1 10 19 https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Allegory_of_Chastity/allegory_of_chastity_1939.1.147.jpg 658a99cb9b7d83e78e2c922a853e6683 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 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting 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 Allegory of Chastity Description An account of the resource The painting of the Allegory of Chastity was originally created as a portrait cover for the bishop of Treviso, Bernardo de' Rossi. At the time, the bishop created a close-knit group of artists that he utilized to create works of art, which included Lorenzo Lotto. Lotto, who was picked for the commission, was born in Venice and remained culturally influenced by the city for the rest of his artistic career. He studied under Raphael and morphed his style to a more fluid and color rich approach [1]. He was not a very popular or even respected artist in his time. As Antoni Morassi points out, one person wrote to him that his painting abilities were minimal at best, but that his religious devotion was admirable [2]. Lotto captured religion in many of his paintings, which is not limited to the Allegory. Despite being just a portrait cover, Lotto uses the canvas to emphasize the contrast of human morality, between purity and desire. Allegory of Chastity visualizes the moral struggle and dichotomy between virtue and vice. Lotto paints a scenic view in the background of the image, with a sunset behind the mountains and trees along the sides. In the center of the image lies a maiden in white and gold clothing, sitting in the grass. Paul Holberton writes that the cherub up above pours some flower petals on the woman [3]. This highlights her divine and idyllic femininity. She is the focus of the painting due to her spatially centered position but also because she is where the light of the painting comes from. Lotto symbolizes the idea of chastity through the woman as she is the source of light in the painting. In addition, the color of her clothes being white and gold represent the ideals of innocence and purity. Meanwhile, the two figures on the bottom portion of the image are satyrs. The female satyr gazes at the male, alluding to her lust and desire. The male satyr drinks from his jug of wine which represents a different vice of drunkenness. Lotto utilizes composition and lines to emphasize the ideals of human purity and desire. Lotto divides the painting into 2 sections: the maiden and cupid as one unit and the satyrs as the other. He also creates a triangle formation through the painting of a hill to represent the allegorical figure at the top, the most pure and divine, while the satyrs are below, representing desire and human vice. These compositional features further highlight the tug of war between vice and virtue that Lotto communicates as the woman and cherub represent chastity and the satyrs represent evil and lust. The idea of fusing portraits with religious themes was not uncommon during the Renaissance [4]. Lorenzo Lotto was commisioned to create this work in order to represent the Bishop's views of the ideal Christian and what makes someone morally righteous. Artists, especially Lotto, utilized their canvases in any way they could to explore and paint their views on human morality. [1] “Lorenzo Lotto,” Encyclopedia Britannica, accessed September 18, 2020, <a href="https://www.britannica.com/biography/Lorenzo-Lotto">https://www.britannica.com/biography/Lorenzo-Lotto</a> [2] Antonio Morassi, "The Lotto Exhibition in Venice," The Burlington Magazine 95, no. 606 (1953): 290. [3] Paul Holberton, "Classicism and Invention: Botticelli’s Mythologies in Our Time and Their Time," Botticelli Past and Present (2019): 62. [4] “Allegory of Chastity,” National Gallery of Art, accessed September 18, 2020, https://www.nga.gov/collection/art-object-page.288.html Creator An entity primarily responsible for making the resource Lorenzo Lotto (1480 - 1556/1557) Source A related resource from which the described resource is derived Holberton, Paul. "Classicism and Invention: Botticelli’s Mythologies in Our Time and Their Time." In Botticelli Past and Present, edited by Debenedetti Ana and Elam Caroline, 53-72. London: UCL Press, 2019. Morassi, Antonio. "The Lotto Exhibition in Venice." The Burlington Magazine 95, no. 606 (1953): 290-98. The Editors of Encyclopaedia Britannica. (2020, January 01). Lorenzo Lotto. Retrieved September 19, 2020, from <a href="https://www.britannica.com/biography/Lorenzo-Lotto">https://www.britannica.com/biography/Lorenzo-Lotto</a> The National Gallery of Art. (n.d.). Allegory of Chastity. Retrieved September 18, 2020, from https://www.nga.gov/collection/art-object-page.288.html Image Source: Lotto, L. (n.d.). Allegory of Chastity [Digital image]. Retrieved September 18, 2020, from https://www.nga.gov/collection/art-object-page.288.html Publisher An entity responsible for making the resource