1 10 16 https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Paradise/Jacopo_Tintoretto_-_Paradise_-_WGA22637.jpg d817c13dd28de711e8fc1ae1f464cafa 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 September 16: Visual Analysis of work from Correr and Ducal Palace 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 Paradise Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived DiPalma, Jessica. “Jacopo Tintoretto Artworks & Famous Paintings.” The Art Story, July 16, 2019. <a href="https://www.theartstory.org/artist/tintoretto/artworks/">https://www.theartstory.org/artist/tintoretto/artworks/</a>. Nichols, Thomas. "Tintoretto family." Grove Art Online. 2003; Accessed 26 Oct. 2020. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085169. "Paradise By Tintoretto". 2020. Wga.Hu. https://www.wga.hu/html_m/t/tintoret/4a/ Image Source: Jacopo Tintoretto. 1588-1592. Paradise. painting. Place: Museo del Prado, cat. 398.. https://library.artstor.org/asset/LESSING_ART_10310120266. Publisher An entity responsible for making the resource available Signoria of Venice Date A point or period of time associated with an event in the lifecycle of the resource 1588 - 1592 Contributor An entity responsible for making contributions to the resource Rafael Salazar-Paranhos 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, 700 x 2200cm 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 Palazzo Ducale, Venice Description An account of the resource The painting Paradise, made by Jacopo and Dominico Tintoretto from 1588-1592, is featured in the Ducal Palace and represents the greatness of Venice during this time period. It is featured across the expanse of the Great Council wall and stands above where the Doge and his counselors would sit in their political meetings. This is one of the largest oil paintings on canvas in the world, at 7 meters by 22 meters, and in fact, there are so many individuals that very little space is unused, making the painting extremely crowded, while at the same time representing the fact that each individual is a part of a greater whole. To start, it features an immense depiction of religious figures such as Christ and the Virgin Mary. While these two are the most prominent figures featured in the center of the painting, there are many others scattered throughout that stand for the beliefs reiterated by Venice. For example, next to Christ is Archangel Michael who is representative of justice, as he holds onto the scales and gives direct approval. Moreover, Archangel Gabriel is known as a messenger and is seen speaking towards Mary, announcing that she will carry the child of God. The painting as a whole shows Tintoretto’s mastery of color and light, as he highlights certain parts more than others and contrasts different bodies very vividly [1]. Tintoretto was given the commission for Paradise after the burning of Doge’s Palace. It was a very coveted commission, that Veronese had earned first, but in the end Tintoretto was given the green light after Veronese had passed away. The painting was so large and laborious, that Tintoretto could not finish it by himself, which is why Dominico, his son, also was a part of the finished product. Due to its size and time of creation, the painting had an audience with open eyes, that analyzed the art very profoundly. Some felt like his depiction was too basic and pictured saints as commoners. On the other hand, others thought the artist used his creativity and artistic style to represent a very holy and heavenly scene with figures floating on clouds. [2] Overall, being that it lies in the Great Council Hall, where policy decisions were made, the painting is extremely significant for representing a Venetian Republic that rules by justice and unification. [3] It was made during a time period of great wealth and prosperity, and therefore it had a great importance for representing the republic in this way. [1] Jessica DiPalma, “Jacopo Tintoretto Artworks & Famous Paintings,” The Art Story. 2019 [2] Thomas Nichols, "Tintoretto family," Grove Art Online (2003) [3]"Paradise By Tintoretto".Wga.Hu. 2020. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Portrait_of_Doge_Mocenigo/SCALA_ARCHIVES_1039778348.jpg 5b21fa0c6feabf17e931bf9fe8ef8175 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 September 16: Visual Analysis of work from Correr and Ducal Palace 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 Doge Mocenigo Subject The topic of the resource This painting is by Gentile Bellini and was likely commissioned privately by Doge Giovanni Mocenigo himself. This painting was originally credited to Bastani due to the heavy dark over paintings, but after being cleaned and restored it was soon realized that the well preserved, highly detailed painting was actually done by Bellini. Description An account of the resource This portrait was a later work of Gentile Bellini that showcases his flat patterned style that has been used to identify other works of his. The painting takes on a side-portrait view of the doge depicting him in a very stately and pious manner. He has a very serious look on his face showing his power and authority over the dominion of Venice. The lines and wrinkles that can be seen on Mocenigo's face implies that he is a wise man who is suited to run the city of Venice. The cloak worn by the doge is white with elaborate golden trimming along the collar and the buttons which is subject to change depending on the doge. One