1 10 19 https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Feast_of_the_Gods/ANGAIG_10313966996.jpg 027a6e11b5009c89991d0b0f3546c1f9 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 23: National Gallery of Art (Visual Analysis) 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 of Art, Washington, DC 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 Feast of the Gods Description An account of the resource This work was originally created by Giovanni Bellini, but had later additions by Titian, and the Duke of Ferrara's artist Dosso Dossi [1]. Bellini was one of the great painters of the 15th century, and this was his last large painting. This painting's subject is slightly ambiguous, as not all of the figures depicted may be fully identified [2]. There are 17 different gods and goddesses shown, with Bacchus seen on the left with his barrel of wine and Jupiter with his eagle in the center. This painting does have a mythological subject, which was more unusual for Bellini. During his career, he mostly created religious works and portraits [1], while paintings with a mythological subject matter were more common for Titian, an apprentice of Bellini. Bellini finished his part of this work in 1514, but two years after his death Titian seems to have painted over parts of the painting. The figures are mostly the same, but the background was repainted by Dossi before being painted again by Titian [3]. Both Bellini and Titian were famous for the use of color in their paintings, and this one is no exception. Lots of the figures in the painting are clothed in rich and bright colors. The colors in the sky and trees are much darker, putting the focus on the figures and creating contrast. There is some debate that this work may be in reference to the Duke of Ferrara’s wedding or the months of the year [2], but I believe it could also just be the depiction of a mythological scene on its own, as we have seen with many other works such as Bacchus and Ariadne. However, one of the figures does hold a quince, which is a symbol of marriage, [2] so this could also be a plausible subject. Bellini and Titian were two great artists of their respective centuries, with Bellini celebrated more in the 15th centure and Titian in the 16th. This collaboration shows elements they shared, mostly seen in the incredible use of color that both artists are known for. [1] “National Gallery of Art Bellini, Titian, The Feast of the Gods, 1514/1529.” Bellini, Titian, The Feast of the Gods, 1514/1529. Accessed October 28, 2020. https://www.nga.gov/collection/highlights/bellini-titian-the-feast-of-the-gods.html. [2] Nalezyty, Susan. “Giovanni Bellini and Titian, The Feast of the Gods (Article).” Khan Academy. Khan Academy. Accessed October 28, 2020. https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/venice-early-ren/a/bellini-titian-feast-of-the-gods. [3] Colantuono, Anthony. "Dies Alcyoniae: The Invention of Bellini's Feast of the Gods." The Art Bulletin 73, no. 2 (1991): 237-56. Accessed October 28, 2020. doi:10.2307/3045792. Creator An entity primarily responsible for making the resource Bellini, with additions by Titian and Dossi Source A related resource from which the described resource is derived “National Gallery of Art Bellini, Titian, The Feast of the Gods, 1514/1529.” Bellini, Titian, The Feast of the Gods, 1514/1529. Accessed October 28, 2020. https://www.nga.gov/collection/highlights/bellini-titian-the-feast-of-the-gods.html. Nalezyty, Susan. “Giovanni Bellini and Titian, The Feast of the Gods (Article).” Khan Academy. Khan Academy. Accessed October 28, 2020. https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/venice-early-ren/a/bellini-titian-feast-of-the-gods. Colantuono, Anthony. "Dies Alcyoniae: The Invention of Bellini's Feast of the Gods." The Art Bulletin 73, no. 2 (1991): 237-56. Accessed October 28, 2020. doi:10.2307/3045792. Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. https://library-artstor-org.proxy.lib.duke.edu/asset/ANGAIG_10313966996. Publisher An entity responsible for making the resource available Duke of Ferrara Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. https://library-artstor-org.proxy.lib.duke.edu/asset/ANGAIG_10313966996. Date A point or period of time associated with an event in the lifecycle of the resource 1514/1529 Contributor An entity responsible for making contributions to the resource Jacey Curd Rights Information about rights held in and over the resource Image: Courtesy of National Gallery of Art, Washington Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 170.2 x 188 cm Type The nature or genre of the resource Oil on Canvas Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington D.C., United States of America https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_John_the_Evangelist_on_Patmos/ANGA_KRESSIG_10312335784.jpg a62a9f794bb1ed37c32e74acdf8ae709 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 23: National Gallery of Art (Visual Analysis) 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 of Art, Washington, DC 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 John the Evangelist on Patmos Description An account of the resource In this painting, we see Saint John the Evangelist on the island of Patmos reacting to the vision and voice of God. Titian highlights the heavenly