available Bishop Bernardo de' Rossi 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 Carmel Falek Format The file format, physical medium, or dimensions of the resource Oil on panel, 42.9 x 33.7 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington D.C., United States of America Rights Information about rights held in and over the resource Public Domain. Image Source: Lotto, L. (n.d.). Allegory of Chastity [Digital image]. Retrieved September 18, 2020, from https://www.nga.gov/collection/art-object-page.288.html https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Madonna_and_Child_in_a_Landscape/Madonna_and_Child.JPG 5b86696b33197d6205a0c7e4cab318ec 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 Madonna and Child in a Landscape Creator An entity primarily responsible for making the resource Giovanni Bellini (c. 1430/1435 - 1516) Source A related resource from which the described resource is derived <ul> <li>Humfrey, Peter, et al. "Bellini family." Grove Art Online, (2003). <a href="https://doi.org/10.1093/gao/9781884446054.article.T007643">https://doi.org/10.1093/gao/9781884446054.article.T007643</a>.</li> <li>National Gallery of Art. Summary Catalogue of European Paintings and Sculpture. Washington: National Gallery of Art, 1965.</li> <li>Bätschmann, Oskar. Giovanni Bellini. London: Reaktion, 2008.</li> </ul> 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 Riya Mohan 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 x 52.8 cm 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 In this piece, we see a woman gently holding her child; the two characters can specifically be identified as the Virgin Mary with the child Jesus. The woman’s hair is covered with a dark cloth and she wears a red dress as she holds the child on a ledge. The dark cloth creates a shadow on part of her face as she looks down at the child in her hands and as the child Jesus looks up at her. Behind her, a vivid landscape can be seen. The sky is filled with multiple hues that gradient from a dark blue-green to a pale blue with many white and gray clouds filling the expanse. The sky is cut cleanly with a sharp, horizontal line where the land begins. In the rich and vividly green land, the silhouette of a city can be seen as well as part of a winding path. There are also faint, golden halos around the Virgin and Jesus’s heads, which mark them as divine beings. Madonna and Child in a Landscape is a devotional painting created by Giovanni Bellini in 1480 and is part of a genre from his early style of painting [1]. The demand for such devotional works of art stems from the importation of a large quantity of small-scale religious panels from the Netherlands. It is also from the Netherlands that Bellini adopts the oil method of painting and introduces it to the mainstream realm of Italian/Venetian art [1]. Many pieces like this were commissioned by the patrician class for their combination of aesthetic qualities with religious aspect [1]. The artistic elements of this work make it especially appealing through its combination of formal elements of religion with relatable aspects of life. The vivid, richly-colored landscape behind the Virgin and child Jesus is befitting the content of this piece. However, it also helps emphasize the type of setting in which the two figures are placed in—a natural and real-world situation. This particular setting helps combine formal elements of Christianity with relatable contexts to better allow the people of Venice to understand and connect with their religion. Bellini combines piety with pathos by depicting such important characters in such an intimate and familiar scene (that of a mother and child). Through the use of color and shadow, Bellini has made the Virgin and Jesus appear more human, which further allows the Venetian patrician viewers of this piece to understand their religion and make pious connections. Though there are many ways in which Bellini makes Jesus and Mary more relatable to the audience, he reminds viewers of the divinity of the individuals in this piece by separating the child Jesus from the profane world through the use of a dark, distinct ledge. The portrayal of formal elements of religion in a real-world context helps generate stronger connections and piety, which, ultimately, led to the success of this piece. [1] Peter Humfrey et al., "Bellini family.", Grove Art Online, (2013): 20-21. Publisher An entity responsible for making the resource available Unknown 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 Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived 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. 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 20, 2020. doi:10.1086/676482. Gasparotto, Davide. 2017. Giovanni Bellini. Landscape Of Faith In Renaissance Venice. Los Angeles: Getty Trust Publications. Kren, Emil, and Daniel Marx. 2020. "St Jerome Reading In The Countryside By BELLINI, Giovanni". Wga.Hu. https://www.wga.hu/html_m/b/bellini/giovanni/1500-09/182jerom.html. 