thing that is peculiar about this painting is the fact that the doge is wearing a gold and white corono ducal instead of the usual red one. The white and gold colors are symbolic and signify that the doge is pure and uncorrupted. The golden background of this painting has an interesting effect on the silhouette of the doge that makes it seem like there is an aura coming off of his body. While the whole entire background obviously visualizes the wealth and power of the doge and Venice because of the gold color, the area around the doge's body is slightly lighter than the rest of the background giving him an angelic like portrayal. Creator An entity primarily responsible for making the resource Gentile Bellini Source A related resource from which the described resource is derived COLLINS, H. F. (1970). Gentile Bellini: A Monograph And Catalogue Of Works (Order No. 7020348). Available from ProQuest Dissertations & Theses Global. (288084750). Retrieved from https://login.proxy.lib.duke.edu/login?url=https://www-proquest-com.proxy.lib.duke.edu/docview/288084750?accountid=10598 Britannica Educational Publishing Staff. The 100 Most Influential Painters and Sculptors of the Renaissance : 100 Most Influential Painters and Sculptors of the Renaissance. Chicago, IL: Rosen Publishing Group, 2009. Accessed September 16, 2020. ProQuest Ebook Central. Pignatti, Terisio. "A Rediscovered Portrait by Gentile Bellini." The Burlington Magazine 95, no. 600 (1953): 93-95. Accessed September 16, 2020. http://www.jstor.org/stable/871019. Giovanni Bellini and Gentile Bellini. Portrait of Doge Mocenigo. painting. Place: Museo Correr. https://library.artstor.org/asset/SCALA_ARCHIVES_1039778348. Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource 1478 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 62.5 cm x 45.5 cm Type The nature or genre of the resource Painting on a panel Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Correr https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Mars_and_Neptune_/Mars_and_Neptune.jpg 6c35be6c0bfb7c23c2e236e84fe8309f 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 September 16: Visual Analysis of work from Correr and Ducal Palace Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Mars and Neptune Description An account of the resource Mars and Neptune is painted by Paolo Veronese from 1575 - 1578. The Italian Renaissance painter Paolo Veronese(1528–1588) is known for the idea of opulence and splendor of Renaissance Venice that reflected in his arts. Being educated in the shadow of the antiquarian taste, he has been appreciated for his works’ inextricably linkage with unique crowded compositions [1] and his distinctive, advanced, and splendid use of color to achieve the theatrical effects, which also made him known as one of the greatest colorists. [2] Mars and Neptune is placed on the ceiling of the Council Chamber (Sala del Collegio) decorated by Italian architect Andrea Palladio in the Doge's Palace (Palazzo Ducale) in Venice, Italy. The purpose of the masterpiece on the ceiling is to commemorate the good management of the Venetian Republic and the prosperity status. It also shows how the Republic inherited on and further strengthen the faiths and virtues that were essential throughout history to govern Venice. [3] The artwork Mars and Neptune highlights the characteristics of the painter’s style, such as the brimful composition and the dramatics of the scene. In the foreground, we can see the figures of two warrior-like gods, a sinister roaring lion, and the head of a horse decorated with flowers. More metal armors and decorations. seamlessly fill the space, which is a typical structure for Veronese. The apparent contrast of light and dark and the color scheme with the theme of white, red, and blue enhance the magnificence of this heroic scene of the myth. In addition, the details of the bright decorations and the picturesque scenery composed of the sky and buildings in the background constitute a prosperous and cheerful festive atmosphere. [4] The movements of the figures and other icons in the painting have strong symbolic meaning. The two protagonists are Mars (in charge of the war, representing the power of Venice on land) and Neptune (in charge of the ocean, representing the territory of the country on water). The parallel relationship between them can also be reflected in the interesting symbolic similarity between the warrior god's helmet and the huge sea god's shell in both angel’s hands. However, the contrast between the shapes and movements of these two characters foreshadow the transformation: Neptune is depicted as elderly and fatigued whereas Mars is full of the vitality and liveness in his prime. The difference in the action of Neptune’s curved back and Mar’s zealous gaze at the angle with his back upright, together with the light and shadow cast on the faces of the characters emphasize this contrast. All the symbolic elements hint the implied historical meaning of rebirth and shift — Venice is about to have a new transform by improving the development of terrestrial resources rather than the holdings on water. [5] [1] Salomon, Xavier. “Paolo Veronese (Paolo Caliari) (1528–1588).” metmuseum.org. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, November 2011. <a href="https://www.metmuseum.org/toah/hd/vero/hd_vero.htm">https://www.metmuseum.org/toah/hd/vero/hd_vero.htm</a> [2] Zamperini, Alessandra, and Grace Crerar-Bromelow. 