1 10 19 https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Miracle_of_the_Slave/INTERA_-_Robusti_Jacopo_Tintoretto_-_San_Marco_libera_schiavo_42_-_44493_0.jpg 3d17ac980cba8e87c61a0899f8ec0e65 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 30: Gallerie dell'Accademia (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 Gallerie dell'Accademia, Venice, Italy 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 Miracle of the Slave Creator An entity primarily responsible for making the resource Jacopo Tintoretto Publisher An entity responsible for making the resource available Scuola Grande di San Marco Gallerie Dell’Accademia Di Venezia Date A point or period of time associated with an event in the lifecycle of the resource 1547–1548 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource © 2020 GALLERIE DELL'ACCADEMIA DI VENEZIA, OFFICIAL SITE Image Source: Gallerie Dell’Accademia Di Venezia “The Miracle of the Slave, Also Known as The Miracle of Saint Mark | Gallerie Dell’Accademia Di Venezia.” Accessed October 13, 2020. http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 416 x 544 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Description An account of the resource Miracle of the Slave depicts St Mark’s rescue of a slave suffering from the torment of his master. The slave came to worship the relics of St. Mark because of his faith. After being caught, his master condemned to make him blind and break his legs. The miraculous intervention of St. Mark, the guardian of the city, broke the tormenting tools, and protected his devotees. [1] Tintoretto learned and drew inspiration from the craftsmanship of Michelangelo and the coloring of Titian. He owned innumerable casts of Michelangelo’s sculptures to study the muscular wonderfulness and plasticity of the sculptures. [2] In Tintoretto's early work, Miracle of the Slave, he especially absorbed some of Michelangelo’s composition and posture of the figure, emphasizing the rendering of a vibrant male body with wonderful and rippling muscles. The two sitting figures in the lower right corner of the painting draw on the distinctive form of sculpture by Michelangelo. One of them was sitting on a stone stool, his body and neck twisted in opposite directions. His right arm bends slightly to support the weight of his body, apparent by his bent wrist. The texture of the muscles on the back is very obvious due to the torsion of the body. This is very similar to Michelangelo's work in the tomb of Guiliano de Medici, the resting figure Day, dependent on the curved marble next to him. [3] In terms of color, Tintoretto also absorbed Titian’s style and paid great attention to use the color relationship to structure and organize the composition. The bright red of St. Mark’s robe also appeared on the slave master giving the order, the resting man with a helmet in the lower right. and the one holding the column on the left side. These three figures are distributed at the edges of the painting and unified to frame and reinforce the image of St.Mark. Tintoretto consciously used the color relationship to create a kind of pattern and rhythm. Miracle of the Slave was commissioned for use of the Scuola Grande di San Marco. Initially, the work caused controversy and received some criticisms, such as complaining that the brushwork of the painting was too rough and anxious, and was initially returned to the artist because of its inappropriateness. However, the work marked Tintoretto’s beginning on large-scale works and of a long-term relationship with Scuola, as Tintoretto was promoted to the predominant league of Venetian artists.[1] [1] “How Tintoretto flourished by giving a painting away,” The Eclectic Light Company, accessed October 27, 2020, <a href="https://eclecticlight.co/2020/06/03/how-tintoretto-flourished-by-giving-a-painting-away/">https://eclecticlight.co/2020/06/03/how-tintoretto-flourished-by-giving-a-painting-away/</a> [2] Claus Virch. “A Study by Tintoretto after Michelangelo.” The Metropolitan Museum of Art Bulletin 15, no. 4 (December 1956): 111.<a href="https://doi.org/10.2307/3257711"> https://doi.org/10.2307/3257711</a>. [3] Thackara Tess. “Tintoretto Was the Unsung Hero of the Venetian Renaissance.” Artsy, last modified February 19, 2019.<a href="https://www.artsy.net/article/artsy-editorial-tintoretto-unsung-hero-venetian-renaissance"> https://www.artsy.net/article/artsy-editorial-tintoretto-unsung-hero-venetian-renaissance</a>. Source A related resource from which the described resource is derived Tess, Thackara. “Tintoretto Was the Unsung Hero of the Venetian Renaissance.” Artsy, Last modified February 19, 2019. https://www.artsy.net/article/artsy-editorial-tintoretto-unsung-hero-venetian-renaissance. The Eclectic Light Company, “How Tintoretto flourished by giving a painting away,” Accessed October 27, 2020, https://eclecticlight.co/2020/06/03/how-tintoretto-flourished-by-giving-a-painting-away/ Virch, Claus. “A Study by Tintoretto after Michelangelo.” The Metropolitan Museum of Art Bulletin 15, no. 4 (December 1956): 111. https://doi.org/10.2307/3257711. Image Source: Tintoretto, Jacopo. The Miracle of the Slave. Gallerie Accademia di Venezia. Accessed October 13, 2020. http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/The_Tempest.png 48b6fb4494bce883af76115c67c200c8 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 30: Gallerie dell'Accademia (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 Gallerie dell'Accademia, Venice, Italy 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 Tempest Description An account of the resource The Tempest is one of Giorgione’s few paintings and most enigmatic as there are over thirty identified