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. 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 Rhea Niyyar Rights Information about rights held in and over the resource The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335544 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 panel, 47 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 This oil on panel painting was one of Giovanni Bellini’s earlier works. The dating of this painting as 1505, indicated by the inscription in the bottom left corner of the painting, is puzzling to many art historians as the style of this painting was not used by Bellini after the year 1490. Some speculate that the painting was completed in 1505, but a majority of it was created much earlier. The logic behind this reasoning was because although the painting did contain many of the religious symbols, such as fig trees and ivy, that were considered typical for Bellini’s works, the landscape was not as cohesive together and was depicted more naturalistically than in Bellini’s similar works around the same time period [1]. Hans Belting has also shown that “Saint Jerome Reading” illustrates Bellini’s idealization of solitude in his religious depictions. The saint is depicted as being very old, which is indicative of his sage wisdom. In the foreground, Saint Jerome is alone reading in the corner in his eremo, giving higher priority to the landscape and the nature. Meanwhile, in the midground and background, a juxtaposition occurs between the ruins of an old civilization, perhaps Altinum the sunken predecessor to Venice, where hares can play undisturbed, and a new fortress, symbolizing contemporary Venice, which illustrates the enduring power of nature as compared to that of civilizations, once again advocating for one’s retreat into nature as Saint Jerome did, accepting the true power of nature [2]. In addition, while the nature is depicted much more realistically, with lots more curves, contours, and color definition, Saint Jerome has a much less defined body, with less color variation in his skin and less detailed drawing, as compared to his natural surroundings, not only making him stand out as an ethereal figure but also indicating that the focus should be on nature. Also, a large portion of the painting is dedicated to water not only with Altinum and Venice being surrounded by it in the background but also the well in the foreground that Saint Jerome survives off of. The contrast between water causing Altinum's demise and Venice flourishing because of water indicates the supreme power of nature that can either work in favor or against those living in its presence, including Saint Jerome who uses the well to sustain him. In addition, Bellini illustrates the cyclical idea of nature through his use of shadows and light. The focus on the brighter colors and light on Venice combined with the darkness along the top border of the painting creates a tunnel effect, making it seem as though Saint Jerome is in the back of the tunnel, highlighting his simplistic and what some could consider backwards way of living as compared to the advanced Venetians with their buildings. However, the depiction of Saint Jerome in the foreground and the brighter Venice in the background demonstrates the cyclic view of the workings of the world and nature with the idea that the pendulum should soon swing back to a more naturalistic, more basic way of living. Davide Gasparotto also compares the 1505 depiction to other depictions by Bellini of Saint Jerome. Depictions of Bellini were quite acclaimed by many, including Cardinal Domenico Grimani, so Bellini created many in his lifetime [3]. This depiction in particular is less centralized, more focused on nature, and is much smaller than its counterparts; however, all of Bellini’s paintings depict Saint Jerome reading in solitude, placing the emphasis on contemplative and solitary Christian scholarship. [1] Kren, Emil, and Daniel Marx "St Jerome Reading In The Countryside By BELLINI, Giovanni" (2020. Wga.Hu) [2] Belting, Hans, "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life." (Tatti Studies in the Italian Renaissance 17, no. 1, 2014): 26. [3] Gasparotto, Davide. Giovanni Bellini. Landscape Of Faith In Renaissance Venice. (Los Angeles: Getty Trust Publications, 2017) https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Summer/summer_1961.9.90.jpg 878c65f7dffa18d5017b4cfdf310ea0c 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 Jacopo Tintoretto was an artist hailing from Venice during the sixteenth century and was the son of a man who dyed silk to make a living. This painting, Summer, is one of three paintings by Tintoretto that are representative of the 3 seasons, excluding winter as there is currently no indication to if that painting exists. These three paintings were made to surround a central ceiling painting