calling in multiple ways. First, with regards to the composition of the image, although Saint John is the biggest and the central figure in the painting, his stance and gaze draws the viewer’s attention to the Lord up above. Second, the angels are also pointing towards God, making all of the figures give the audience a path for their eyes to move. Thirdly, the lighting around God is very bright and heavenly, which contrasts with the darker tones of the sky and his robe, which makes it easier for the audience to focus on the lord. In addition, the clouds around God are much more textured than the other clouds, which creates yet another contrast that places the viewer’s eye on Him. Finally, God’s gaze is looking down towards the viewer and Saint John, which creates a connection between the audience and God. Now, the question becomes why would Titian want to focus on God? This painting was the central element of the the Scuola di San Giovanni Evangelista, one of the four original scuole grandi, which was dedicated to Saint John the Evangelist, explaining why this painting was created. This painting was featured in a room a prestigious relic, a fragment of the True Cross, which could perform miracles [1]. Thus, Titian would want to focus on God’s role in Saint John’s vision because the whole room was centered around God’s miracles. In addition, this painting was created right around the time of the Council of Trent, which embodied the Counter-Reformation, as the religious figures in power attempted to grapple with the Protestant Reformation and the Renaissance and its effects on religion. One of the key issues the Council was struggling with was the Renaissance idea of individual human connection with religion; Titian, by focusing on God as it looks down, creates a connection between God and the viewer, making the viewing experience more personal and less about a far-removed Biblical scene. In addition, the placement of the painting influenced Titian’s painting style. This was a ceiling painting, which not only further draws the viewer’s attention to God but also creates distance between the viewer and the painting. This distance freed Titian to create the painting with broad, loose brushstrokes, giving him more freedom to manipulate the painting and its notions of space [2]. In addition, because of the ceiling placement of the painting, Titian also employs a dal sotto in su perspective, foreshortening John’s figure. This perspective combined with his contrapposto stance and the composition of the image, created drama and tension, making the viewer focus even more on this central panel [3]. In addition, by thinking about the viewer’s experience, Titian demonstrates once again the idea that the viewer’s perspective is important in the consumption of religious artwork. [1] Peter Humfrey, “Titian, Italian 16th Century/Saint John the Evangelist on Patmos/c. 1553/1555,” in Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/43725 (accessed October 27, 2020). [2] Robert Echols, "Titian's Venetian Soffitti: Sources and Transformations," in Studies in the History of Art 45 (Washington D.C.: National Gallery of Art, 1993), 28-49. [3] Loren Partridge, Art of Renaissance Venice, 1400 1600 (United States: University of California Press, 2015), 171. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian, Venetian. c. 1547. Saint John the Evangelist on Patmos. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335784 Humfrey, Peter. “Titian, Italian 16th Century/Saint John the Evangelist on Patmos/c. 1553/1555,” Italian Paintings of the Sixteenth Century. NGA Online Editions. https://purl.org/nga/collection/artobject/43725 (accessed October 27, 2020). Partridge, Loren. Art of Renaissance Venice, 1400 1600. United States: University of California Press, 2015. 171. Echols, Robert. "Titian's Venetian Soffitti: Sources and Transformations." Studies in the History of Art 45 (1993): 28-49. Accessed October 27, 2020. http://www.jstor.org/stable/42621876. Publisher An entity responsible for making the resource available Artstor. Titian, Venetian. c. 1547. Saint John the Evangelist on Patmos. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335784 Date A point or period of time associated with an event in the lifecycle of the resource 1547 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource Oil on canvas, 237.6 x 263 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 of Art, Washington D.C., United States of America https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_Jerome_Reading/saint_jerome_reading_1939.1.217.jpg 2da6b65e412bb98fe8fc00ba6b177c56 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 23: National Gallery of Art (Visual Analysis) 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 of Art, Washington, DC 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 Jerome Reading Creator An entity primarily responsible for making the resource Giovanni Bellini Publisher An entity responsible for making the resource available Giovanni Bellini, Venetian. 1505. Saint Jerome Reading. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. Date A point or period of time associated with an event in the lifecycle of the resource 1505 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. Format The file format, physical medium, or dimensions of the resource Oil on Panel, 47 cm x 37.5 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 National Gallery of Art, Washington D.C, USA Description An account of the resource Giovanni Bellini was an Italian painter born in 1430 whose art represented stylistic innovations and concerns going on during the Renaissance [1]. He is known as one of the most influential Venetian paintings and through his career, there was an evolution in his art from purely religious works to works that had emphasis on landscape and naturalism [1]. A prime example of this evolution is seen in his painting called Saint Jerome Reading. In the painting, Saint Jerome can be seen in the bottom right corner secluded in nature reading some type of religious text. It is evident by his wrinkles and gray hair that the Saint is very old, which depicts his imminent wisdom. The Saint is placed in the corner to put more of an emphasis on the landscape and nature that surrounds him. Two bunnies can be seen playing below the skyline and a lion can even be seen at the heels of the Saint’s feet. Bellini can be seen putting emphasis on nature and the environment by making the Saint small and putting him in the corner of the painting. In the background, Bellini’s depicts a serene ocean with the architecture “floating” on the water, which depicts his incorporation of the magnificent aspects of the city of Venice [2]. In the foreground, the Saint is surrounded by what looks like many natural landmarks that are very detailed and chiseled to once again show the beauty of nature. The contrast in colors in both the background and foreground shows Bellini’s emphasis on his subject, but also shows the importance he puts on nature and landscape. Bellini’s places the Saint in this peaceful atmosphere to illustrate his seclusion and devotion to his religious studies [2]. Bellini painted many works portraying Saint Jerome, which each progressed over time [3]. A common theme was placing importance on the nature and surroundings around the Saint. This painting, in particular, portrayed Saint Jerome as a holy, religious man studying in the open, beautiful nature of Venice. [1] Hendy, Phillip, “Giovanni Bellini,” Encyclopedia Britannica, 1, 2 [2] Betling, Hans, "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life," 6-8 [3] Mariolina Olivari, “Giovanni Bellini,” Pittori del Rinacscimento, 1 Source A related resource from which the described resource is derived Hendy, Philip. “Giovanni Bellini.” Encyclopædia Britannica. Encyclopædia Britannica, inc., January 29, 2020. https://www.britannica.com/biography/Giovanni-Bellini-Italian-painter. Belting, Hans. "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life." I Tatti Studies in the Italian Renaissance 17, no. 1 (2014): 5-33. Accessed October 27, 2020. doi:10.1086/676482. Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007. Giovanni Bellini, Venetian. 1505. Saint Jerome Reading. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335544. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_Jerome_Reading/ANGA_KRESSIG_10312335544.jpg 5d82e5371847aa6e97b8ba4b8ba3cd59 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 23: National Gallery of Art (Visual Analysis) 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 of Art, Washington, DC 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 Jerome Reading Subject The topic of the resource Saint Jerome Reading is one of four paintings depicting a canonical character being transformed by Giovanni Bellini.[3] In this painting Belini experimented with background colors which changed not just Venetian art, but European Art. The painting focuses on Saint Jerome or Jerome of Stridon who was a Latin priest, confessor, theologian, and historian. He his best known for his translation of most of the bible in the Latin vulgate. Description An account of the resource The first thing that a viewer would notice about this painting is the robust amount of earthy tones in every part of the painting, apart from the crystal blue sky and snow white rabbit. Bellini's depiction of this saint is not focused on him but rather multiple items. Since there is not a central focus in the painting your eyes are drawn to three different sections of the painting. In the top left quarter you will see two rabbits on the browned grass along with a medium blue sea surrounding a city and ruins. The ruins and the city shows the Catholic belief that one day man and everything we have made will one day return to Earth. On the right half there is an extremely detailed interior of a stone cave on the top half of the painting that clearly shows the lighting difference in the cave with the difference in the color of the rocks near the cave entrance. Saint Jerome is sitting on a rock in the bottom half reading a book while sitting on a rock with a chamber of the cave sitting behind him. Saint Jerome is depicted in a very scholarly stance due to the education that he received over his whole life. He is also shown alone which makes him seem as though he is more connected to the natural world and in a tranquil state.[2] In front of the saint is a small stone, pool like structure. Once all the aspects of the painting are taken in Bellini's use of religious themes in the painting is very clear. Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived 1) Freedman, Luba. "Apelles, Giovanni Bellini, and Michelangelo in Titian's Life and Art." Artibus Et Historiae 34, no. 67 (2013): 251-73. Accessed September 23, 2020. http://www.jstor.org/stable/23510254. 2) Belting, Hans. "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life." I Tatti Studies in the Italian Renaissance 17, no. 1 (2014): 5-33. Accessed September 23, 2020. doi:10.1086/676482. 3) Christiansen, Keith. 2013. "Bellini and the Meditational Poesia." Artibus Et Historiae (67): 9-20,311. https://login.proxy.lib.duke.edu/login?url=https://www-proquest-com.proxy.lib.duke.edu/docview/1373206452?accountid=10598. 4) Giovanni Bellini, Venetian. 1505. Saint Jerome Reading. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335544. Publisher An entity responsible for making the resource available Bellini, Giovanni; Venetian; Saint Jerome Reading; 1505; The National Gallery of Art;Washington, D.C; Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335544. Date A point or period of time associated with an event in the lifecycle of the resource 1505 Contributor An entity responsible for making contributions to the resource Darien Sansosti Rights Information about rights held in and over the resource National Gallery of Art Samuel H. Kress Collection Image Source: Artstor Format The file format, physical medium, or dimensions of the resource painted surface: 47 x 37.5 cm (18 1/2 x 14 3/4 in.) support: 48.9 x 39.5 cm (19 1/4 x 15 9/16 in.) framed: 62.9 x 52.9 x 6 cm (24 3/4 x 20 13/16 x 2 3/8 in.) Type The nature or genre of the resource Oil painting on 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 The National Gallery of Art (Washington, D.C.) Samuel H. Kress Collection https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/The_Conversion_of_Saint_Paul/jacopo-tintoretto-the-conversion-of-saint-paul-ca-1545.jpg 24a6862f5851d33d66b805be42ba870d 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 23: National Gallery of Art (Visual Analysis) 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 of Art, Washington, DC 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 The Conversion of Saint Paul Creator An entity primarily responsible for making the resource Jacopo Tintoretto Publisher An entity responsible for making the resource available Courtesy National Gallery of Art, Washington Image Source: NGA Online Editions, September 2020. https://www.nga.gov/collection/art-object-page.46142.html Date A point or period of time associated with an event in the lifecycle of the resource 1590-1595 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 Source: NGA Online Editions, September 2020. https://www.nga.gov/collection/art-object-page.46142.html Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 152.4 × 236.2 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 Courtesy National Gallery of Art, Washington, USA Description An account of the resource Jacopo Tintoretto is an important leading figure of the Venetian School and the Mannerist style. He studied at Italian painter Titian's studio and had greatly influenced by Titan's use of color.[1] The painting embodied his expressive dramatic depiction of stories and his distinctive narrative techniques. The scene takes place among the scenic mountains, surrounded by blue and dark green hills and skies crossing the canvas in the background. A huge mess and chaos strike the viewer's eyes. The artist recorded a scene where soldiers fell from a horse and trampled under a horse's hoof. Those soldiers in the crowd wearing shiny silver helmets and pink armor are scattered over the canvas, adding to the cruelty and drama of the scene.[2] The concept of this equestrian part also refers to Titan’s war scene shown in the Dual Palace and the painter Pordenone’s artistic ideas.[3] The water in the scene on the right is full of people struggling and fleeing. The white waves with the edge of foams and the victims' distorted facial expressions reflected the severity of this mythological disaster. In the distant view, the bodies of people fell from the mountain, some were still clung to the backs of horses, some were almost naked with their limbs stretched out, while others were scattered on the ground. At the front of the picture is the protagonist Saul. He lies down with his arms open and looks at the upper left corner of the picture with a surprised expression. Jesus appears in the sky and clouds. The position of his protagonist is clearly depicted with the artist's delicate composition skills. To his left and right are people and horses fleeing and stretching in opposite directions. His head and facial expressions are in the most conspicuous position, dividing the picture into two, showing that he is the main cause of all chaos and the focus of the furious god’s eyes. This painting records an important moment in the myth. Saul, an opponent of Christianity, received approval and led a team to Damascus to find and massacre all Christians. On the way to perform this task, Jesus suddenly appeared and stopped them. Their team was disrupted by the dazzling light and loud voices. Jesus angrily asked Saul why he was dedicated to persecuting him and confirmed his identity. [4] The artist's creative style is freely used in this work. For example, his paintings depict explosive scenes such as shouting and drowning. The audience was shocked by the emotional madness and chaos in the painting. The characters in the picture are full of power, with dynamic energy that is almost superhuman, like other sculptures in the Renaissance era that portray the unfettered movement. [5] The overall tone of the picture is roughly yellow, gray, and brown, but the cranberry red color used on Jesus and the soldiers brings up the focus and conflict of the picture. As reflected in his bright color scheme and exaggerated and bold brushwork, his unprecedented style forms the unique theatricality of the outcome.