of Suleiman the Magnificent, faces the viewer in a three-quarter pose, her expression still and confident as she makes direct eye-contact. Her left hand rests lightly on the wheel of Saint Catherine of Alexandria, a choice that has been attributed to the Ottoman Empire’s possession of Alexandria at the time [1]. Her headdress flows from a jeweled turban around her hair to a high, pointed structure of gold, pearls, rubies and emeralds culminating in a waterfall of white drapery. The cut and fabric of her tunic appear to be typical of Ottoman dress of the time, with a high neck and intricate patterns of flowers and curvilinear forms, contrasting with the low-cut gowns of lace, velvet, satin and silk favored by Venetian noblewomen. Like <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/89%20">Caterina Cornaro</a>, Cameria is shown in this state portrait as a virtuous, learned princess. However, while Cameria is shown in Ottoman costume, she has been somewhat Italianized by the artist through her association with a popular Christian saint and the depiction of her facial features conforming to Venetian ideals of beauty with soft, rounded curves and a pale complexion with rosy overtones. Compare this image of a historic figure of the Near East with the <a href="https://venice.dahvc.org/fall-2020/items/show/28">allegorical figure of Africa</a>, each made from an Italian perspective, most likely for a European audience. [1] “Cameria, Daughter of Suleiman the Magnificent, as Saint Catherine,” The Courtauld Institute of Art, accessed October 2, 2020. <a href="http://www.artandarchitecture.org.uk/images/gallery/f2d2f159.html">http://www.artandarchitecture.org.uk/images/gallery/f2d2f159.html</a> https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Corisca_and_the_Satyr/1920px-Corisca_and_the_Satyr_by_Artemisia_Gentileschi.jpg 81be598ca012142bea954fb13c89981f 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 Corisca and the Satyr Subject The topic of the resource Corisca, a nymph in Battista Guarini's Il Pastor Fido, evades a satyr through deception Creator An entity primarily responsible for making the resource Artemisia Gentileschi (with Massimo Stanzione) Date A point or period of time associated with an event in the lifecycle of the resource ca. 1630-1635 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, 155.0 x 210.0 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 Luciano Pedicini Collection, Naples, Italy Description An account of the resource In this painting, we see a young woman fleeing a satyr seated upon the ground. Gentileschi highlights Corisca's movement through the figure's spatial dominance of the picture plane and her billowing garments with highly articulated drapery. Her figure leans diagonally away from the satyr, who parallels her motion, leaning forward to reach for her. Corisca's bright white, gold, purple and green clothes draw the viewer’s eye and position her as the protagonist of the scene through their contrast with the dark, monotonous landscape. The satyr recedes into the background, the lower half of his body barely distinguishable from the dark ground. With his body mainly cast in shadow, the light on his forehead and left shoulder draw attention to his enlarged, pointed ear which marks him as Other. Further creating contrast between the two figures are the exposed expanses of their skin: the satyr's muscular brown torso and arms, and Corisca's bared arms, chest, and front foot, lit by an unidentified source. The differences in their coloring may have been used as tropes of light and dark to communicate their information about the characters' virtue to an early modern audience. Artemisia Gentileschi collaborated with fellow painter Massimo Stanzione to create this image – their individual contributions may be identified through the differing brushstrokes used to depict the figures and the background. While Corisca and the satyr are painted with seamless, virtuosic strokes, the tree, hills and sky behind them are more painterly, that is, the brushstrokes themselves are more visible. This contrast was likely intentional as the narrative depicted belongs to a play: the realistic figures could be understood as interacting in an artificial setting as actors on a stage. In the early 1630s when this painting is believed to have been produced, Artemisia Gentileschi was working for the Duke of Alcala, the Spanish Viceroy of Naples. Prior to Naples, Artemisia had spent four years in Venice, though no