interpretations ranging from biblical to Venetian [1]. Giorgione was commissioned circa 1510 to make this painting for the wealthy Venetian, Gabriele Vendramin. The Tempest is an important part of Venetian art as it is said to be one of the first examples of a landscape painting in western art [2]. This painting is composed of a vivid color palette mostly dominated by the greens of the natural landscape in the foreground and deep blue of the storm in the background, the lighting stays soft throughout the painting giving it a “calm before the storm” feeling of anticipation. All these features add to the idea that Giorgione was trying to create a piece that had a calm, serene scene below a brewing storm. The focal point seems to be the storm and single lightning bolt, introducing the idea of “Not Subject,” a non-figure playing a major role in a painting [3]. Additionally, the two figures play a more minor role. The man is posed in contrapposto to the left of the painting and dressed in nice, fashionable clothing, he seems to be softly gazing to the right but does not seem to be acknowledged by the woman. The woman is posed sitting down and nude except for the cloth draped over her shoulders. The baby is placed beside her nursing on the woman. They both sit on lush green grass and are surrounded by bright vegetation. Her gaze is straight ahead staring out of the painting, almost staring back at the viewer. The landscape’s architecture is representative of Venice, Giorgione and Vendramin’s place of origin. The broken columns and arches on the wall in the middle ground are characteristic of Venetian architecture as it pulls elements of the classical era. 1. Ross Stuart Kilpatrick, “Hagar and the Angel in Giorgione's ‘Tempest’.,” December 1997, https://doi.org/10.2307/1483600. 2. “The Tempest,” The Tempest by Giorgione, accessed October 27, 2020, <a href="http://www.giorgione.net/tempest/">http://www.giorgione.net/tempest/</a>. 3. Renaissance Studies: Journal of the Society for Renaissance Studies (Hoboken, NJ: Wiley-Blackwell, 2008), 476. Creator An entity primarily responsible for making the resource Giorgione Source A related resource from which the described resource is derived Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Kilpatrick, Ross S. (Ross Stuart). “Hagar and the Angel in Giorgione’s ‘Tempest.’” Artibus et Historiae18, no. 36 (December 1997): 81–86. doi:10.2307/1483600. Schier, Rudolf. "Giorgione's "Tempesta": A Virgilian Pastoral." Renaissance Studies 22, no. 4 (2008): 476-506. Accessed October 27, 2020. http://www.jstor.org/stable/24417578. “The Tempest.” The Tempest by Giorgione. Accessed October 27, 2020. http://www.giorgione.net/tempest/. Publisher An entity responsible for making the resource available Commissioned by Gabriele Vendramin. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1510 Contributor An entity responsible for making contributions to the resource Olivia Migli Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions. Image Source: Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 78.7 cm x 73.7 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 Gallerie dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Portrait_of_a_Young_Man_[or_Portrait_of_a_Gentleman_in_His_Study]/unnamed.jpg f4b315597253fa099e3e2d7649d31ae6 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 30: Gallerie dell'Accademia (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 Gallerie dell'Accademia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of a Young Man (or Portrait of a Gentleman in His Study) Description An account of the resource Although the name and identity information of the young man in the portrait is not recorded, the objects placed around the characters provide clues to the audience to trace and decipher his secrets. Just like the painter's consistent style, Lotto provided use symbolization of icons to refer to the young man's life and character, like a biography without words quietly telling the story. The lute, horn, and a dead bird behind the character record the character’s hunting interests, previous adventures, and achievements; the petals, ring, and letters on the table suggest a tragic or hindered intimate relationship; the fragility of the withered petals and the cold-blooded characteristics of the lizard symbolizes death and rebirth of, possibly, disease or love, which may also be the cause of the man’s’ mournfulness. However, these symbolize that the young man abandoned the secular quotidian and distraction and turned to his career and responsibility (alluded by the book in his hands). The bright green of the tablecloth echoes the vibrancy of the fine window scenery, indicating a man's vigor and liveness in his youth and heralding his career in the future. [1] Viewers are able to attain more information through the artist meticulously depiction of the rich texture details of objects. For example, the original thick, hard leather cover of the book that the young man holds had become soft and wrinkled. The darker color blocks on the book cover at the edge recorded the history that the book had been stored and touched for ages. In the pages of the book, the rough and slightly bulged surface of the paper showed that these pages had been repeatedly browsed and written. These texture details increased the authenticity of the picture and revealed more information about the identity of the character. The sinuous folds of aquamarine blue drapery, neatly falling tassels and smooth, reflective surfaces all show that the fabrics are fine silk products. Together with the luster of the gold necklace and ring on the table, the light reflected by the black dress of the sitter, it reveals the wealthy