2014. Paolo Veronese.Summary https://find.library.duke.edu/catalog/DUKE006038110 [3] “Second Floor.” Palazzo Ducale. Accessed September 16, 2020. https://palazzoducale.visitmuve.it/en/the-museum/layout-and-collections/institutional-chambers/second-floor/. [4] “Mars and Neptune by Paolo Veronese.” painting. Accessed September 16, 2020. <a href="https://painting-planet.com/mars-and-neptune-by-paolo-veronese/">https://painting-planet.com/mars-and-neptune-by-paolo-veronese/</a>. [5] Griffith, Elizabeth. “The Winged Lion of St. Mark: Logo of Venice, Inc.” European Business History Association 2005 Conference Frankfurt “Images of the Corporation,” September 1, 2005. Creator An entity primarily responsible for making the resource Paolo Caliari detto Veronese Publisher An entity responsible for making the resource available Image Source: Paolo Veronese, “Mars, Neptune and the Lion of Saint Mark,” Venetian Art, accessed September 16, 2020, http://library.bc.edu/venetianart/items/show/1829. Date A point or period of time associated with an event in the lifecycle of the resource 1575 - 1578 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Public domain image Format The file format, physical medium, or dimensions of the resource Oil on canvas; 252 x 180 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 Palazzo Ducale, Venice, Italy Source A related resource from which the described resource is derived Griffith, Elizabeth. “The Winged Lion of St. Mark: Logo of Venice, Inc.” European Business History Association 2005 Conference Frankfurt “Images of the Corporation,” September 1, 2005. “Mars and Neptune by Paolo Veronese.” painting. Accessed September 16, 2020. https://painting-planet.com/mars-and-neptune-by-paolo-veronese/. Mars and Neptune by VERONESE, Paolo. Accessed September 16, 2020. https://www.wga.hu/html_m/v/veronese/08/collegio/2ceilin3.html. Rearick, W. R. “Paolo Veronese's Earliest Works.” Artibus et Historiae 18, no. 35 (1997): 147. https://doi.org/10.2307/1483544. Salomon, Xavier. “Paolo Veronese (Paolo Caliari) (1528–1588).” metmuseum.org. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, November 2011. https://www.metmuseum.org/toah/hd/vero/hd_vero.htm. “Second Floor.” Palazzo Ducale. Accessed September 16, 2020. https://palazzoducale.visitmuve.it/en/the-museum/layout-and-collections/institutional-chambers/second-floor/. Image Source: Paolo Veronese, “Mars, Neptune and the Lion of Saint Mark,” Venetian Art, accessed September 16, 2020, http://library.bc.edu/venetianart/items/show/1829. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Portrait_of_Doge_Leonardo_Dona/Portrait_of_Doge_Leonardo.jpg bb903cc5c41fd01ee67bdfde542f038f 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/. Description An account of the resource The Portrait of Doge Leonardo Dona was painted by Giovanni Bellini in 1501-02. Its current location is in the National Gallery, London. The dimensions are sixty-one point six centimeters by forty-five point one centimeters. This was an oil on poplar panel painting. Initially this painting was located in Venice, Italy and was believed to be looted by Napoleon when he came through and took over the city. It was believed to be bought by William Thomas Beckford who then sold it to the National gallery. Ever since then it has remained at this location to date. The Portrait of Doge Leonardo Dona fell in line with the Venetian tradition of painting formal portraits. While these portraits would be painted the officials would be wearing their robes of state. Leonardo was the 75th Doge until he died in 1501. This was an elected position to have that was kept for life. In this Portrait of Doge Leonardo Dona, you see the aging effects on him immediately. You also see a lightly colored robe on him starting at his neck and going all the way down past his shoulders. You then look up and notice a gold headband that’s wrapped on top of a white cap. I believe it was significant for this portrait to be painted due to the significance he carried in the city of Venice. While he was there the city became a big financial center making it super wealthy. Overall I liked this painting and the features distributed in it. 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 September 16: Visual Analysis of work from Correr and Ducal Palace 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 Doge Leonardo Dona Creator An entity primarily responsible for making the resource Giovanni Bellini Date A point or period of time associated with an event in the lifecycle of the resource 1501-02 Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource oil in poplar panel 61.6 cm x 45.1 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 National Gallery, London Source A related resource from which the described resource is derived “‘Portrait of Doge Leonardo Loredan’ by Giovanni Bellini,” August 12, 2020. https://joyofmuseums.com/museums/united-kingdom-museums/london-museums/the-national-gallery-london/masterpieces-of-the-national-gallery/portrait-of-doge-leonardo-loredan-by-giovanni-bellini/. “Portrait of Doge Leonardo Loredan.” Accessed September 16, 2020. http://www.giovannibellini.org/portrait-of-doge-leonardo-loredan/. Bätschmann, Oskar (2008). Giovanni Bellini. London, England: Reaktion Books. ISBN 978-1-86189-357-4. Christiansen, Keith; Weppelmann, Stefan, eds. (2011). The Renaissance Portrait: From Donatello to Bellini. New York, New York: Metropolitan Museum of Art. ISBN 978-0-300-17591-2. Brown, David Alan; Ferino-Pagden, Sylvia (2006). Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting. New Haven, Connecticut: Yale University Press. ISBN 978-0-300-11677-9. Gasparotto, Davide (2017). Giovanni Bellini: Landscapes of Faith in Renaissance Venice. Los Angeles, California: J. Paul Getty Museum. ISBN 978-1-60606-531-0. Humfrey, Peter (1997). Painting in Renaissance Venice. New Haven, Connecticut: Yale University Press. ISBN 978-0-300-06715-6. Nichols, Tom (1997). Titian: And the End of the Venetian Renaissance. Islington, London: Reaktion Books. ISBN 978-1-78023-227-0. Description An account of the resource The Portrait of Doge Leonardo Dona was painted by Giovanni Bellini in 1501-02. Its current location is in the National Gallery, London. Initially, this painting was located in Venice, Italy, and was believed to be looted by Napoleon when he came through and took over the city. It was believed to be bought by William Thomas Beckford who then sold it to the National gallery. Ever since then it has remained at this location to date. The Portrait of Doge Leonardo Dona fell in line with the Venetian tradition of painting formal portraits. While these portraits would be painted the officials would be wearing their robes of state. Leonardo was the 75th Doge until he died in 1501. This was an elected position to have that was kept for life. In this Portrait of Doge Leonardo Dona, you see the aging effects on him immediately. You also see a lightly colored robe on him starting at his neck and going all the way down past his shoulders. You then look up and notice a gold headband that’s wrapped on top of a white cap. The colors used in the portrait hold a hidden meaning too. The bold use of gold and white represents wealth, prosperity, and goodness. The fine lines gave a formality effect on me as the viewer too. I believe it was significant for this portrait to be painted due to the significance he carried in the city of Venice. While he was there the city became a big financial center making it super-wealthy. The appearance that was given off by the Doge in this portrait showed he was the alpha in this society. Overall I liked this painting and the features distributed in it. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Saint_Christopher/SaintChristopherTitian.jpg 2e96803376753b4c7646cbb1ac361027 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 September 16: Visual Analysis of work from Correr and Ducal Palace 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 Christopher Description An account of the resource This piece was one of the few artworks to survive from the fires in the Ducal palace [1]. While in its current form the edges are slightly withered, the fresco remains largely intact. The image was originally commissioned by the Holy Church, and is now located adjacent to one of the staircases in the palace where it has remained on display [2]. The central figure of the image is Saint Christopher, and on his shoulders rests a depiction of Christ as a child. This imagery alludes not only to Christopher's mission to serve Christ for all his time and advance the faith but also as a comparison to Venice’s protection of its people [3]. It establishes a sense of power that Venice can fend off any intruders. Saint Christopher has strong and well defined legs. His calves and arms are linear and his muscles bulge out of his skin. A red piece of clothing hands loosely from his body and is painted with movement from the wind. Only three fourths of his face is fully visible but he is looking directly at the child on his shoulders with an expression of concern. While Saint Christopher’s lower body is very dark, his facial area as well as Christ have a very light skin tone, drawing the attention of the viewer. In the background on the bottom left the viewer can see an outline of the city of Venice, most notably the clock tower at the piazza San Marco standing tall. The bottom right of the image contains a mountainous landscape which mimics the mainland region surrounding Venice. Lastly, Saint Christopher is drastically out of proportion, appearing several factors larger than the buildings and mountains in the background. This partially removes his humanity and positions him as part of the divine. [1] “Saint Christopher,” Titian, Titian.net, accessed September 15, 2020, http://www.titian.net/saint-christopher/. [2] “SPECIAL ITINERARIES: The Doge's Hidden Treasures,” Palazzo Ducale, Fondazione Musei Civici di Venezia, accessed September 15, 2020, https://palazzoducale.visitmuve.it/en/the-museum/layout-and-collections/the-doges-hidden-treasures-itinerary/. [3] “Saint Christopher Painting by Tiziano Vecellio (Titian): Painting Analysis,” 1st Art Gallery, 1st-Art-Gallery.com, accessed September 15, 2020, https://www.1st-art-gallery.com/Tiziano-Vecellio-Titian/Saint-Christopher.html. Creator An entity primarily responsible for making the resource Tiziano Vecelli (Titian) Source A related resource from which the described resource is derived “Saint Christopher Painting by Tiziano Vecellio (Titian): Painting Analysis.” 1st Art Gallery. 