[6] [1]“The Conversion of Saint Paul - The Collection.” The Collection - Museo Nacional del Prado, January 1, 1595. https://www.museodelprado.es/en/the-collection/art-work/the-conversion-of-saint-paul/a47d0215-543a-4a8f-8d30-d1c5d843a611. [2]“The Conversion of St. Paul--Transcripts.”, A Long Look, September 12, 2020. https://alonglook-slowart.com/transcripts/. [3]Nichols, Tom. Tintoretto: Tradition and Identity. Reaktion Books, 2015,page 3 [4] Bible Gateway. “Bible Gateway Passage: Acts 9 - New Revised Standard Version.” Accessed September 26, 2020. https://www.biblegateway.com/passage/?search=Acts%209&version=NRSV. [5] Goldberg, Jonathan. “Conversions: Around Tintoretto.” The Seeds of Things, 2009, page 18 [6] Bangkok Post Public Company. “Tintoretto’s Bold Innovations Highlighted in US Show.” Accessed September 23, 2020. https://www.bangkokpost.com/world/1650276/tintorettos-bold-innovations-highlighted-in-us-show. Source A related resource from which the described resource is derived Bangkok Post Public Company. “Tintoretto’s Bold Innovations Highlighted in US Show.” Accessed September 23, 2020. https://www.bangkokpost.com/world/1650276/tintorettos-bold-innovations-highlighted-in-us-show. Bible Gateway. “Bible Gateway Passage: Acts 9 - New Revised Standard Version.” Accessed September 26, 2020. https://www.biblegateway.com/passage/?search=Acts%209&version=NRSV. Goldberg, Jonathan. “Conversions: Around Tintoretto.” The Seeds of Things, 2009, page 18 Nichols, Tom. Tintoretto: Tradition and Identity. Reaktion Books, 2015,page 3 “Jacopo Tintoretto: The Conversion of Saint Paul (Ca. 1545).” Accessed September 23, 2020. https://www.artsy.net/artwork/jacopo-tintoretto-the-conversion-of-saint-paul. “The Conversion of Saint Paul - The Collection.” The Collection - Museo Nacional del Prado, January 1, 1595. https://www.museodelprado.es/en/the-collection/art-work/the-conversion-of-saint-paul/a47d0215-543a-4a8f-8d30-d1c5d843a611. Image Source: “The Conversion of St. Paul--Transcripts.”, A Long Look, September 12, 2020. https://alonglook-slowart.com/transcripts/. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Summer/Summer.jpg 85a4e7efdd47e5e8128d56036a163d08 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 23: National Gallery of Art (Visual Analysis) 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 of Art, Washington, DC 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 Summer Description An account of the resource A visual representation of summer as a woman is seen here laying in the grass surrounded by images that makes one think of summer. The woman is thought to be the Roman goddess Ceres, who presided over agriculture and grains. Behind the goddess, there is a line of wheat stalks in the layer just above the sky. These symbolize Ceres' symbol of wheat. A tree with clusters of grapes grows above her - an interesting choice, as in Roman mythology grapes were the symbol of Bacchus. She is also surrounded by several exotic birds, both a parrot and a few bluebirds, that in this case symbolized the wealth of the house that commissioned the work. The actual figure of Summer, or Ceres, is painted in a way that is seen as the height of beauty in Venice. She has a soft face and blonde, almost red, braided hair. She is looking down, so that her eyes can be shaded. The overall style of the work is done with very quick brushstrokes that almost look like a sketch. This was a common Venetian style, with stories being told of how Venetian artists didn't have time to sketch out and create a foundation for their large, genius works. Tintoretto was espeically famous for this, creating energetic and exotic colors and applying them in quick, rapid brushstrokes. This painting is not his most dramatic in these styles, and they got progressively more dramatic throughout his works. There are three different "season" paintings that includes this work - Spring, Fall, and Summer. A Winter painting has not been found. The light and bright colors and the flowers seen show the warmth and flora of the summer season. Tintoretto was a unique, self taught painter with his own style, but his works are still distinctly Venetian. Creator An entity primarily responsible for making the resource Jacopo Tinoretto Publisher An entity responsible for making the resource available The National Gallery of Art Date A point or period of time associated with an event in the lifecycle of the resource c. 1555 Contributor An entity responsible for making contributions to the resource Julia Curd Source A related resource from which the described resource is derived Echols, Robert. “Summer.” Italian Paintings of the 16th Century. National Gallery of Art. Accessed September 23, 2020. https://www.nga.gov/collection/art-object-page.46189.html. Rowland, Ingrad D. “The Fantastical Little Dyer.” The American Scholar, March 4, 2019. https://theamericanscholar.org/the-fantastical-little-dyer/. Padua, Pat. “Tintoretto, The Renaissance 'Challenger,' Gets A Long-Overdue U.S. Show At The National Gallery of Art.” DCist. WAMU 88.5 - American University Radio, March 22, 2019. https://dcist.com/story/19/03/22/tintoretto-the-renaissance-challenger-gets-a-long-overdue-u-s-show-at-the-national-gallery-of-art/. Format The file format, physical medium, or dimensions of the resource 105.7 x 193 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 National Gallery of Art, Washington D.C. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_John_the_Evangelist_on_Patmos/Saint_John_the_Evangelist_on_Patmos.jpg 425e9bb4973c8a761f0f41ccb3abb392 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 23: National Gallery of Art (Visual Analysis) 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 of Art, Washington, DC 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 John the Evangelist on Patmos Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived “Saint John the Evangelist on Patmos.” Art Object Page. Accessed September 23, 2020. https://www.nga.gov/collection/art-object-page.43725.html. “National Gallery of Art.” Titian and the Late Renaissance in Venice. Accessed September 23, 2020. https://www.nga.gov/features/slideshows/titian-and-the-late-renaissance-in-venice.html. “National Gallery of Art.” Accessed September 23, 2020. https://www.nga.gov/features/slideshows/titian-and-the-late-renaissance-in-venice.html. Publisher An entity responsible for making the resource available “National Gallery of Art.” Accessed September 23, 2020. https://www.nga.gov/features/slideshows/titian-and-the-late-renaissance-in-venice.html. Date A point or period of time associated with an event in the lifecycle of the resource 1576 Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource 237.6 x 263 cm oil on canvas 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 Washington D.C, Virginia, USA Description An account of the resource This painting was commissioned to Titian in 1544 for the new albergo (board room). This one of the wealthiest religious confraternities in Venice, stated in the National Gallery of Art article. This painting was one of four original scuole grandi. Originally this painting was installed to be the centerpiece of a painted ceiling that was surrounded by various panels. These paintings represented cherubs, satyrs, female heads, and symbols of the four evangelists. This painting shows Saint John the Evangelist secluded on the Greek island Patmos. He is experiencing his apocalyptic vision of Christ’s second coming. The low viewpoint adds the dramatic element of the sky and the foreshortened heroic figure of John. John has bent knees with his hands up to the sky. There are at least seven figures up in the sky looking down on John. In the sky there are several children accompanied by an older man. The older man is waving down to John, whom is on the island of Patmos. The children appear to have wings giving off a sense that they are baby angels flying in the sky. John’s body language gives off a sense as if to someone is talking down upon him. John depicts in this scene with his “attributes of a gospel and an eagle, was the Scuola’s patron saint”. Overall this painting is very consistent with the highness of the location of the painting and wouldn’t look right if it was located on a wall. Titian did an amazing job painting out this scene. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_John_the_Evangelist_on_Patmos/saint_john_the_evangelist_on_patmos_1957.14.6.jpg a9b19571ff212e00270bba80807669a2 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 23: National Gallery of Art (Visual Analysis) 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 of Art, Washington, DC 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 John the Evangelist on Patmos Subject The topic of the resource Saint John the Evangelist is stranded on the island of Patmos, where he receives a vision of the Second Coming of Christ and is inspired to write the Book of Revelations. Creator An entity primarily responsible for making the resource Titian Date A point or period of time associated with an event in the lifecycle of the resource c. 1547 Contributor An entity responsible for making contributions to the resource Vik Manocha Format The file format, physical medium, or dimensions of the resource Oil on canvas, 237.6 x 263.0 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 National Gallery of Art, Washington D.C., USA Source A related resource from which the described resource is derived Echols, Robert. "Titian's Venetian Soffitti: Sources and Transformations." Studies in the History of Art 45 (1993): 28-49. http://www.jstor.org/stable/42621876. Fredriksen, Paula. "Apocalypse and Redemption in Early Christianity: From John of Patmos to Augustine of Hippo." Vigiliae Christianae 45, no. 2 (1991): 151-83. doi:10.2307/1584421. Schulz, Juergen. "Titian's Ceiling in the Scuola di San Giovanni Evangelista." The Art Bulletin 48, no. 1 (1966): 89-95. doi:10.2307/3048341. Image Source: NGA Online Editions, accessed September 21, 2020. https://www.nga.gov/collection/art-object-page.43725.html. Publisher An entity