economic conditions and possible merchant occupation of the young man in the painting. The man's eyes did not form any contact with the audiences nor gazing directly at the book, but slightly looked down at a distant place, showing he's in contemplation and not to be disturbed. The expression in his eyes was gentle and natural which reflects the calmness and solitude in his personality. The corners of his mouth did not lift up with joy nor did they appear in a natural shape in absolute relaxation. Instead, there was a trace of tension and a sense of control, which furthered his expression to seem melancholy and slightly sorrowful. Through the muscles of his cheeks and eyebrows, it was even more obvious that he was suppressing this somber feeling and a slight sense of tension. Lorenzo Lotto (c.1480-1556) is a distinctive Venetian school artist that’s famous for the creation of some of the most engaging, puzzling, and moving high Renaissance works. The portraits by Lotto are especially attractive and influential due to the in-depth depiction of psychological emotions and traits. Lotte is under the influences of a wide range of artists, such as Giovanni Bellini, Raphael, and Titian but also developed his own stylistic individuality. [2] Neither the sponsor nor the purpose of this portrait has been recorded in history. But we can speculate that it’s commissioned by the young man in the portrait or his family members. This is likely to be one of the painters' non-noble patrons. Although his identity is unknown, according to the mercantile ledger read by men, analyzed by historian scholars, the art patron is a successful and wealthy merchant class that emerged in the 16th century. [3] The purpose of this portrait is more personal. It commemorates the young merchant’s youth and successfully outlasts the commissioner himself to narrate the time. [1] Oettinger, April. "The Lizard in the Study: Landscape and "Otium" in Lorenzo Lotto's "Portrait of a Young Man" (c. 1530)." Artibus Et Historiae 33, no. 65 (2012): 115-25. Accessed September 29, 2020. http://www.jstor.org/stable/23509714. [2] Humfrey, P., D.A. Brown, L. Lotto, M. Lucco, Accademia Carrara, Galeries nationales du Grand Palais (France), and National Gallery of Art. Lorenzo Lotto. Yale University Press, 1997. 1-2 [3] “Portrait of a Young Man, or Portrait of a Gentleman in His Study.” Accessed September 29, 2020. http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study. Creator An entity primarily responsible for making the resource Lorenzo Lotto Source A related resource from which the described resource is derived Humfrey, P., D.A. Brown, L. Lotto, M. Lucco, Accademia Carrara, Galeries nationales du Grand Palais (France), and National Gallery of Art. Lorenzo Lotto. Yale University Press, 1997. 1-2 Oettinger, April. "The Lizard in the Study: Landscape and "Otium" in Lorenzo Lotto's "Portrait of a Young Man" (c. 1530)." Artibus Et Historiae 33, no. 65 (2012): 115-25. Accessed September 29, 2020. http://www.jstor.org/stable/23509714. “Portrait of a Young Man, or Portrait of a Gentleman in His Study.” Accessed September 29, 2020. http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study. Image Source: GALLERIE DELL'ACCADEMIA DI VENEZIA. Portrait of a Young Man. 2020. Gallerie Accademia, Venezia. Accessed September 30, 2020 <a href="http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study">http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study</a> Publisher An entity responsible for making the resource available Image Source: GALLERIE DELL'ACCADEMIA DI VENEZIA. Portrait of a Young Man. 2020. Gallerie Accademia, Venezia. Accessed September 30, 2020 <a href="http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study">http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study</a> Date A point or period of time associated with an event in the lifecycle of the resource c. 1527 Contributor An entity responsible for making contributions to the resource Liuren Yin Format The file format, physical medium, or dimensions of the resource Oil on canvas, 97 x 110 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Feast_in_the_House_of_Levi/SCALA_ARCHIVES_1031314658.jpg aad48f70cc315741065ae87065540948 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 30: Gallerie dell'Accademia (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 Gallerie dell'Accademia, Venice, Italy 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 in the House of Levi Subject The topic of the resource This depiction of the Last Supper was commissioned by the refectory of the Basilica di Santa Giovanni e Paolo in 1571. After Veronese had finished the very large painting, the commissioners were not happy with it due to the figures that were put in the painting that were never mentioned in the Bible.[1]. Veronese claimed that he was merely exercising his artistic license, which poets and writers do all the time. [2] The church then interrogated the artist about it because since the Protestant Reformation was going on at that time, this depiction of this holy scene could have shown irreverence. The painting's name was the switched to Feast in the House of Levi to appease the commissioners. The new subject of the painting is from the gospel of Luke, chapter 5, in which was a large feast with multitudes of guests is prepared by Levi all for Jesus. [3] [1]Garton, John. "Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus." Renaissance Quarterly 65, no. 3 (2012): 753-808. [2] Potter, Polyxeni. "Nature hath fram'd strange fellows in her time." Emerging Infectious Diseases 13, no. 9 (2007): 1443+. Gale In Context: Science [3] SALOMON, XAVIER F. The Burlington Magazine 154, no. 1313 (2012): 