1st-Art-Gallery.com. Accessed September 15, 2020. https://www.1st-art-gallery.com/Tiziano-Vecellio-Titian/Saint-Christopher.html. “Saint Christopher.” Titian. Titian.net. Accessed September 15, 2020. http://www.titian.net/saint-christopher/. “SPECIAL ITINERARIES: The Doge's Hidden Treasures.” Palazzo Ducale. Fondazione Musei Civici di Venezia. Accessed September 15, 2020. https://palazzoducale.visitmuve.it/en/the-museum/layout-and-collections/the-doges-hidden-treasures-itinerary/. “St. Christopher - Tiziano Vecellio.” Google Arts & Culture. Google Arts & Culture. Accessed September 15, 2020. https://artsandculture.google.com/asset/st-christopher/VAGqjshVAC1lhw?hl=en. Image Source: “Saint Christopher.” Web Gallery of Art. Web Gallery of Art, n.d. Palazzo Ducale. Palazzo Ducale. https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html. Publisher An entity responsible for making the resource available Commissioned by the Holy Church Vecelli, Tiziano. Image Source: “Saint Christopher.” Web Gallery of Art. Web Gallery of Art, n.d. Palazzo Ducale. Palazzo Ducale. https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html. Date A point or period of time associated with an event in the lifecycle of the resource 1524 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource Image Source: “Saint Christopher.” Web Gallery of Art. Web Gallery of Art, n.d. Palazzo Ducale. Palazzo Ducale. https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html. Format The file format, physical medium, or dimensions of the resource Fresco, 310.0 x 186.0 cm Type The nature or genre of the resource Painting (Fresco) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Venice_Enthroned_with_Justice_Peace_amp_the_Lion_of_St._Mark/HUCB_SHARE_109913108135.jpg 6d2d67cffec55a5a091696583f2f08fb https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Venice_Enthroned_with_Justice_Peace_amp_the_Lion_of_St._Mark/0bb903a7aacd4d52e65b08fa283eb8e9.jpg 1198f545bcf11960b3d1a60877043adc 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 September 16: Visual Analysis of work from Correr and Ducal Palace 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/public/HUCB_SHARE_109913108135">Venice Enthroned with Justice, Peace & the Lion of St. Mark</a> Description An account of the resource The name of this painting is called Venice Enthroned with Justice, Peace & the Lion of St. Mark. It was painted by Paolo Veronese from 1575-1576 and is painted on the ceiling of the Sala del Collegio. It is categorized under a collection with works of Veronese himself and Jacopo Tintoretto. Veronese was born in Verona to a stonecutter and an illegitimate daughter of a nobleman. He moved to Venice in the 1550s and stayed there ever since. He studied under Antonio Badile from about 1518 to 1560 and ended up marrying his daughter in 1566. Veronese worked for patrons, either religious and or secular, in Venice and the Veneto for most of his career. Some of his most famous works include the ceiling and wall painting for the library of S. Marco (1556-7), the Ducal Palace (early 1550s, 1575-82) and the full-scale decoration of the Venetian church of S. Sebastiano (1555-around 1570). This painting provides the scene of Venice being enthroned with Justice, Peace and the Lion of Saint Mark. The angle of this painting is to get a whole view facing from the ground up of this important event. Venice is wearing a gorgeous gown with a golden patterned scheme on a white dress. She is sitting on her throne which has a luxurious, royal look to it. You see the red velvet lining in the chair that happens to look like what a king would wear. Her head is covered by a piece constructed into the chair to give her some shade and she watches what is happening below her. She looks determined yet happy at the same time. Below her are Peace and Justice, two important figures in the Venetian culture. They have been mentioned several times throughout the lectures and various Zoom classes we have had. Justice is holding a sword in her right arm which is representing power, strength and stability. Peace has a set of olive branches in her left arm which represents peace, freedom and victory. The Lion of Saint Mark is under Venice, painted dark and hidden to the human eye. I really had to squint to see him under Venice. The lion appears to be uncomfortable and just being told to sit quietly under the throne of Venice [1]. The background of this painting is a cloudy blue sky with the sun reflecting on Venice, Justice and Peace. Shade is covering up Venice because of the throne above her. It is significant because Justice and Peace, two very powerful spirits in the history of the Venetians, are enthroning Venice and they are providing her with protection, stability, peace and freedom. They also represent what Venice is made of, stability, power, and freedom. When viewing this painting in person, you would have to look up at the ceiling because it is placed on the ceiling. [1] Griffith, Elizabeth. “The Winged Lion of St. Mark: Logo of Venice, Inc.,” 2005: 13. <a href="https://ebha.org/ebha2005/pdf%20papers/Griffith%20FINAL.pdf.">https://ebha.org/ebha2005/pdf%20papers/Griffith%20FINAL.pdf.</a> Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Griffith, Elizabeth. “The Winged Lion of St. Mark: Logo of Venice, Inc.,” 2005: 13. <a href="https://ebha.org/ebha2005/pdf%20papers/Griffith%20FINAL.pdf.">https://ebha.org/ebha2005/pdf%20papers/Griffith%20FINAL.pdf.</a> Krén, Emil, and Daniel Marx. “Venetia between Justitia and Pax.” Venetia between Justitia and Pax by VERONESE, Paolo, 1996. <a href="https://www.wga.hu/html_m/v/veronese/08/collegio/2ceilin2.html.">https://www.wga.hu/html_m/v/veronese/08/collegio/2ceilin2.html.