responsible for making the resource available Image Source: NGA Online Editions, accessed September 21, 2020. https://www.nga.gov/collection/art-object-page.43725.html. Rights Information about rights held in and over the resource Public Domain. Image Source: NGA Online Editions, accessed September 21, 2020. https://www.nga.gov/collection/art-object-page.43725.html. Description An account of the resource In this painting by Titian, we see Saint John on the peak of a mountain astounded and in awe at the vision of God that appears to him. This occurs following his exile from Rome by Domition in a wave of anti-Christian persecutions [1]. Our sight is drawn up to God the Father, led by rays of light that converge on him surrounded by angels that part the clouds. The transition from muted browns and blues to vibrant reds and yellows further draws our gaze up towards the top of the painting. Additionally, certain aspects of the work alert us of the fact that the scene is being captured in the middle of the action. We can observe that the eagle at Saint John’s feet in mid-caw and that Saint John himself appears to be caught off guard with his robes flowing haphazardly around him. He is standing in contrapposto, which continues to develop the narrative of an active and lively figure. The work Saint John the Evangelist on Patmos originally comprised part of a ceiling ensemble located at the Scuola di San Giovanni Evangelista in Venice [2]. Evidence of this can be seen in the painting itself, as it is portrayed from a low viewpoint and so stretches the scene vertically as it approaches the top. This gives the effect of the series of paintings flowing into the ceiling itself. As viewers, we stand closer to the base of the mountain to acknowledge with a physical barrier our separation from the divine. Both the eagle and the subject allude to the patron of the work: both represent Saint John, the patron saint of the Scuola di San Giovanni Evangelista [3]. The placement of this painting would then suggest that its purpose is to remark on the power and influence of one of the five Scuola Grandi of Venice. Any visitor to the location would instantly make the connection between the scuola and God. [1] Paula Fredriksen, "Apocalypse and Redemption in Early Christianity: From John of Patmos to Augustine of Hippo," Vigiliae Christianae 45, no. 2 (1991): 152. [2] Robert Echols, "Titian's Venetian Soffitti: Sources and Transformations," Studies in the History of Art 45 (1993): 29. [3] Juergen Schulz, "Titian's Ceiling in the Scuola di San Giovanni Evangelista," The Art Bulletin 48, no. 1 (1966): 91. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Madonna_and_Child_in_a_Landscape/33254-primary-0-nativeres.ptif.jpg c556a23bc5e30f283de19274425b4026 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 23: National Gallery of Art (Visual Analysis) 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 of Art, Washington, DC Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="https://library.artstor.org/asset/ANGAIG_10313953461">Madonna and Child in a Landscape</a> Description An account of the resource Giovanni Bellini was an Italian Renaissance painter who had a big impact on Venetian painting by adding a more sensuous and coloristic style. Using effects of light with different color hues, Bellini was able to draw attention towards and away from figures in his paintings allowing the viewers to see what values and aspects of Venetian religion he would highlight [1]. His works show an evolution from being purely religious to having some type of emphasis on place and landscape [1]. His painting “Madonna and Child in a Landscape” is a perfect representation of this transition. It was painted in the late 1480s and is an illustration of the Virgin Mary and her baby Jesus. “Madonna” is the Italian term for “our lady,” so this title gives respect for the Virgin Mary. Bellini uses light colors to depict the skin of both the figures while using dark colors for other aspects of the painting including the dark blue cloth draped on Virgin Mary and gloomy shades of green/blue for parts of the landscape like the clouds and grass. I believe he used this striking contrast in color to emphasize the importance of the two figures. Additionally, faint halos can be seen over the head of both the Virgin Mary and baby Jesus, which insinuates that these figures are angelic and of higher being [2]. Bellini represents the love shared between Virgin Mary and baby Jesus as heavenly. While focus is put on these two figures, the landscape does not go unnoticed. By placing Virgin Mary and baby Jesus in a common and informal landscape, Bellini shows how divine beings may live among Venetians. The landscape is filled with vivid shades of green and blue emphasizing the naturalism in the painting. Through this landscape, Bellini shows how Venetians connect to religious beings on a personal level [2]. The use of light and different color shades places emphasis on the Virgin Mary and baby Jesus. However, Bellini makes sure to include these divine beings in a common Venetian landscape to represent how religion is molded into aspects of Venetian life. [1] Giles Robertson, Giovanni Bellini." The Burlington Magazine 92, no. 562 (1950), 25, 26 [2] Helen Cooksey, Madonna and Child in a Landscape, Annual Report (Fogg Art Museum), no. 1972/1974, 62 Creator An entity primarily responsible for making the resource Bellini, Giovani (Italian) Source A related resource from which the described resource is derived Robertson, Giles. "Giovanni Bellini." The Burlington Magazine 92, no. 562 (1950): 25-26. Accessed September 22, 2020. http://www.jstor.org/stable/870405. Helen Cooksey. ""Madonna and Child in a Landscape" by Girolamo Mazzola-Bedoli." Annual Report (Fogg Art Museum), no. 1972/1974 (1972): 58-66. Accessed September 22, 2020. http://www.jstor.org/stable/4301365. Giovanni Bellini, Italian. 