in the Casa Barbo a San Pantaleone, in Venice. The central piece, the octagonal Allegory of the Dreams of Men (Detroit Institute of Arts), has themes of cyclical change that pair well with the seasons as they fit that theme as well. This painting reflects the season summer. The main focal point of this piece is the goddess, Ceres, laid out on her right hip with her left arm draped over her head. She is laying upon a nude, sandy color sheet on top of the ground. The arm is noticeably more muscular than one would think when portraying a female, however male anatomy was commonly inserted into paintings of females during this time period. Her face on the other hand has soft features and a relaxed expression indicative of the hidden place she is and peaceful season that summer represents. She is wrapped in a wine colored sheet with lighter red in places of highlight. The colors used are very light and bright. A vivid blue sky is set as the background as stalks of wheat rise up from behind Ceres and into the sky. Rose bushes of bloomed pink buds are also peeking out from behind her laying figure A grape tree to the left of her laying body frames the left side and top of the painting, surrounding her and enhancing the focus onto her. A parrot is perched on top of the tree, a symbol of the exoticism Venice was prideful of back in this era. Its bright red feathers, and wings of blue and yellow stand out against the greenery of the tree and plants. Exotic pets were often owned in Venetian culture of this time period. Two more little blue birds, one resting below the parrot and the other above in a rose bush, are additonal representations of the myth and pride Venice had in their city. The striking animals and peaceful nature of the painting are all testemants to the way Tintoretto saw Venice. Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived Jacopo Tintoretto, Venetian. c. 1555. Summer. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335644. Robert Echols, “Jacopo Tintoretto/Summer/c. 1546/1548,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/46189 (accessed September 20, 2020). Rowland, Ingrid D. “The Fantastical Little Dyer: Few Artists Could Match Tintoretto's Mastery of Color and Form--or His Sense of Playfulness.,” 2019. https://web-a-ebscohost-com.proxy.lib.duke.edu/ehost/detail/detail?vid=6. Tintoretto, and Maria Adelaide. Bianchini. Tintoretto. Milano: Fratelli Fabbri, 1964. Publisher An entity responsible for making the resource available Robert Echols, “Jacopo Tintoretto/Summer/c. 1546/1548,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/46189 (accessed September 20, 2020). 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 Olivia Migli Format The file format, physical medium, or dimensions of the resource 105.7 x 193 cm, oil on canvas Type The nature or genre of the resource Ceiling 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. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Madonna_and_Child_in_a_Landscape/madonna_and_child_in_a_landscape_1946.19.1.jpg 57a57182024d2541ceb391da40d21634 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 Madonna and Child in a Landscape Description An account of the resource Giovanni Bellini painted this work of art. He was a painter of the Venetian School who was sensitive to the colors and adept at using them to convey messages in his painting. He was also known for the ability to crate realist drawings with the effect of light ranging from landscapes to portraits. The medium of this drawing was oil paintings. He favors oil paintings because he could add depth and complexity to the hues in shaping his works for capturing natural light reflections [1]. When viewers first look at the Madonna and Child in a Landscape painting, their attention would be drawn to the Virgin’s face and the baby because the bright color contrasted from the background. The shadows and the wrinkles on the baby’s body creates a sense of three-dimensional feeling rather than just a painting. This painting emphasizes the unconditional love that is shared between the Virgin and the baby. Also, the Virgin’s face draws most of the attention to the viewer’s eye, which is the main message that Bellini wants to convey. As mentioned earlier, Bellini is excellent at using the effect of light. From the lines and folds on the black cloak reflecting with the sunlight to the layers of clouds in the background further conveys a sense of the naturalist setting of this painting. Furthermore, the variety of color and the paintbrush stroke technics adopted when portraying the texture of the cloth wore by the Virgin to achieve a naturalist feel. [1] National Gallery of Art. “National Gallery of Art.” Artist Info. Accessed September 20, 2020. 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 Bellini, Giovanni." Benezit Dictionary of Artists. January 22, 2014. Oxford University Press. https://www-oxfordartonline-com.proxy.lib.duke.edu/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00015815 Bätschmann, Oskar. Giovanni Bellini. 