known work from this period has survived [1]. It was likely in Venice that she encountered Battista Guarini's play Il Pastor Fido, which became extremely popular throughout Europe and was reprinted multiple times after 1585 [2]. In the scene depicted, the nymph Corisca tricks the satyr by wearing a wig, enabling her to escape his sexual advances while he is left grasping at the wig, surprised to have lost his prey. In early modern Italy this narrative was often understood as a moralizing message for men to beware the wiles of women. Mary Garrard has reinforced the narrative’s connection to Venetian literary circles and reads it as a political statement of an active woman capable of outsmarting a man [3]. [1] Jesse Locker, Artemisia Gentileschi: The Language of Painting (New Haven: Yale University Press, 2015), 4, 85. [2] Jesse Locker, “Artemisia Gentileschi: The Literary Formation of an Unlearned Artist,” in Artemisia Gentileschi in a Changing Light, ed. Sheila Barker (Turnhout: Harvey Miller, 2017), 97. [3] Mary D. Garrard, “Identifying Artemisia: The Archive and the Eye,” in Artemisia Gentileschi in a Changing Light, ed. Sheila Barker (Turnhout: Harvey Miller, 2017), 31. Source A related resource from which the described resource is derived <ul> <li>Garrard, Mary D. “Identifying Artemisia: The Archive and the Eye.” In Artemisia Gentileschi in a Changing Light, edited by Sheila Barker, 11-40. Turnhout: Harvey Miller, 2017.</li> <li>Locker, Jesse. Artemisia Gentileschi: The Language of Painting. New Haven: Yale University Press, 2015.</li> <li>Locker, Jesse. “Artemisia Gentileschi: The Literary Formation of an Unlearned Artist.” In Artemisia Gentileschi in a Changing Light, edited by Sheila Barker, 89-102. Turnhout: Harvey Miller, 2017. Image Source: Art Tribune, January 2012. http://www.artribune.com/wp-content/uploads/2012/01/ART_24_bassa_1.jpg</li> </ul> Publisher An entity responsible for making the resource available Image Source: Art Tribune, January 2012. http://www.artribune.com/wp-content/uploads/2012/01/ART_24_bassa_1.jpg Rights Information about rights held in and over the resource Public Domain. Image Source: Art Tribune, January 2012. http://www.artribune.com/wp-content/uploads/2012/01/ART_24_bassa_1.jpg https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Portrait_of_a_Lady_[Veronica_Franco_]/VeronicaFranco.jpg 9a288f2ac35f5e15f8133a3c88a1935d 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 Portrait of a Lady (Veronica Franco?) Subject The topic of the resource Portrait of a woman believed to be Veronica Franco Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived <ul> <li>Catalogue of All the Principal and Most Honored Courtesans of Venice. Venice, 1570. </li> <li>King, Margaret. Women of the Renaissance. Chicago: University of Chicago, 1991.</li> <li>Smarr, Janet Levarie. Joining the Conversation: Dialogues by Renaissance Women. Ann Arbor: University of Michigan Press, 2005. </li> </ul> Image Source: https://dornsife.usc.edu/veronica-franco/portraits-of-franco/ Date A point or period of time associated with an event in the lifecycle of the resource ca. 1575 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Oil on canvas, 87.0 x 78.7 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 Worcester Art Museum, Worcester, MA, USA https://worcester.emuseum.com/objects/20316/portrait-of-a-lady Description An account of the resource Unlike the supposed portrait of fellow poet-courtesan <a href="https://venice.dahvc.org/fall-2020/items/show/28%20">Tullia d’Aragona</a>, Franco’s eyes are averted from the viewer, so she poses no direct challenge to her audience. Her face recedes into shadow, partially hidden from the viewer, leaving her expression unreadable. The circles under her eyes give the impression of weariness and worldly knowledge, contrasting with the youthful glow in her pink cheeks and her vibrant red hair. Her left hand, asymmetrically-hung cloak, and diagonal line of jewels guide the viewer to a conspicuous expanse of her breast, a hint of nipple striking between her creamy skin and bright white chemise. Either as a visual pun or as an attempt to champion her character, the artist has depicted Franco wearing a strand of pearls, symbolic of chastity and purity. Like d'Aragona, Franco used her poems to defend her special honor above other courtesans by showcasing her intellect and network of powerful connections [1]. In her poetry, she responds to men who attack her in their verses as a prostitute, explicitly stating her worthy character and inviting admiration [2]. This portrait shows a woman who is likewise inviting admiration, acknowledging her profession but not defined by it. Tintoretto, however, has omitted attributes such as quills, letters, and books that would portray her in the intellectual persona she worked to craft for herself. [1] Janet Levarie Smarr, Joining the Conversation: Dialogues by Renaissance Women (Ann Arbor: University of Michigan Press, 2005), 24. [2] Margaret King, Women of the Renaissance (Chicago: University of Chicago, 1991), 216. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Portrait_of_Tullia_d_Aragona_as_Salome/830px-Moretto_da_Brescia_-_Portrait_of_Tullia_d_Aragona_as_Salome_-_WGA16230.jpg 8b07082e453a922688fb58944e6ec237 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 Portrait of Tullia d'Aragona as Salome Subject The topic of the resource Portrait of Tullia d'Aragona as Salome Creator An entity primarily responsible for making the resource Moretto da Brescia Date A point or period of time associated with an event in the lifecycle of the resource ca. 1537 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Web Gallery of Art Format The file format, physical medium, or dimensions of the resource Oil on panel, 56.0 x 39.0 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 Tosio Martinengo, Brescia, Lombardy Description An account of the resource A centrally-positioned woman gazes directly at the viewer, her head cocked to the side as she reclines on a stone wall bearing an inscription. This inscription identifies one level of the figure’s identity as the biblical femme fatale Salome: "QVAE SACRV[M IOANIS] CAPVT SALTANDO OBTINVIT," which translates from Latin to “I won John’s head with a sacred dance.” John’s head is not shown here, nor is Salome engaged in dance, her infamous act of seduction. She is in repose, coolly and regally eyeing her audience, richly dressed in lace, fur, and velvet with an elaborate, jeweled coiffure. The scepter lazily held in her hand demonstrates both her power and her confidence in her authority (compare to Judith’s sword). In the late nineteenth century, Guido Biagi presented this portrait as a faithful likeness of Tullia d’Aragona – a sixteenth-century philosopher, poet, and courtesan – as a type of Muse in the guise of Salome [1]. This portrait has been dated to c. 1537, when d’Aragona was living in Ferrara, where she inspired legendary passion in the literary men at court. In 1547, d’Aragona’s philosophic Dialogue on the Infinity of Love and volume of poetic exchanges were published by the Venetian printing house Giolito. Years earlier, her home in Venice had functioned as literary salon and became the setting for Sperone Speroni’s Dialogue on Love, written in 1537 and published in 1542. D’Aragona’s dialogue responds directly to Speroni’s, as Speroni included Tullia as a character who was unflatteringly associated with irrational, animalistic, carnal love. In her own dialogue, Tullia again appears as a character, but one who controls the conversation and establishes parity between men and women in sensual and intellectual love. If this portrait is indeed of d’Aragona, it alludes to the power of her beauty and sexuality, and her ability to corrupt men. The circumstances of this commission are unknown, though it is unlikely that d’Aragona would have chosen to represent herself this way. In her writings, d’Aragona skillfully crafts her persona, and her self-representation consciously creates distance from her occupation as courtesan. While this image projects the image of refinement that d’Aragona strove for, it lacks any allusion to her learning or cultural production, and emphasizes the very aspect of her identity that she struggled to subsume. This image shows her as she might have been viewed by a man who lusted after her, but not as she wished to be perceived. [1] Guido Biaggi, Un’etera romana: Tullia d’Aragona (con ritratto) (Florence: R. Paggi, 1897), 3-4. Source A related resource from which the described resource is derived <ul> <li>Biaggi, Guido. Un’etera romana: Tullia d’Aragona (con ritratto). Florence: R. Paggi, 1897.</li> <li>d'Aragona, Tullia. Dialogue on the Infinity of Love. Venice: Giolito, 1547.