581-83. Description An account of the resource The large white archways and Corinthian style marble pillars immediately give Veronese's painting a classical architectual syle and a sense of grandeur. The archways are large and ornate and give views into the large banquet taking place. The space between the pillars and tops of the arches is filled by impressions of golden angels with flowing cloaks that seem to be reclining on the archways. The two large pillars in this piece match up with the frame to create a sense of uniformity and further implore three dimensionalities of the painting. Through the arches lies a dulled white city silhouetted by a grey, stormy sky. The city is intricately detailed with columns, arches and façades making up the grand buildings. People can be seen in the buildings standing on balconies and at windows who seem to be peering towards the large gathering. Inside the actual feast lies a wide variety of colors, people, and animals. At the center of the table is Jesus seated with a faint golden halo surrounding his head. Servants can be seen serving food and drink to Levi's guests. Around the table the audience can see a variety of animals from two dogs near the focal point of the painting to the bird in the hands of a midget. Veronese packed this painting with interesting characters like midgets, children, venetian soldiers, and even Muslims when none of them were present in the biblical version of the last supper. All of the characters' clothing is intricately detailed to make it look like it is flowing naturally and given unique texturization. Veronese created his own modernized and altered version of the last supper painting, which was very quickly rejected by the church and therefore had to be renamed. Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived 1. Potter, Polyxeni. "Nature hath fram'd strange fellows in her time." Emerging Infectious Diseases 13, no. 9 (2007): 1443+. Gale In Context: Science (accessed September 30, 2020). https://link.gale.com/apps/doc/A168510907/SCIC?u=duke_perkins&sid=SCIC&xid=77ef8249. 2. d Accessed September 30, 2020. http://www.jstor.org/stable/41812750. 3. Garton, John. "Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus." Renaissance Quarterly 65, no. 3 (2012): 753-808. Accessed September 30, 2020. doi:10.1086/668301. 4. Paolo Veronese. 1571-73. Feast in the House of Levi. painting. Place: Gallerie dell'Accademia di Venezia. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314658. Publisher An entity responsible for making the resource available Refectory of the Basilica di Santa Giovanni e Paolo Date A point or period of time associated with an event in the lifecycle of the resource 1571-1573 Contributor An entity responsible for making contributions to the resource Darien Sansosti Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource 556 x 1280 cm Type The nature or genre of the resource Painting, Oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia di Venezia Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Feast_in_the_House_of_Levi/SCALA_ARCHIVES_1031314658.jpg aad48f70cc315741065ae87065540948 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 30: Gallerie dell'Accademia (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 Gallerie dell'Accademia, Venice, Italy 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 in the House of Levi Creator An entity primarily responsible for making the resource Paolo Veronese Date A point or period of time associated with an event in the lifecycle of the resource 1573 Contributor An entity responsible for making contributions to the resource Jared Kreis Format The file format, physical medium, or dimensions of the resource Oil on canvas, 560 x 1309 cm Type The nature or genre of the resource Painting Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. http://www.artres.com/c/htm/Home.aspx http://www.scalarchives.com Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia di Venezia (Venice, Italy) Description An account of the resource Paolo Veronese was a renaissance painter known primarily for his paintings relating to religion and mythology. His personality itself was very mysterious and little was known about him, due to few documentations of letters and personal life. [1] Nonetheless, he created many beautiful works of art. Perhaps his most unique is the The Feast in the House of Levi. This painting contains many aspects of typical feast paintings. It has a large, crowded banquet table with many guests, colors of numerous shades, which both highlight the indulgent nature of the figures during the feast. Furthermore, the painting incorporates typical architecture with the display of the white arches as well as a few Venetian buildings in the background of the paintings. Addtionally, Jesus Christ is a center focal point, which further demonstrates the importance of religion. He is shown surrounded by his saints, which demonstrates the social gathering that the feast provided. Another interesting aspect of this painting is the title itself. Scholars believed that this was more of a feast, rather than your typical Last Supper painting. Veronese inscribed the balustrade of the painting with the rubric "Fecit D. Covi Magnum Levi/Luca Cap. V." The text - "And Levi made him a great feast in his own house" - provided a title, The Feast in the House of Levi. [2] This ties in with the visual analysis because due to the contents of the painting, Veronese had to appear in court. The main concern of the court was the inclusion of fools, dwarfs and German soldiers, who had nothing to do with the biblical story of the Last Supper. [3] Court justices were worried that heretics could use this painting as fuel for their battle against the Holy Roman empire. [1] (Book) Garton, John. "Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus." Renaissance Quarterly 65, no. 3 (2012): 753-808. Accessed September 30, 2020. doi:10.1086/668301. [2] D'ARGAVILLE, BRIAN T. "Inquisition and Metamorphosis: Paolo Veronese and the "Ultima Cena" of 1573." RACAR: Revue D'art Canadienne / Canadian Art Review 16, no. 1 (1989): 43-99. Accessed September 30, 2020. http://www.jstor.org/stable/42630415. [3] Grasman, Edward. "On Closer Inspection - The Interrogation of Paolo Veronese." Artibus Et Historiae 30, no. 59 (2009): 125-34. Accessed September 30, 2020. http://www.jstor.org/stable/40343668. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Feast_in_the_House_of_Levi/Feast_in_the_House_of_Levi_image.jpg b1630324eaef6391f8b91ef39a3e7162 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 30: Gallerie dell'Accademia (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 Gallerie dell'Accademia, Venice, Italy 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 in the House of Levi Description An account of the resource Feast in the House of Levi was a replacement for the painting of an earlier work by Titian destroyed by the fire in 1571. [1] Originally Caliari had this painting name Lord's Last Supper and intended to be a monumental artwork for a religious commitment. However, he was forced to rename this painting to Feast in the House of Levi due to the investigation from Roman Catholic Inquisitions that they feel it is not appropriate to include dwarfs, drunken Germans, and such aristocratic cloth in a holy painting. [2] He was originally ordered to change the painting's details, but he changes the name instead. This painting was one of the most controversial Paolo Caliari's painting. When the viewer first looks at this artwork, the massive three arches draw most of the attention. Those arches give us a scope of the magnificent buildings of Venice cityscape. Those arches were probably inspired by the Italian buildings of that time. [3] The details he emphasizes above the arches are incredible. The sunlight bounces off the golden engravings gives a vivid texture feel. When viewer shifts their attention to the center of the painting, they will see Jesus in the middle of the table with subtle light coming from his shimmering Biblical robe that contrasts with the background as a way to present his holy figure. The painter was trying to convey a sense of the dynamic in this painter through each character's animation. Every living creature in this art is in the middle of some actions, from talking to eating to walking around, allowing the viewer to feel the liveliness in this painting. [1] Krén, Emil, and Daniel Marx. “Feast in the House of Levi” n.d. Accessed September 30, 2020.https://www.wga.hu/html_m/v/veronese/06/8levi.html [2] Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online. 2003; Accessed 30 Sep. 2020. https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. [3] Ginnybergs. “What’s in a Painting? Taking a Closer Look at Paolo Veronese’s Masterpiece: Feast in the House of Levi (c. 1573),” 2017. May 22. Accessed September 30, 2020. https://rhapsodyinwords.com/2017/05/22/whats-in-a-painting-taking-a-closer-look-at-paolo-veroneses-masterpiece-feast-in-the-house-of-levi-c-1573/. Creator An entity primarily responsible for making the resource Paolo Caliari Source A related resource from which the described resource is derived Krén, Emil , and Daniel Marx. “Feast in the House of Levi” n.d. Accessed September 30, 2020. https://www.wga.hu/html_m/v/veronese/06/8levi.html. Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online. 2003; https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. MacFall, Haldane. Feast in the House of Levi, 1911. http://www.law.harvard.edu/faculty/martin/art_law/feast_in_the_house_of_levi.htm. Paolo Veronese. 1571-73. GINNYBURGES. “What’s in a Painting? Taking a Closer Look at Paolo Veronese’s Masterpiece: Feast in the House of Levi (c. 1573),” 2017. May 22. Accessed September 30, 2020. https://rhapsodyinwords.com/2017/05/22/whats-in-a-painting-taking-a-closer-look-at-paolo-veroneses-masterpiece-feast-in-the-house-of-levi-c-1573/. EN. of Art Education “The Feast in the House of Levi (1573).” Feast in the House of Levi, Paolo Veronese: Analysis. Accessed September 30, 2020. http://www.visual-arts-cork.com/famous-paintings/feast-in-the-house-of-levi.htm. Publisher An entity responsible for making the resource available © Web Gallery of Art Krén, Emil , and Daniel Marx. “Feast in the House of Levi”n.d. Accessed September 30, 2020. https://www.wga.hu/html_m/v/veronese/06/8levi.html. Date A point or period of time associated with an event in the lifecycle of the resource 1528-1588 Contributor An entity responsible for making contributions to the resource Emily Song Format The file format, physical medium, or dimensions of the resource Oil on canvas, 555 x 1280 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/AHSC_ORPHANS_1071313534.jpg a5948c94158ace18aa3fcb807dff2dba 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 30: Gallerie dell'Accademia (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 Gallerie dell'Accademia, Venice, Italy 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 Tempest Description An account of the resource The Tempest was an important work in Renaissance landscape painting, and one of the 5 surviving works by Giorgione. The painting depicts a storm moving towards two main figures, with a child in the arms of the woman. The male figure looks at the woman, who gazes straight-on to the viewer. The colors of the painting are vivid, but not vibrant, creating the sense that