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 (1519-1594) Publisher An entity responsible for making the resource available Scuola Grande di San Marco Image Source: Tintoretto, Jacopo. The Miracle of the Slave. Gallerie Accademia di Venezia. Accessed September 24, 2020. http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark. Date A point or period of time associated with an event in the lifecycle of the resource 1548 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 canvas, 416.0 x 544.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Description An account of the resource Jacopo Tintoretto was commissioned by the Scuola Grande di San Marco in 1547 to create a painting for the Sala Capitolare [1]. The artist came from a family of cloth dyers in Venice. He practiced drawing and painting from a young age, landing a spot in Titian’s workshop where he expanded his artistic abilities. Tintoretto became one of the greatest artists of Venice at his time, painting for the Doge and Venetian government along with many churches [2]. The Scuola Grande di San Marco commissioned Tintoretto to create a series of paintings depicting the life of St. Mark and his achievements, which includes The Miracle of the Slave. After his father’s death, Domenico Tintoretto continued the legacy of the workshop and painted for the Scuola as well [3]. The Miracle of the Slave depicts St. Mark, the patron saint of Venice, rescuing a slave from torture for defying the rule of his master. The slaveowner, depicted on a throne above, punishes his slave for devoting to the worship of St. Mark. The saint is up above, with his golden halo, interfering in the torture as the crowd is in awe [1]. Tintoretto dramatizes the scene with bright and vivid colors, unique composition, and distinct facial expressions depicting emotions. He illuminates the painting with St. Mark’s halo, representing the heroic role he plays in the painting. The bright colors of the figures’ clothing draw the viewer’s attention, visualizing the drama and emotion that goes into the depicted religious scene. Tintoretto utilizes light to represent the dichotomy between good and evil in this painting as the slave and saint’s halo are bright compared to the darkness of the vile crowd. The facial expressions of the characters highlight the emotions and intensity of the painting, which can be seen in the stunned expressions of the public crowd in the foreground. Their body language emphasizes the distress and bewilderment that is going on as St. Mark comes from the dead to save the life of this devout slave. This can be seen with the figure in the center showing the master his broken tools, confused as to why his torture won't work Tintoretto revolutionized the style of narrative painting, which can be seen through The Miracle of the Slave. His composition separates the heavenly figure of the saint from the lowly and unholy humans. St. Mark hangs upside down in the sky as Tintoretto wants to draw the viewer’s attention to him as the central figure. As Hans Tietze writes, Tintoretto's purpose in creating the painting was to show his adoration and love of Venice and Venetian tradition through representing the heroic actions of the city’s patron saint [4]. He was commissioned to narrate the story of the slave visually for those walking around the Sala Capitolare. He expanded on the idyllic portrayal of religious scenes through emphasizing the theatrical nature and passion in narrative painting. He uses the canvas as a way to express his creativity and complexity, reforming religious depictions in art [5]. [1] "The Miracle of the Slave, also known as The Miracle of Saint Mark," Gallerie Accademia di Venezia, accessed September 24 2020, http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark [2] Samuel Levy Bensusan, "Tintoretto," London; F.A. Stokes Co.: New York (1908): 9-10. [3] “Scuola Grande Di San Marco,” Columbia University Art Atlas, accessed September 24 2020, https://mcid.mcah.columbia.edu/art-atlas/venice-and-its-lagoon/scuola-grande-di-san-marco. [4] Hans Tietze, "The Tintoretto Exhibition at Venice" The Burlington Magazine for Connoisseurs 71, no. 414 (1937): 134. [5] A.C.J. , "Portrait of Alessandro Farnese, by Tintoretto" Bulletin of the Museum of Fine Arts 26, no. 153 (1928): 2. Source A related resource from which the described resource is derived A. C. J. "Portrait of Alessandro Farnese, by Tintoretto." Bulletin of the Museum of Fine Arts 26, no. 153 (1928): 2-3. Bensusan, Samuel Levy. Tintoretto. London; F.A. Stokes Co.: New York, 1908. “Scuola Grande Di San Marco.” Scuola Grande di San Marco | Art Atlas. Columbia University. Accessed September 24, 2020. https://mcid.mcah.columbia.edu/art-atlas/venice-and-its-lagoon/scuola-grande-di-san-marco. “The Miracle of the Slave, Also Known as The Miracle of Saint Mark.” Gallerie dell'Accademia di Venezia. Gallerie dell'Accademia di Venezia, 2020. http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark. Tietze, Hans. "The Tintoretto Exhibition at Venice." The Burlington Magazine for Connoisseurs 71, no. 414 (1937): 133-35. Image Source: Tintoretto, Jacopo. The Miracle of the Slave. Gallerie Accademia di Venezia. Accessed September 24, 2020. http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark. Rights Information about rights held in and over the resource Public Domain. Image Source: Tintoretto, Jacopo. The Miracle of the Slave. Gallerie Accademia di Venezia. Accessed September 24, 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]/Feast_in_the_House_of_Levi/SCALA_ARCHIVES_1031314658.jpg d10995dda53127c82d2d179da96e80e4 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 Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived 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. Rosand, David. "Theater and Structure in the Art of Paolo Veronese." The Art Bulletin 55, no. 2 (1973): 217-39. Accessed September 29, 2020. doi:10.2307/3049096. 