</a> “Paolo Veronese.” The National Gallery, 2016. <a href="https://www.nationalgallery.org.uk/artists/paolo-veronese">https://www.nationalgallery.org.uk/artists/paolo-veronese</a>. Paolo Veronese, “Venice Enthroned with Justice, Peace, and the Lion of Saint Mark,” Venetian Art, accessed September 15, 2020, <a href="http://library.bc.edu/venetianart/items/show/1819">http://library.bc.edu/venetianart/items/show/1819</a>. Rearick, W. R. "Paolo Veronese's Earliest Works." Artibus Et Historiae 18, no. 35 (1997): 147-59. Veronese, Paolo. 1575-1578. Ceiling of the Sala del Collegio, Venice Enthroned w/Justice, Peace & the Lion of St. Mark. painting. Place: Palazzo Ducale Venice, Italy. <a href="https://library.artstor.org/asset/HUCB_SHARE_109913108135">https://library.artstor.org/asset/HUCB_SHARE_109913108135</a>.<a href="https://library.artstor.org/asset/HUCB_SHARE_109913108135."></a> Veronese, 1528-1588. 16th C. Venice Ruling with Justice and Peace. Place: Palazzo ducale (Venice, Italy). <a href="Veronese,%201528-1588.%2016th%20C.%20Venice%20Ruling%20with%20Justice%20and%20Peace.%20Place%3A%20Palazzo%20ducale%20(Venice,%20Italy).%20https%3A//library.artstor.org/asset/ARTSTOR_103_41822000920403.">https://library.artstor.org/asset/ARTSTOR_103_41822000920403</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1575-1576 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource © Loren Partridge Image Rights: Veronese, Paolo. 1575-1578. Ceiling of the Sala del Collegio, Venice Enthroned w/Justice, Peace & the Lion of St. Mark. painting. Place: Palazzo Ducale Venice, Italy. <a href="https://library.artstor.org/asset/HUCB_SHARE_109913108135">https://library.artstor.org/asset/HUCB_SHARE_109913108135</a>. Format The file format, physical medium, or dimensions of the resource Oil on canvas; 250 x 180 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 Palazzo Ducale, Venice, Italy Publisher An entity responsible for making the resource available Publisher: University of California, San Diego ; UC Berkeley Image Rights: Veronese, Paolo. 1575-1578. Ceiling of the Sala del Collegio, Venice Enthroned w/Justice, Peace & the Lion of St. Mark. painting. Place: Palazzo Ducale Venice, Italy. <a href="https://library.artstor.org/asset/HUCB_SHARE_109913108135">https://library.artstor.org/asset/HUCB_SHARE_109913108135</a>. <a href="Veronese,%20Paolo%20(Italian%20painter%20and%20draftsman,%201528-1588)%20painters%20(artists).%201575-1578%20(creation).%20Ceiling%20of%20the%20Sala%20del%20Collegio,%20View%3A%20full,%20Venice%20Enthroned%20w/Justice,%20Peace%20&%20the%20Lion%20of%20St.%20Mark.%20paintings%20(visual%20works).%20Place:%20Palazzo%20Ducale%20(Venice,%20Italy)Venice,%20Venezia,%20Veneto,%20Italy.%20https://library.artstor.org/asset/HUCB_SHARE_109913108135."></a> https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Madonna_and_Child_[Madonna_col_Bambino]/AKRESS_10312336627.jpg d2b04a894b35a6fcaac57b5777d99e94 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 September 16: Visual Analysis of work from Correr and Ducal Palace Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Madonna and Child (Madonna col Bambino) Creator An entity primarily responsible for making the resource Bartolomeo Vivarini Source A related resource from which the described resource is derived Scholarly Article: Borenius, Tancred. "Three Paintings by Bartolomeo Vivarini." The Burlington Magazine for Connoisseurs 19, no. 100 (1911): 192-98. Accessed September 15, 2020. http://www.jstor.org/stable/858767. Publisher An entity responsible for making the resource available Image and original data provided by the Samuel H. Kress Foundation: http://www.kressfoundation.org/ Iconographical subjects provided by the J. Paul Getty Trust's Provenance Index Database: http://www.getty.edu/research/conducting_research/provenance_index Date A point or period of time associated with an event in the lifecycle of the resource Mid 15th Century (1465–1470) Contributor An entity responsible for making contributions to the resource Jared Kreis Rights Information about rights held in and over the resource Bartolomeo Vivarini (Bartolomeo da Murano), Italian, c. 1432-1499. c. 1475. Madonna and Child. Painting. Place: Seattle Art Museum, Seattle, WA. https://library.artstor.org/asset/AKRESS_10312336627. Format The file format, physical medium, or dimensions of the resource 50.2 x 41.9 centimeters Type The nature or genre of the resource Egg tempera on wood panel. Also uses gold leaf. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Seattle Art Museum, Seattle, WA Description An account of the resource Bartolomeo Vivarini was born in 1432 in Venice and was an avid painter for nearly 50 years. One of his most prominent paintings, Madonna and Child, is shown here. It was apart of our virtual tour of the Correr Museum. This painting represents the current trends in Venice during the period. In Florence we are familiar with the competitive, individualistic painting styles. This painting, however, demonstrated the family workshop dynamic of the Vivarini’s in Venice. The painting is clearly religious in nature due to the portrayal of baby Jesus enthroned. The background of the painting is gold leaf, which is very Byzantine in nature. The use of the stippling with the halos above Jesus and Madonna gives this painting more pop by adding a 3D effect. I also find the red and black colors schemes very interesting. Typically red represents war, power, bloodshed, etc and the color black usually refers to death and trauma. It is interesting to see these colors merged, especially with such religious figures such as Madonna and child, which makes me curious if Vivarini for potentially alluding to some sort of religious conflict or violence, Additionally, Jesus has a Contrapposto stance, which is typically reserved for leaders, especially those addressing their troops during battle. This may serve as a representation for how much power the Venetian people put into religion. Overall, Bartolomeo succeeded in infusing into the picture a tender and reposeful sentiment which gives it great charm; and in its beautiful old frame it has something of the effect of a stained glass in a Gothic cathedral. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace/Portrait_of_Doge_Mocenigo/SCALA_ARCHIVES_1039778348.jpg 5b21fa0c6feabf17e931bf9fe8ef8175 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 September 16: Visual Analysis of work from Correr and Ducal Palace 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 Doge Mocenigo Creator An entity primarily responsible for making the resource Gentile Bellini Source A related resource from which the described resource is derived Giovanni Bellini and Gentile Bellini. Portrait of Doge Mocenigo. painting. Place: Museo Correr. https://library.artstor.org/asset/SCALA_ARCHIVES_1039778348. Plaut, James S. "An Unknown Portrait of a Doge by Gentile Bellini." The Burlington Magazine for Connoisseurs 70, no. 409 (1937): 155-57. Accessed September 15, 2020. http://www.jstor.org/stable/866746. Carboni, Stefano. 2007. Venice And The Islamic World. New York: Metropolitan Museum of Art. Pignatti, Terisio. "A Rediscovered Portrait by Gentile Bellini." The Burlington Magazine 95, no. 600 (1953): 93-95. Accessed September 16, 2020. http://www.jstor.org/stable/871019. Publisher An entity responsible for making the resource available SCALA, Florence/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource 1478-1479 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 tempera painting, 63 x 46 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 Museo Correr, Italian and other European Art, Venice. Italy Description An account of the resource This tempera painting was created as one of Gentile Bellini’s many portraits throughout his lifetime. Bellini, a reputable artist even in his early career, became known for his portraiture skills, and this painting can be considered a masterful example of his signature style. According to Terisio Pignatti, this is an early, unfinished work of Bellini’s, likely a private commission from the doge that was cut short by a visit to Constantinople due to the commonality of the cloak worn by the doge and the bare background and lack of defined details in his clothing. Many scholars had attributed the work to Giovanni Bellini; however, once cleaned, the painting showed the world-renowned human characterization and formal qualities of Gentile Bellini. Bellini expertly used the glaze and paint to carve out key aspects of the unerring, quiet, and powerful nature of the Doge, from his angular profile to his clear gaze. This painting also allows us to see how Bellini’s trip to Constantinople to profile the Sultan influenced his painting styles through comparison of the two, painted just one or two years after the portrait of the Doge. According to Stefano Carboni, in the painting of Mocenigo, Bellini employs the more impersonal profile view, while with the Sultan he used the three-quarters view, hinting at Bellini’s later usage of the full frontal view, the most intimate view of all. In addition, Mocenigo’s painting utilized a neutral background, shifting the focus onto the Doge and his character, whereas Mehmet II’s portrait showcases his status and military accomplishments in the background. Both of these key differences seem to showcase the effect his visit to Constantinople had on him. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Procession_in_St._Mark_s_Square/Procession_in_Piazza_San_Marco.jpg 0b9548841362dd363869f786b3d8694d 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 September 16: Visual Analysis of work from Correr and Ducal Palace 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 Procession in St. Mark's Square Description An account of the resource Gentile Bellini painted the famous painting, Procession in Piazza San Marco. Gentile was born in a well-known family for art in Venice. His father was a painter, both he and his bother was inspired and took lesson under his father, Jacopo Bellini. [1] Gentile's painting mainly focused on possessions and scenes of daily life. He is also known for the Doges' official portrait artist and produced some of the most quality arts. Unfortunately, the fire that destroyed the Doge's Palace took away many of his works. [1] Although the name of this painting is called " The Procession of St. Marks,", the artwork draws most of our attention to the various details throughout the painting. When we first look at the painting, we will notice the crowds on the reddish bricks. The massive details the Bellini gives each person is incredible, from each person's articles of clothing to their body gesture. Almost every person he painted is unique to themselves. He focused on not only the people but also the buildings. The building that would first come to our eyes is the St. Marks Basilica. Under Bellini's brush stoke, he clearly presented every tile and marble to our eyes and how the sunlight reflects, especially on the green dome. Bellini further enhances the three-dimensional perspective