</li> <li>Gombosi, György. Moretto da Brescia. Basel: Holbein-Verlag, 1943. Image Source: Pinacoteca Tosio Martinengo</li> </ul> https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Portrait_of_a_Lady_[Veronica_Gambara]/Correggio_Ritratto_di_dama_c.1517-1518.jpg f189480425b862107305359be7565fdd 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 Portrait of a Lady (Veronica Gambara) Subject The topic of the resource Portrait of the Venetian Poet Veronica Gambara Creator An entity primarily responsible for making the resource Antonio da Correggio Publisher An entity responsible for making the resource available The Hermitage Museum, Saint Petersburg, Russia Date A point or period of time associated with an event in the lifecycle of the resource ca. 1517 - 1520 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Oil on canvas, 102.0 x 86.0 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, Saint Petersburg, Russia Description An account of the resource In a pastoral setting of a symbolic laurel and a changeable blue sky, the poet is placed in the imaginary domain of her works. With a half-smile, she turns toward the viewer from her three-quarter pose, apparently seated on the grass or perhaps a log out of view. With dramatically bloused white sleeves and a contrasting black velvet overdress that exposes a smooth expanse of her shoulders, the lady is fashionable, attractive, and modest with no hint of décolletage. Her braided hairnet secured with a jewel marks her as a woman of means, noble bearing, and is perhaps an allusion to her great intellect – other women with exceptional knowledge and creative talent were sometimes depicted with wild hair or turbans to express their genius. It has been suggested that the sitter is Veronica Gambara, who was widowed in 1518. Details suggesting marital loss include the black overdress, the inscription on the silver chalice alluding to sorrow and memory, and the ivy, symbolic of fidelity and undying love [1]. Upon her husband's death, Gambara became the ruler of the court of Correggio, where she developed a thriving literary salon and produced poetry of her own. [1] “Portrait of a Lady,” Hermitage Art Museum, accessed October 2, 2020. <a href="https://www.arthermitage.org/Correggio/Portrait-of-a-Lady.html">https://www.arthermitage.org/Correggio/Portrait-of-a-Lady.html</a> Source A related resource from which the described resource is derived <ul> <li>Adani, Giuseppe. Correggio pittore universale. Cinisello Balsamo: Silvano, 2007.</li> <li>Hermitage Art Museum. “Portrait of a Lady.” Accessed October 2, 2020. <a href="https://www.arthermitage.org/Correggio/Portrait-of-a-Lady.html">https://www.arthermitage.org/Correggio/Portrait-of-a-Lady.html</a></li> <li>Lucco, Mauro. Mantegna a Mantova 1460-1506. Milan: Skira, 2006. Image Source: Hermitage Art Museum</li> </ul> https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Moderata_Fonte/Meritodelledonne007.jpg 6feebc123a3826cc412489d5c1c247b2 https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Moderata_Fonte/Meritodelledonne001.jpg d602732ddf4275dd9d3dc6b9c5799b8e https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Moderata_Fonte/Moderata_Fonte.png a37688c3a4ab46ad14de744ee8089e16 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 Moderata Fonte Subject The topic of the resource Portrait of Moderata Fonte (Modesta Dal Pozzo) printed in her book Il merito delle donne (1600) Creator An entity primarily responsible for making the resource Artist Unknown; printed by Domenico Imberti Source A related resource from which the described resource is derived <ul> <li>Deslauriers, Marguerite. "Patriarchal Power as Unjust: Tyranny in Seventeenth-Century Venice." British Journal for the History of Philosophy 27, no. 4 (2019): 718-737.</li> <li>Fonte, Moderata. Il merito delle donne. Venice, 1600.</li> <li>King, Margaret. Women of the Renaissance. Chicago: University of Chicago, 1991.</li> </ul> Image Source: Fonte, Moderata. Il merito delle donne. Venice: Domenico Imberti, 1600. Publisher An entity responsible for making the resource available Domenico Imberti Date A point or period of time associated with an event in the lifecycle of the resource 1600 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Print, various dimensions Type The nature or genre of the resource Print Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Venice, Italy Description An account of the resource “I await fame and glory in life, and then in death” [1]. Like Tullia d’Aragona’s dialogue, Moderata Fonte’s Il merito delle donne (1600) is a commentary on the dialogues of philosophers and humanists, which were almost exclusively composed of male voices in early modern Italy. In a Venetian