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 29, 2020. http://www.jstor.org/stable/42630415. Young, Carolin C. Food in the Arts: Proceedings of the Oxford Symposium on Food and Cookery, 1998. United Kingdom: Prospect Books, 1999. Publisher An entity responsible for making the resource available Image source: Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. https://library.artstor.org/#/asset/SCALA_ARCHIVES_1031314658;prevRouteTS=1601164610394 Date A point or period of time associated with an event in the lifecycle of the resource 1571-73 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource oil on canvas, 556 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 di Venezia, Venice, Italy Description An account of the resource In this painting, we see a crowded banquet, replete with a multitude of Biblical figures including Jesus Christ and Judas. Veronese highlights Jesus’ holiness by using light colors and gold around his head as a halo, making his immediate surroundings lighter. This contrasts with the wide variety of rich and deep colors Veronese uses to depict the many figures along the long table. In addition, more emphasis is put on Jesus and his surroundings by the three arches that frame the painting in the foreground. The division through the arches of the painting into thirds combined with the concentration of light in the center pulls the viewers focus to the center of the painting. In addition, Veronese uses composition to draw attention to the middle. It is much more crowded with people on the two sides, meaning that it is harder to focus on the sides. In addition, Jesus’s robe is much more textured than most of the other pieces of clothing in the mid-ground, focusing the viewer’s eye on him. David Rosand believes that because of the vastness of the work, the audience needs to find spaces to focus on. Thus, the division of the arcade needed to occur in order to focus the viewer’s attention on a specific portion. [1] This work was painted for the refectory of the Dominicans of San Zanipolo in Venice to replace Last Supper by Titian destroyed in the fire of 1571. Veronese had originally intended it to show the Last Supper in the house of Simon, a famous depiction; however, when the Inquisition, spurred by the Counter-reformation, were angered by the paganism depicted by the inclusion of German soldiers, buffoons, and dwarfs, he was forced to change the title to Feast in the House of Levi, a much less celebrated Biblical tale. Brian D’Argaville also theorizes that other parts of the painting were also changed, such as the addition of two figures that face away from Christ. This adds to the pagan nature of the painting because of the lack of focus on Christ [2]. Carolin Young also shows that the boisterous depiction of the dinner adds to the pagan feel of the painting. The large amounts of people and servants enjoying the meal and making conversation adds to the hedonistic quality of the supper [3]. [1] David Rosand, "Theater and Structure in the Art of Paolo Veronese," in The Art Bulletin (New York: CAA, 1973), 225. [2] Brian T. D’Argaville, Inquisition and Metamorphosis: Paolo Veronese and the "Ultima Cena" of 1573," in RACAR: Revue D'art Canadienne / Canadian Art Review (Ontario: UAAC, 1989), 45. [3] Carolin C. Young, Food in the Arts: Proceedings of the Oxford Symposium on Food and Cookery (United Kingdom: Prospect Books, 1999), 234. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Feast_in_the_House_of_Levi/paolo-veronese-feast-at-the-house-of-levi-1573.jpg 006db3110218b5b1e2c8ebf69e1e6b67 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 Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online. 2003; Accessed 28 Sep. 2020. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. Grasman, Edward. "On Closer Inspection - The Interrogation of Paolo Veronese." Artibus Et Historiae 30, no. 59 (2009): 125-34. Accessed September 28, 2020. http://www.jstor.org/stable/40343668. Harris, Beth, and Steven Zucker. “Paolo Veronese. Feast in the House of Levi (Video).” Khan Academy. Khan Academy. Accessed September 28, 2020. https://www.khanacademy.org/humanities/renaissance-reformation/high-ren-florence-rome/late-renaissance-venice/v/paolo-veronese-feast-in-the-house-of-levi-1573. Rosand, David. "Theater and Structure in the Art of Paolo Veronese." The Art Bulletin 55, no. 2 (1973): 217-39. Accessed September 29, 2020. doi:10.2307/3049096. Image Source: 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 Image Source: 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. 