the storm is about to overtake the figures. The woman is nude, but has a white blanket draped over her shoulders and a couple of branches that shade but do not cover her legs. While the woman and her child appear nude, the man is dressed nicely with a lance, causing many historians to make guesses that he is some sort of soldier or knight. The plane where the family is placed is the brightest area, while the background becomes progressively darker, giving the appearance of the storm being behind them while they remain in the sun but it remains quickly approaching. The family seems to be in a beautiful and lush area, with a river surrounded by trees. There are many different interpretations of this work, and historians have not agreed on any single one. Some believe the two people are Adam and Eve, with the lush green around them being the garden and the approaching storm being their eventual demise. Many other biblical stories have also been proposed as potential scenes. Others belive that the painting is a version of the German story Golden Legend, and still others argue that there is no evidence to prove that Giorgione may have just painted a gypsy couple without a deeper meaning, which would have been very unorthodox for the time. Creator An entity primarily responsible for making the resource Giorgione Source A related resource from which the described resource is derived Bosch, Lynette M. F. "GIORGIONE'S "TEMPEST" REVISITED." Source: Notes in the History of Art 10, no. 2 (1991): 7-15. Accessed September 30, 2020. http://www.jstor.org/stable/23202635. Kilpatrick, Ross S. "Hagar and the Angel in Giorgione's "Tempest"." Artibus Et Historiae 18, no. 36 (1997): 81-86. Accessed September 30, 2020. doi:10.2307/1483600. Wethey, Harold E. “Giorgione” April 18, 2019. https://www.britannica.com/biography/Giorgione. Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. <div> <div class="gtx-trans-icon"></div> </div> Publisher An entity responsible for making the resource available Commissioner: Gabriele Vendramin Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. <div> <div class="gtx-trans-icon"></div> </div> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1510 Contributor An entity responsible for making contributions to the resource Julia Curd Rights Information about rights held in and over the resource Data From: Art Images for College Teaching Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource 31 x 29 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 Galleria dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Venice_Receiving_Homage_from_Hercules_and_Ceres/Venice_Receiving_Homage_from_Ceres_and_Hercules.jpg a65216a2ad9364ad66f74efd91f8a61f 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 30: Gallerie dell'Accademia (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 Gallerie dell'Accademia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Venice Receiving Homage from Hercules and Ceres Description An account of the resource In this painting, we see a multitude of figures, some of which are in the nude whereas others are defined by idealized drapery. Immediately, the first aspect noticed is the shape of the canvas: a rectangular center with 4 semicircular lobes extending from the main canvas, almost like a puzzle piece surrounded in a quatrefoil. This shape plays an important part in the function and the interpretation of the piece, which will be discussed later. Following the shape, the next aspects drawing attention are the features of the female figure of Venice, Hercules (left), and Ceres (right), as well their spatial relationship with each other. Drawn to the bright color of her clothing, in addition to the diagonal lines created by the bodies of Hercules and Ceres, the viewer’s eyes are first drawn to Lady Venice--identified by the lion of St. Mark at her feet. Bright colors of pink and gold illuminate her lower half, while her upper body recedes into the shade, giving the piece a sense of depth. This sense of depth is strengthened by the contrast in lighting in the scene: the foreground is illuminated by what appears to be sunlight whereas the background is much darker yet still contains bright hues of blue. In addition to her meticulous drapery, Lady Venice wears a pearl necklace in front of an open blue sky, a characteristic of classical Greco-Roman traditions that Veronese appropriates in his artwork [1]. Beneath her, the muscular Hercules bows his head, almost subserviently; meanwhile, the goddess of fertility, Ceres, looks up to Lady Venice in awe--thus creating a triangular shape, with Venice at its peak. This sense of geometry is repeated once again in the shape of the canvas. Within each semicircular lobe lies a body part of each figure: Hercules has his arm holding a club in the left lobe, Ceres has her arm extended in the right lobe, a child (presumably a child of Ceres) stands with its legs in the bottom lobe, and the head of Lady Venus lies in the upper lobe. Not only does this create another shape, a diamond, where Venice is at the upper peak but it also creates a sense of unity within the image--almost as if a body has been made from the individual parts of the figures. Through this, Veronese makes a statement: with the strength of Hercules (muscular arm), the eloquence of Ceres (arm), the wisdom and leadership of Venice (head), and the fertility associated with Ceres (baby legs), the myth of Venice is very much a reality. This geometric aspect is one that Veronese focused on, as seen in other pieces of his such as The Conversion of Mary Magdalene [2]. This painting was originally created for the ceiling of the Magistrato delle Biade in the Doge’s Palace, the administrative center