9781861893574 1861893574: London : Reaktion Books, Limited April 2008 Chicago : Chicago Distribution Center, 2008. https://find.library.duke.edu/catalog/DUKE005265577 National Gallery of Art. “National Gallery of Art.” Artist Info. Accessed September 20, 2020. https://www.nga.gov/collection/artist-info.936.html. Publisher An entity responsible for making the resource available Courtesy National Gallery of Art, Washington DC https://www.nga.gov/collection/art-object-page.33254.html Date A point or period of time associated with an event in the lifecycle of the resource 1430 - 1516 Contributor An entity responsible for making contributions to the resource Emily Song Rights Information about rights held in and over the resource Open access for fair use Format The file format, physical medium, or dimensions of the resource Oil on panel, 71.7cm 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 , USA https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_Jerome_Reading/358-primary-0-nativeres.ptif.jpg ce145f4049685d404ba16c12cd8df8c9 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 Source A related resource from which the described resource is derived 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 21, 2020. doi:10.1086/676482. Hendy, Phillip. (2020, January 29). Giovanni Bellini. Retrieved September 21, 2020, from https://www.britannica.com/biography/Giovanni-Bellini-Italian-painter Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007. Saint Jerome Reading. (n.d.). Retrieved September 21, 2020, from https://www.nga.gov/collection/art-object-page.358.html Image Source: 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 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. 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 Rafael Salazar-Paranhos 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 Oil on panel, 47 X 37.5cm 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) Description An account of the resource In Saint Jerome Reading, Giovanni Bellini explores a religious figure with Saint Jerome, but more specifically there is an exploration of the natural world as can be seen by most of the painting. It was made in 1505, and today it is located in the National Gallery of Art in the United States. Saint Jerome is seen on the bottom right of the painting reading in the desert, which specifically represents his religious devotion to the Bible. There are also other animals that can be seen around him such as a lion below where he is sitting, a squirrel and two rabbits above him on the rocks, with a darker one on the right and a white one on the left. There is also a dark bird seen hanging on one of the trees. Towards the back of the image, Bellini looks to emphasize the sophisticated nature of the atmosphere around Saint Jerome, with what looks like Roman architecture with stones and arches in the back. There is also a body of water present behind with a city in a far away island, which gives a sense of depth to the painting and gives the audience a sense that Saint Jerome is deep inside of this location. The difference in the foreground and background of the image, along with a contrast of lights and darks is what makes this painting by Bellini so different. It explores only a single subject, but at the same time this can stand for multiple things such a solitude and the importance of the environment, but also a shift in the way art was now being displayed. Bellini progressed over time to this new style of Venetian art. He had a series of paintings portraying Saint Jerome and emphasized greatly on the physical nature around him. In general, the purpose of this naturalism was to combine idealism with a very realistic and detailed portrayal of a religious man [1]. The scene is able to portray this because of the way that Jerome is seen as solitary man but also symbolized as a man who was a hermit and humanist scholar that was also religious and devoted to Christianity [2]. Around Jerome, there are also many different religious symbols. For example, the fig tree, bare tree and crumbled rocks are all theological symbols, which serve to represent good and evil, and religion as a whole [3]. [1] Phillip Hendy, "Giovanni Bellini", Encyclopædia Britannica (2020). [2] Hans Belting, "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life." (Tatti Studies in the Italian Renaissance 17) [3] Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Madonna_and_Child_in_a_Landscape/madonna_and_child_in_a_landscape_1946.19.1.jpg 57a57182024d2541ceb391da40d21634 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 Madonna and Child in a Landscape Description An account of the resource The Madonna and Child subject was a common subject among artists in Venice in the late 15th century. It is estimated that over one-third of Bellini’s published works are paintings of the virgin and