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 Rafael Salazar-Paranhos Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 5.56 x 12.8 m 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 di Venezia, Venice, Italy Description An account of the resource The painting Feast in the House of Levi by Paolo Veronese was made from 1571 to 1573 and today is located in the Gallerie dell'Accademia in Venice, Italy. At first, this painting was created as a replacement to Titian’s Last Supper, yet over time it became known as the Feast in the House of Levi for many different reasons. To start it is important to analyze the painting as a whole. At 556 x 1280cm, it is one of the largest paintings in the gallery. On the background of the image, there are many buildings displayed which provides depth to the art and shows the style of the artist for emphasizing on the atmosphere. There are also three large arches and several large columns representing the architectural features present in Venice at the time. This representation with the arches is significant for dividing the attention of the painting into three different sections for the audience. There are numerous figures displayed in the painting due to its incredible size. On the left and right sides there are darker colors being utilized while the center is lighter and drags more attention to it since that is where Jesus Christ is. This was supposed be the main focus of the painting, yet there is much chaos surrounding it. To start, every person is involved in an action and moving in some kind of way. For example, Jesus is seen talking to someone on his right, while to his left there are others enjoying a piece of lamb. On the other hand there are many Venetian figures scattered with fancy clothing in order to display the prominence and wealth of the city state at the time [1]. There are also very specific details such as the table cloth lines, the floor design, and the staircase rails which show the attention to detail from Veronese. However, there are also small aspects of the figure which created argument and confusion over time. For example, there are midgets displayed, along with dogs and drunks which led to problems for the artists. Veronese explained that he depicted a scene where the holy and religious figures were pictured in the center, without many distractions, but that outside of this, in his creative mind, there were multiple things going on including these confusing animals and foreigners [2] He is simply trying to paint a different picture for the Venetian audience, while still focusing on the religious aspects. In 1573, the artist was taken to trial during the time of the Inquisition, for the church suspected him of heresy and did not appreciate his depiction of the Last Supper. He argued it was simply his creative mind and freedom as an artist and that the main portions of the painting still had religious importance [3]. However, it was revealed that the court said they did not appreciate the iconography displayed by the artist. Some reports also say that this was simply a political matter that ended up involving Veronese, yet in the end, he was still asked to change these ideas and therefore changed the painting's name to Feast in the House of Levi. [4] As a whole, the grand yet detailed nature of this painting is what has made it so significant and relevant for its time. Yet, what is most interesting is the history behind the production and how the church held Veronese to a trial and required him to alter his creation after it had been finished. [1] Beth Harris, Steven Zucker, “Paolo Veronese. Feast in the House of Levi (Video).” (Khan Academy, 2013) [2] David Rosand, "Theater and Structure in the Art of Paolo Veronese." (The Art Bulletin, 1973) [3] Diana Gisolfi, "Veronese [Caliari], Paolo." (Grove Art Online, 2003) [4] Edward Grasman, "On Closer Inspection - The Interrogation of Paolo Veronese." (Artibus Et Historiae, 2009), 125-34 https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/TheTempestGiorgione.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 one of the first landscape dominant works of the Venetian Renaissance. The work was commissioned by Gabriele Vendramin, and was completed only a few short years before Giorgione’s early death from the plague [1]. Due to the timing, it serves to represent the culmination of Giorgione's artistic skill and the advanced structure his career led him to develop. The image can be divided into two halves, one half containing the prominent human figures and the second half focusing on the surrounding landscape. In the front of the painting there is a woman with a baby in her arms feeding from her breasts. She is wearing a shiny white garment over her shoulders but the rest of her body remains exposed. Some analysts have interpreted her as a representation of Eve as a biblical reference [1]. To the right of the woman is a man standing tall with a stave in his right hand. His richly colored clothing design points to his association with the Companions of the Order of the Stocking, an aristocratic society of Venice [2]. However, this male figure is also interpreted as a representation of Adam, in conjunction with the reference to the female figure as Eve. As evident from a first glance, the human figures are only a fraction of the images composition. The top half of the painting is dominated by dark, ominous clouds that fill the entirety of the sky above. A lightning bolt is evident in the middle, as if it was frozen in time, to express the violent nature of the scene. The landscape below is illuminated but heavy shadows and darker shades prove the overcast’s eminence. Dark green trees, shrubs, and grass fill the image from front to back, especially lining the stream of water. Further back into the city are white urban buildings that line the river, and at the very end is a domed temple. This urban complex is believed to allude to either heaven or the city of Padua (which was annexed by Venice after resistance), depending on the viewers interpretation [2]. Furthermore this composition emphasizes the balance between the urban landscape and the natural landscape and moves the viewers through the painting. Lastly, on