1480. Madonna and Child in a Landscape. Painting. Place: The National Gallery of Art (Washington, D.C.), Ralph and Mary Booth Collection. Accessed September 21, 2020. https://library.artstor.org/asset/ANGAIG_10313953461. Thomas B. Cole, MD. “Madonna and Child in a Landscape.” JAMA. American Medical Association, December 21, 2011. Accessed September 22, 2020. https://jamanetwork.com/journals/jama/fullarticle/1104741. Publisher An entity responsible for making the resource available The National Gallery of Art (Washington, D.C.) Date A point or period of time associated with an event in the lifecycle of the resource 1480 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource NGA Images, National Gallery of Art, 4th Street and Constitution Avenue, NW Washington DC 20565, ngaimages@nga.gov Format The file format, physical medium, or dimensions of the resource Oil on Panel, 71.7 cm x 52.8 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 of Art, Washington, DC, United States 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 23: National Gallery of Art (Visual Analysis) 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 of Art, Washington, DC 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 Jerome Reading Description An account of the resource Painted by Giovanni Bellini in 1505, and currently located in the National Gallery of Art, this painting depicts Saint Jerome reading in the desert, and is believed to be an affirmation of Bellini's religious devotion. Saint Jerome Reading is featured in a series of several paintings that depict Saint Jerome, all of which portray him in a natural setting and landscape [1]. In the bottom right of the corner, Saint Jerome sits reading a book that represents the Bible, as animals surround him. He is accompanied by a lion, who, according to legend, he helped by taking a thorn out of its paw. In the center of the painting, two bunnies play below the skyline of a city similar to Venice, and various detailed plants and crumbled rock set the scenery. Closer to Jerome, before the skyline, Bellini painted what appears to be an ocean, allowing for both the image of an oasis, as well as the seclusion of Jerome's location. Saint Jerome's solitude in this particular painting both represents the artist's fascination with scenery, but also the sole driven focus that the Saint has with his biblical and religious studies, portraying him as a devoted hermit. Bellini carefully includes various details that are commonly associated with religion and theology, including the fig tree, and ruins around Saint Jerome [2]. Bellini was widely regarded as one of the most influential Venetian artists, and painted for nearly 65 years. His paintings have a variety of interpretations, and are high detailed. Bellini painted few secular pictures, and the majority were highly detailed religious narratives, and emphasized a natural setting. [3] In paintings that placed Jerome in a landscape, as can be seen in Saint Jerome reading – the focus is predominantly on the nature and surroundings of Jerome, while he has a small feature in the corner. In most paintings of the Saint, he is typically completely dedicated to reading his works and furthers Bellini's appreciation for religion. Bellini's focus on religion ties back into Venice's self-awareness of their myth, and how the divinity of the city promotes their unique prestige. [1] Hendy, Philip. "Giovanni Bellini." Encyclopedia Brittanica, 2020 [2] Belting, Hans. "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life." (Tatti Studies in the Italian Renaissance 17, 2014) [3] National Gallery of Art "Giovanni Bellini." https://www.nga.gov/collection/artist-info.936.html. Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Hendy, Philip. “Giovanni Bellini.” Encyclopædia Britannica. Encyclopædia Britannica, inc., January 29, 2020. https://www.britannica.com/biography/Giovanni-Bellini-Italian-painter. Belting, Hans. "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life." I Tatti Studies in the Italian Renaissance 17, no. 1 (2014): 5-33. Accessed September 22, 2020. doi:10.1086/676482. National Gallery of Art "Giovanni Bellini." Accessed September 22, 2020. https://www.nga.gov/collection/artist-info.936.html. Publisher An entity responsible for making the resource available Giovanni Bellini (National Gallery of Art, Washington D.C.). Gift of Samuel H. Kress Foundation https://library.artstor.org/asset/ANGA_KRESSIG_10312335544. Date A point or period of time associated with an event in the lifecycle of the resource 1505 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Panel, 47 cm x 37.5 cm Type The nature or genre of the resource Oil 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 of Art, Washington D.C, USA