garden, virgins, matrons, and crones discuss the soul, knowledge, and virtues; they form a perfect female society in which women gain strength from one another and live autonomously [2]. While Fonte lauds the city of Venice, there is critique embedded in this praise: the political apparatus of Venice was an object of admiration to statesmen throughout Europe, but it remained oppressive to women [3]. The quote above foreshadows the author’s fate: Fonte died in childbirth one day after finishing her book. Eight years after her death, two of her children submitted her book for publication, which means that the author’s portrait is a posthumous portrait. Perhaps for this reason, her portrait is less individualized than the portraits of <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/28">d’Aragona</a> and <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/27">Franco</a>. She wears a fashionable Venetian costume with a starched lace collar and a horned hairstyle that was at one time synonymous with courtesans, though noblewomen also wore it. The intricacy of the lace detailing on her gown and her pearl necklace communicate her status as a reputable lady, yet there is little that is distinct about her appearance. This woodcut print can be understood as a generic image type rather than an individualized portrait of a historic woman. One detail that distinguishes this woman from similar images is the crown of laurel leaves signifying her achievement in letters, an honorific which nearly blends in with her curls, fading from view. Notably absent are the traditional literary attributes of books, letters, or a pen. The image of the author becomes first and foremost the image of anonymized female respectability. [1] Moderata Fonte, Il merito delle donne (Venice, 1600), 4. [2] Margaret King, Women of the Renaissance (Chicago: University of Chicago, 1991), 228. [3] King, Women of the Renaissance, 231. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Portrait_of_Caterina_Cornaro_as_Saint_Catherine_of_Alexandria/Portrait_of_Caterina_Coronaro_1542_uffizi_florence_Titian.jpg 0aa3f839a53697e3d9579293390e3da5 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 Portrait of Caterina Cornaro as Saint Catherine of Alexandria Subject The topic of the resource Caterina Cornaro, Queen of Cyprus Creator An entity primarily responsible for making the resource Titian (Workshop) Source A related resource from which the described resource is derived <ul> <li>Agostino, Grazia et. al. Tiziano nelle Gallerie fiorentine. Florence: Centro Di, 1978. </li> <li>Ciatti, Marco and Magnolia Scudieri, ed. Firenze: Arte del Rinascimento e restauro. Tokyo: NHK Enterprises, 1991.</li> <li>Hurlburt, Holly. Daughter of Venice: Caterina Cornaro, Queen of Cyprus and Woman of the Renaissance. New Haven: Yale University Press, 2015.</li> </ul> Image Source: Le Gallerie degli Uffizi, Florence, Italy http://www.polomuseale.firenze.it/inv1890/scheda.asp?position=1&ninv=909&suffisso= Publisher An entity responsible for making the resource available Le Gallerie degli Uffizi, Florence, Italy Date A point or period of time associated with an event in the lifecycle of the resource c. late 16th C. 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, 102.5 x 72.0 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 Le Gallerie degli Uffizi, Florence, Italy Description An account of the resource Standing tall and regal in a three-quarter pose, Caterina gazes sideways at the viewer with composure, her lips pursed and hands clasped together in front of her. Her lavishly-robed figure fills the frame, positioned against a sober black background and three-quarter view typical of state portraits of the time. The fabrics of her costume include shining satins and silks embroidered with gold, dotted with lines of pearls that echo the larger pearls in her crown and headdress. This costume communicates not only her wealth, power, and nobility, but also her access to luxury goods beyond those produced in Venice. Her crown and headdress are not Italianate, but rather allude to her dual identity as Venetian by birth and Queen of Cyprus by marriage. The wooden wheel behind her with iron spikes is symbolic of Saint Catherine of Alexandria, a princess and a scholar who was martyred by the spiked wheel. The association with this saint communicates Caterina’s knowledge, queenly standing, and Christian virtue (compare to <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/25">Cameria as Saint Catherine</a>).