in charge of the storage and sale of grain. Thus, the subject matter becomes even more relevant, and more importantly, specific. The lobes would allow for interconnectivity with other art pieces in the ceiling, allowing an overall fluid composition. Most likely commissioned by patricians associated with this office, Paolo Veronese brings in classical traditions for his work, likely influenced by the translated works of Greek philosophers Plutarch and Xenophon (available to Veronese by humanist Marcantonio Gandino) [3]. Thus, Veronese strengthens the myth of Venice while also connecting the art piece to the function of the room in which it was meant to be displayed. [1] Britannica Educational Publishing Staff, 2009, The 100 Most Influential Painters and Sculptors of the Renaissance : 100 Most Influential Painters and Sculptors of the Renaissance. Chicago, IL: Rosen Publishing Group, Accessed September 29, 2020, ProQuest Ebook Central. [2] Nicholas Penny, 2014, "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae (70): 211-219,249-251. <a href="https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1646984251?accountid=10598">https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1646984251?accountid=10598</a>. [3] John Garton, “Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus,” Renaissance Quarterly 65, no. 3 (Fall 2012): 753–808, doi:10.1086/668301. Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived I. Journal article 1: Penny, Nicholas. 2014. "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae (70): 211-219,249-251. <a href="https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1646984251?accountid=10598">https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1646984251?accountid=10598</a>. <ul> <li>Used to see what formal characteristics are baseline for Veronese artworks</li> </ul> II. Journal article 2: Garton, John. “Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus.” Renaissance Quarterly 65, no. 3 (Fall 2012): 753–808. doi:10.1086/668301. <ul> <li>Used to see influences on Veronese’s artworks</li> </ul> III. Book: Britannica Educational Publishing Staff. 2009. The 100 Most Influential Painters and Sculptors of the Renaissance : 100 Most Influential Painters and Sculptors of the Renaissance. Chicago, IL: Rosen Publishing Group. Accessed September 29, 2020. ProQuest Ebook Central. <ul> <li>Used to explore Veronese’s development as an artist, specifically what characteristics he adapted from classical studies</li> </ul> IV. Image citation: GALLERIE DELL'ACCADEMIA DI VENEZIA. Venice Receiving Homage from Hercules and Ceres. 2020. Gallerie Accademia, Venezia. http://www.gallerieaccademia.it/en/venice-receiving-homage-hercules-and-ceres. V. Museum: “Venice Receiving Homage from Hercules and Ceres.” Gallerie dell'Accademia di Venezia, 2020. <a href="http://www.gallerieaccademia.it/en/venice-receiving-homage-hercules-and-ceres">http://www.gallerieaccademia.it/en/venice-receiving-homage-hercules-and-ceres</a>. VI. Extra: Savage, David. “Veronese.” Cavallini to Veronese - Italian Renaissance Art, 2012. https://www.cavallinitoveronese.co.uk/general/view_artist/81. Publisher An entity responsible for making the resource available Commissioned by high authorities for the Magistrato delle Biade in the Doge’s Palace (responsible for storage and sale of grain). Image Source: GALLERIE DELL'ACCADEMIA DI VENEZIA. Venice Receiving Homage from Hercules and Ceres. 2020. Gallerie Accademia, Venezia. http://www.gallerieaccademia.it/en/venice-receiving-homage-hercules-and-ceres. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1575 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource © 2020 GALLERIE DELL'ACCADEMIA DI VENEZIA, OFFICIAL SITE, ALL RIGHTS RESERVED Format The file format, physical medium, or dimensions of the resource Canvas, 308x327cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie Accademia, Venezia https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Last_Supper/Last_Supper.jpg 5b9c2dda197d18a451128118cb1b1186 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 30: Gallerie dell'Accademia (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 Gallerie dell'Accademia, Venice, Italy 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/24600752">The Last Supper</a> Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource 365 cm × 568 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 Basilica di San Giorgio Maggiore, Venice Creator An entity primarily responsible for making the resource Jacopo Tintoretto Date A point or period of time associated with an event in the lifecycle of the resource 1592-94 Description An account of the resource The Last Supper is an oil on canvas painting Jacopo Tintoretto painted. This Italian Renaissance artist painted this between the years 1592-1594. The scene portrays a frontal view with multiple people sitting parallel from each other. The painting currently resides at the Basilica di San Giorgio Maggiore, Venice inside of the sanctuary on the right wall. The dimensions of this painting are 365 cm x 568 cm. Tintoretto created The Last Supper during the last stages of his career but is also considered one of his prime work of art. In the Last Supper, a lot of secondary characters occupy the center of the painting. The painting is very dim around the edges but close to the middle of the painting is self-illumination lighting this area up. The area that is lit shows off Christ, while some other characters have a small illumination around them. Near the ceiling, you can see angel-like figures flying around. Across the room are very dramatic characters doing different tasks. The room this is taking place in looks very tight but extremely decorative with the multiple patterns o the floor and wall designs. To the far right of this painting, you see a big table of food that’s being served by a woman and a man. Underneath the man is a lady on her knees washing the dirty dishes. Picturing myself in the room I can hear this scene being very loud and rejoiceful. The supernatural elements into the presentation of this piece ultimately pull it together. Source A related resource from which the described resource is derived Pallucchini, Rodolfo. Tintoretto. 