child, all taking slightly different forms and building upon the last. This iconic image subject was highly desired by people of all social classes. Bellini’s paintings were produced in a workshop, allowing him to turnover many different perspectives on the subject. In the background there are dark, ominous clouds that hover over the virgin and child while light seems to shine on their figures in the foreground. The painting contains spatial depth and accurately distinguishes the main subjects surroundings. Off in the distance there is evidence of a few buildings, one of which is a tall clock tower shaped structure. Christ child is gazing upwards as Madonna places a small fruit-like object in his hand, potentially symbol of the downfall of mankind. The clothes of the virgin are textured and rest naturally on her body, which presents Bellini’s advancements in naturalizing his paintings. Her dark, navy colored drapery contrasts with her bright white face and the bright white skin of the baby. Christ is fully nude with thick legs and soft skin, as well as sharp creases that permeate his whole body. His softness can be interpreted as the innocence of youthhood or more specifically Christ. Both Christ and Madonna have faint, gold lined halos enclosing both of their heads, a symbol of their divine nature holiness. This work communicates Venice’s pious nature as well as it’s devotion to the artistic craft. Each iteration of Bellini’s Madonna and Child introduced more sophisticated realism and textures, advancing artistic innovation. Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Bellini, Giovanni, Ronda Kasl, Keith Christiansen, Andrea Golden, Cinzia Maria. Mancuso, Antonietta Gallone, and David Miller. Giovanni Bellini and the Art of Devotion. Indianapolis, IN: Indianapolis Museum of Art, 2005. “Bellini's Luminous Madonnas.” Italian Renaissance Learning Resources. Oxford University Press. Accessed September 22, 2020. http://www.italianrenaissanceresources.com/units/unit-1/essays/bellinis-luminous-madonnas/. Goffen, Rona. Giovanni Bellini. New Haven, CT: Yale University Press, 1995. Image Source: “Madonna and Child in a Landscape.” National Gallery of Art. National Gallery of Art. Accessed September 22, 2020. https://www.nga.gov/collection/art-object-page.33254.html. Publisher An entity responsible for making the resource available Image Source: “Madonna and Child in a Landscape.” National Gallery of Art. National Gallery of Art. Accessed September 22, 2020. https://www.nga.gov/collection/art-object-page.33254.html. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1480-1485 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource Open Access image. Image Source: “Madonna and Child in a Landscape.” National Gallery of Art. National Gallery of Art. Accessed September 22, 2020. https://www.nga.gov/collection/art-object-page.33254.html. Format The file format, physical medium, or dimensions of the resource Oil on panel, 71.7 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 https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/The_Feast_of_the_Gods/ANGAIG_10313966996.jpg ba5f1831e6a55ef5498b8e7acefde17e 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_10313966996">The Feast of the Gods</a> Description An account of the resource The Feast of the Gods was created by Giovanni Bellini in 1514 and then later done by Titian in 1529. This painting has a mythological subject matter. This painting is very different from what Bellini mainly produces because it was the end of the first decade of the 16th century and people had more of an interest in the mythological subject matter. The Duke of Ferrara commissioned the Feast of the Gods because he wanted a series of paintings for his studio or the camerino d’alabastro. This painting was an example of restoration that does not have to be done when the painting needs it, such as flaking and its exposure to the elements, but rather the patron’s demands. Titian came in around 1529-1530 and did some interventions to the landscape. The Feast of the Gods came to the National Gallery in 1942, and they discovered that it was painted repeatedly before [1]. We also know that he opens up the sky on the right side because of documentation and x-ray analysis. He helped unify the painted cycle and the other paintings that Titian did for the studio for Duke Ferrera. This painting was most likely based on Ovid’s Fasti as there were many Olympians, gods, and nymphs in this painting. There is a free-like quality of this painting, which is very similar to other Titian paintings. The figures have free-like quality because they are free gallivanting in the woods. Everyone painted is organized in a straight vertical line across the painting in a frozen way. It is very animated because the figures interact with one another, drinking, giving each other glares, and some people are doing things they aren’t supposed to do. This painting is a mythological