by emphasizing the structure and alignment of the buildings to achieve a realistic effect and capture the moment in time back in the Renaissance age. [1] Kuiper, Kathleen. The 100 Most Influential Painters & Sculptors of the Renaissance. Britannica Educational Publishing, 2010. Creator An entity primarily responsible for making the resource Gentile Bellini Source A related resource from which the described resource is derived Rodini, E. (1998), Describing Narrative in Gentile Bellini’s Procession in Piazza San Marco. Art History, 21: 26-44. doi:10.1111/1467-8365.00091 COLE, ALPHAEUS P. "DEVELOPMENT OF REALISM IN VENETIAN ART." The American Magazine of Art 20, no. 10 (1929): 571-83. http://www.jstor.org/stable/23931226. Oonops. “Mheu, Historical Museum of the Urban Environment.” Procession of the True Cross Piazza San Marco, Venice | Musée historique de l'environnement urbain", 2009. Accessed September 12, 2020. http://www.mheu.org/en/timeline/procession-cross-piazza-san-marco.htm. Kren, Emil, and Daniel Marx. “Procession in Piazza San Marco.” Procession in Piazza San Marco by BELLINI, Gentile, 2007. Accessed September 12, 2020. https://www.wga.hu/html_m/b/bellini/gentile/miracl1.html. Kuiper, Kathleen. The 100 Most Influential Painters & Sculptors of the Renaissance. Britannica Educational Publishing, 2010. Publisher An entity responsible for making the resource available Created by Emil Krén and Daniel Marx Date A point or period of time associated with an event in the lifecycle of the resource 1496 Contributor An entity responsible for making contributions to the resource Emily Song Rights Information about rights held in and over the resource © Web Gallery of Art, use for educational purpose only Format The file format, physical medium, or dimensions of the resource Tempera and oil on canvas, 367 x 745 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 Gallerie dell'Accademia, Venice https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace/Venice_Enthroned_with_Justice_and_Peace/2ceilin2.jpg 51aee900263e72216101a2ababed9c30 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 September 16: Visual Analysis of work from Correr and Ducal Palace 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 Venice Enthroned with Justice and Peace Description An account of the resource The painting Venice Enthroned with Justice and Peace is located on one of the ceilings of the Sala del Collegio in Doge Palace. As a result, you would be looking up towards this painting rather than straight ahead at it. The image consists of Venice being enthroned, and dressed in extremely fancy and sophisticated clothing. She is represented by a prominent female figure, as that is how many artists during this time represented her in paintings. She is looking down below with two different female figures in between her that represent Justice and Peace, two of the most important systems of beliefs that were present in Venice. Justice is the figure on the left and she holds a sword at her hand representing strength and virtue while Peace is on the right hand side of the image holding onto an olive branch, which is a symbol for peace and victory. Below these two figures there is also a lion in the dark, which could represent the fact that Justice and Peace are overpowering strength and courage, as the angel figures are what is most important in the city of Venice. Finally, Justice also holds onto a scale, which symbolizes the idea of balance and equality that the city of Venice stands for. This is one of many ceiling paintings, and it is significant for building up a message that is then reflected on the main wall of the palace to celebrate Doge Venier. The Doge Palace incorporated multiple ceiling paintings as a complement to the rest of the artwork. However, while this is a ceiling painting, it is extremely significant for representing the values and beliefs of the Republic of Venice. It was clearly a very fair and just time period, and the political allegory that is shown by this painting is a perfect representation of that. Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Veronese, Paolo (Italian painter and draftsman, 1528-1588) painters (artists). 1575-1578 (creation). Ceiling of the Sala del Collegio, View: full, Venice Enthroned w/Justice, Peace & the Lion of St. Mark. paintings (visual works). Place: Palazzo Ducale (Venice, Italy)Venice, Venezia, Veneto, Italy. https://library.artstor.org/asset/HUCB_SHARE_109913108135. Paolo Veronese, “Venice Enthroned with Justice, Peace, and the Lion of Saint Mark,” Venetian Art, accessed September 14, 2020, http://library.bc.edu/venetianart/items/show/1819. Veronese, Paolo. “Venetia between Justitia and Pax.” Accessed September 14, 2020. https://www.wga.hu/html_m/v/veronese/08/collegio/2ceilin2.html. Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online. 2003; Accessed 14 Sep. 2020. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. Publisher An entity responsible for making the resource available Signoria of Venice Date A point or period of time associated with an event in the lifecycle of the resource 1575-1578 Contributor An entity responsible for making contributions to the resource Rafael Salazar-Paranhos Rights Information about rights held in and over the resource © Loren Partridge Format The file format, physical medium, or dimensions of the resource Oil on canvas, 252 x 180 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 Palazzo Ducale (Venice, Italy)