27 May 2020, <a href="www.britannica.com/biography/Tintoretto">www.britannica.com/biography/Tintoretto</a>. Zirpolo, Lilian H. “Last Supper, San Giorgio Maggiore, Venice.” Academic Dictionaries and Encyclopedias, <a href="renaissance_art.enacademic.com/374/Last_Supper,_San_Giorgio_Maggiore,_Venice">renaissance_art.enacademic.com/374/Last_Supper,_San_Giorgio_Maggiore,_Venice</a>. Workshop of Jacopo Tintoretto (Italian, 1518-1594). 1580s. Baptism of Christ. Painting. Place: <a href="http://www.clevelandart.org/">The Cleveland Museum of Art</a>, Cleveland, Ohio, USA, Collection: <a href="https://library.artstor.org/asset/24600752">https://library.artstor.org/asset/24600752</a>. Rights Information about rights held in and over the resource Pallucchini, Rodolfo. Tintoretto. 27 May 2020, www.britannica.com/biography/Tintoretto. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/1200px-Giorgione_019.jpg 8deeb98345289dc633b8a90737cde659 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 30: Gallerie dell'Accademia (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 Gallerie dell'Accademia, Venice, Italy 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 Tempest Creator An entity primarily responsible for making the resource Giorgione (Giorgio da Castelfranco) Publisher An entity responsible for making the resource available Commissioned by Gabrielle Vendramin (in 1504) Date A point or period of time associated with an event in the lifecycle of the resource 1510 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. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 78.7 cm x 73.7 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 Gallerie dell'Accademia, Venice, Italy Description An account of the resource Giorgione was and Italian painter during the High Renaissance and achieved effect and distinctiveness in his paintings through color and mood. He was known as one of the most mysterious artists for always creating uncertainty in the meaning of his paintings [1]. His use of color, mood, and mystery were embodied in his landscape painting The Tempest, which is one of the first paintings in which landscape plays such a big role [1]. The Tempest is a painting of two, unrelated halves (foreground and background). In the forefront, three figures are clearly depicted. On the right, a woman, draped in a bright white robe with most of her body exposed, is seen suckling her baby. On the left, a manly figure is dressed very formal and fancy holding a staff, which may indicate he is a soldier. Many have identified this male figure, who is admiring the woman, as a member of a club of unmarried men called The Campagnia dell Calza [2]. Unlike other Venetian paintings, the painter does not put great emphasis on the figures (even though they are clearly present) like placing extra light on them or using lighter colors to depict them. The colors used to illustrate the individuals are similar to their surroundings making them blend into this landscape, which adds to their mystery. The representation of the figures has long been debated as some people believe it is a Gypsy and a solider, while others believe that the figure represent Adam and Eve [3]. Moving on, the background of the painting is indicative of some type of storm approaching. The dark clouds and the subtle flash of lighting create a gloomy mood. Many details are encompassed in the background including a stream widening to a river, several buildings, and even a temple, which all contribute to this countryside and urban landscape. The use of dark blue and green color hues foreshadows an impending doom coming into this well-constructed Venetian city and upon the figures [2]. The strategic use of strokes when painting the trees and other parts of nature creates a rough-feeling texture in the painting that contributes to the gloomy mood. While this painting has been left to interpretation to historians and viewers, I believe that it represents a nostalgic view of Venetian society as a serene republic even though it was under siege from foreign armies at the time (War of Cambria). [1] Harold E. Wethey, “Giorgione,” Encyclopedia Britannica, 2, 3 [2] Micahel L Shackman, “The Tempest,” Visual Arts Cork [3] Rudolf Schier, "Giorgione's Tempesta," Renaissance Studies 22 (2008), 478, 479 Source A related resource from which the described resource is derived Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. Accessed September 29, 2020 https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Schier, Rudolf. "Giorgione's "Tempesta": A Virgilian Pastoral." Renaissance Studies 22, no. 4 (2008): 476-506. Accessed September 29, 2020. http://www.jstor.org/stable/24417578. Wethey, Harold E. “Giorgione.” Encyclopædia Britannica. Encyclopædia Britannica, inc., April 18, 2019. Accessed September 29, 2020 https://www.britannica.com/biography/Giorgione. Shackman, Michael L. “The Tempest (1508).” The Tempest, Giorgione: Analysis, Meaning. Accessed September 29, 2020. http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm. Winkelmes, Mary-Ann. Speculum 74 (Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto), no. 3 (1999): 822-24. Accessed September 29, 2020. doi:10.2307/2886844.