story brought to life. This painting is placed in a forest because you can see the various trees and a giant hill in the background with more trees. Some of the leaves in the various trees are painted in different colors such as green, light green, dark green, and brownish. The sky is opening on top over the hill with various blue hues and peeking through the trees on the painting’s right side. The scene of this painting is various gods, Olympians, and nymphs having a feast. There are around 20 mythological characters such as Jupiter, Neptune, and Apollo present in this painting, as well as many other gods. They form in a straight line across the lower bottom of the painting in a frieze-like state. The various gods and goddesses are dressed in vibrant clothing with colors such as blue, pink, green, white, and red. This makes viewers eyes’ pop because these colors aren’t used anywhere else in the painting except for the clothing. Everyone is interacting with one another; they are drinking, placing pots and bowls on their heads, and glaring at one another. The gods appear to be having a great time with one another. They are doing things they aren’t supposed to do, laughing, talking, giving glares. They are having a godly party in this forest. A critical tale brought to life is that Priapus, the god of fertility, lifts up the gown of the sleeping nymph, Lotus, shown in the lower right of the painting. He will then be foiled by the loud, obnoxious noise of Silenus’s donkey and everyone laughs at Priapus’s failure. This painting is currently placed in the National Museum of Art on display, as well as several other paintings completed by Bellini. This was a combined masterpiece as Bellini completed it, and Titian added more detail and edited a few things. This painting is significant because it was created when mythological ideas were popular; it was created by two artists (one who completed it and one who added detail and touch-ups to it) and made this mythological story come to life. It is a stunning masterpiece with such meaning and devotion to it. The people reading left to right are: Silenus, Bacchus, Faunus or Silvanus, Mercury, Jupiter, an unidentified goddess holding a quince, a fruit associated in the ancient world with marriage, Pan, Neptune, Ceres, Apollo, Priapus, and Lotis. [1] Bull, David. "The Feast of the Gods: Conservation and Investigation." Studies in the History of Art 45 (1993) Creator An entity primarily responsible for making the resource Giovanni Bellini and Titian Source A related resource from which the described resource is derived Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. <a href="https://library.artstor.org/asset/ANGAIG_10313966996.">https://library.artstor.org/asset/ANGAIG_10313966996.</a> Colantuono, Anthony. "Dies Alcyoniae: The Invention of Bellini's Feast of the Gods." The Art Bulletin 73, no. 2 (1991): 237-56. “The Feast of the Gods,” 2020. <a href="https://www.nga.gov/collection/art-object-page.1138.html">https://www.nga.gov/collection/art-object-page.1138.html</a>. Krén, Emil, and Daniel Marx. “The Feast of the Gods.” The Feast of the Gods by BELLINI, Giovanni, 1996. <a href="https://www.wga.hu/html_m/b/bellini/giovanni/1510-/207feas.html">https://www.wga.hu/html_m/b/bellini/giovanni/1510-/207feas.html</a>. Manca, Joseph. "What Is Ferrarese about Bellini's Feast of the Gods?" Studies in the History of Art 45 (1993): 300-13. Bull, David. "The Feast of the Gods: Conservation and Investigation." Studies in the History of Art 45 (1993): 366-73. Publisher An entity responsible for making the resource available Commissioned by the Duke of Ferrera National Gallery of Art, Washington D.C. Image Rights: Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. <a href="https://library.artstor.org/asset/ANGAIG_10313966996.">https://library.artstor.org/asset/ANGAIG_10313966996.</a> 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 Seamus Harding Rights Information about rights held in and over the resource Courtesy of National Gallery of Art, Washington Image Rights: 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/asset/ANGAIG_10313966996. Format The file format, physical medium, or dimensions of the resource Oil on canvas overall: 170.2 x 188 cm; framed: 203.8 x 218.4 x 7.6 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.) Widener Collection https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/The_Feast_of_the_Gods/The_Feast_of_the_Gods.jpg ba5f1831e6a55ef5498b8e7acefde17e 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 Feast of the Gods Contributor An entity responsible for making contributions to the resource Muhib Methani Type The nature or genre of the resource Painting Creator An entity primarily responsible for making the resource Giovanni Bellini and Titian Publisher An entity responsible for making the resource available Duke Alfonso d'Este of Ferrara Image Source: 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/asset/ANGAIG_10313966996 Date A point or period of time associated with an event in the lifecycle of the resource 1514/1529 Rights Information about rights held in and over the resource 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 (67 x 74 in.) 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.), Widener Collection Source A related resource from which the described resource is derived Image Source: 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/asset/ANGAIG_10313966996 I). Journal Article 1: Bull, David, Joyce Plesters, J. Carter Brown, and Lamia Doumato. "Monograph Series II: The Feast of the Gods: Conservation, Examination, and Interpretation." Studies in the History of Art 40 (1990): 3-106. Accessed September 22, 2020. http://www.jstor.org/stable/42621814. II). Journal Article 2: Colantuono, Anthony. "Dies Alcyoniae: The Invention of Bellini's Feast of the Gods." The Art Bulletin 73, no. 2 (1991): 237-56. Accessed September 22, 2020. doi:10.2307/3045792. III). Book: Bätschmann, Oskar. 2007. “Chapter VI: Harmony.” Giovanni Bellini, November, 182–213. https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=48989049&site=ehost-live&scope=site. Museum: "The Feast of the Gods." Art Object Page. 2020. Accessed September 22, 2020. https://www.nga.gov/collection/art-object-page.1138.html#overview. Description An account of the resource In this oil painting, we immediately see a contrast in color and shading between the foreground, which contains Greco-Roman mythological figures, and the background, with the jagged and rough landscape. Immediately, the viewer notices the bright coloring of the foreground, specifically the clothing of the figures (who are identified as nymphs and gods)--a feature which comes to define much of Venetian Renaissance art. Bright hues of red, blue, white, and pink create a contrast with the natural green and brown of the surroundings: this contrast in light and dark brings an emphasis on the events occurring in the foreground, while still allowing the background to provide depth to the painting. Following the direction/line of the faces of these figures, the viewer’s eyes are drawn to the right side of the painting to the main subject matter: Priapus advancing on the sleeping nymph Lotis. In contrast to the background, the foreground shows much animation: the figures are eating, drinking, and interacting with each other. The background does show some animation, through the movements of the playing satyrs near the base, yet not nearly as much as the foreground. Although it seems like there is an abrupt distinction between the foreground and background, the trees on the right side connect the two, slowly receding into the mass of trees at the base of the mountain. In addition to the contrasts of light and color, there also appears to be a contrast in style between the background and the foreground. While the trees in the foreground are much more similar in detail to the figures, those of the foreground are much more untamed and profuse with leaves, indicating a difference in style. Whereas the figures in the foreground are much more meticulous in terms of detail, the landscape of the background is wild and natural. This difference is explained by the fact that two artists worked on this painting: firstly Giovanni Bellini, to whom we can attribute the detailed trees on the right, and secondly, Titian, to whom we can attribute the background [1]. Commissioned by Duke Alfonso d'Este of Ferrara, the painting was intended to be a part of one of his private collections, with this painting being the first of a cycle [2]. It is likely that Bellini found inspiration from Ovid’s Fasti. Although many believe this painting to be one that strictly depicts a mythological scene, Jacob Burckhardt saw it as a dramatic scene that has been idealized and modernized for that time period: the barber’s bowl on Mercury appears later on in another artwork by Cervantes, for example of evidence. However, this scene was finished before Titian could work on it: x-rays of the painting show that much of the scene remained constant, with the landscape in the background changing from Bellini’s dense forest to Titian’s mountain [3]. [1] "The Feast of the Gods." Art Object Page. 2020. Accessed September 22, 2020. <a href="https://www.nga.gov/collection/art-object-page.1138.html#overview">https://www.nga.gov/collection/art-object-page.1138.html#overview</a>. [2] David Bull. "Monograph Series II: The Feast of the Gods: Conservation, Examination, and Interpretation." Studies in the History of Art 40 (1990): 3-106. Accessed September 22, 2020. <a href="http://www.jstor.org/stable/42621814">http://www.jstor.org/stable/42621814</a>. [3] Oskar Bätschmann. 2007. “Chapter VI: Harmony.” Giovanni Bellini, November, 182–213. https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=48989049&site=ehost-live&scope=site.. 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