the tower in the distance is an inscription of the lion of saint mark, a correlation to the Venetian origin and nature of the work. [1] Campbell, Stephen J. "Giorgione's Tempest, studiolo culture, and the Renaissance Lucretius *," Renaissance Quarterly 56, no. 2 (2003): 299+, Gale Academic OneFile Select, accessed September 28, 2020, https://link-gale-com.proxy.lib.duke.edu/apps/doc/A102659361/EAIM?u=duke_perkins&sid=EAIM&xid=de8b877f. [2]"The Tempest (1508)." The Tempest, Giorgione: Analysis, http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm. Creator An entity primarily responsible for making the resource Giorgione Source A related resource from which the described resource is derived Campbell, Stephen J. "Giorgione's Tempest, studiolo culture, and the Renaissance Lucretius *." Renaissance Quarterly 56, no. 2 (2003): 299+. Gale Academic OneFile Select (accessed September 28, 2020). https://link-gale-com.proxy.lib.duke.edu/apps/doc/A102659361/EAIM?u=duke_perkins&sid=EAIM&xid=de8b877f. Settis, Salvatore. Giorgione's Tempest: Interpreting the Hidden Subject. University of Chicago Press, 1990. "The Tempest (1508)." The Tempest, Giorgione: Analysis, Meaning. http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm. Image Source: Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Publisher An entity responsible for making the resource available Commissioned by Gabriele Vendramin. Image Source: Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. 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 Jackson Huether 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. Data From: Art Images for College Teaching. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 78.7 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 Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Feast_in_the_House_of_Levi/ART53.jpg 7c48b19f34ad077e06f132d5a825c50e 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/. Contributor An entity responsible for making contributions to the resource Olivia Migli Title A name given to the resource Feast in the House of Levi Creator An entity primarily responsible for making the resource Paolo Veronese Publisher An entity responsible for making the resource available Comissioned by the convent of San Giovanni e Paolo. Image Source: Veronese, Paolo. The Feast in the House of Levi. Art Resource. Accessed 2020. https://www.artres.com/C.aspx?VP3=ViewBox_VPage&VBID=2UN365G43D9HL&IT=ZoomImageTemplate01_VForm&IID=2UNTWAG0AC&PN=3&CT=Search&SF=0. Date A point or period of time associated with an event in the lifecycle of the resource 1571-1573 Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 5.56 x 12.8 m 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 Veronese was commissioned in 1573 to paint a great banqueting picture for the convent of San Giovanni e Paolo [1]. It is a large oil painting, that now resides in the Galleria dell’Accademia in Venice. Its original name, The Last Supper, was indicative to the religious matter it was meant to portray. However, the Inquisition during the Reformation of the Catholic Church was furious with the way Veronese painted the sacred event of Christ’s last supper and he was forced to rename the painting, Feast in the House of Levi [2]. This painting is last in a series of monumental banquet paintings including, The Wedding Feast at Cana and Supper in the House of Gregory the Great [3]. Feast in the House of Levi depicts the biblical event of the last supper of Christ where he declares that one of his disciples would betray him. The picture is split into three parts by grandeur arches and two large columns reminiscent of Renaissance architecture popular in Venice. The background is made up of indistinct, hazy buildings consisting of very little color, which is brightly contrasted against the middle and foreground of vivid colors and lively figures. Jesus Christ is the center of the painting but the bustling crown is very loud and expressive. This effectively draws the eye away from him and to the commotion of a social event happening all around him, rather than to the spiritual event taking place and being the main focus. Veronese was well know for his painting of figures, and this painting does not disappoint [2]. Each figure has its own distinct physical appearance and action, the attention to detail in his figures can be seen with Judas. Judas, the traitor to Christ, is sat opposite of Christ facing slightly away and wearing a weary, uncomfortable face as well as being draped in bright red colors making him stand out even more as suspicious. There are figures from all different cultures such as German soldiers located to the far right and men wearing turbans to the opposite side. This is an indicator of the cultural center that Venice was due to its role as an important trade city, full of life and people from all over visiting. [1] Haldane MacFall, “Feast in the House of Levi,” Feast in the House of Levi, 1911, http://www.law.harvard.edu/faculty/martin/art_law/feast_in_the_house_of_levi.htm. [2] Dr. Beth Harris and Dr. Steven Zucker, “Paolo Veronese, Feast in the House of Levi,” Smarthistory, accessed September 30, 2020, https://smarthistory.org/paolo-veronese-feast-in-the-house-of-levi/. [3] “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. Source A related resource from which the described resource is derived Cocke, Richard. "Wit and Humour in the Work of Paolo Veronese." Artibus Et Historiae 11, no. 21 (1990): 125-45. Accessed September 30, 2020. doi:10.2307/1483387. Harris, Dr. Beth, and Dr. Steven Zucker. “Paolo Veronese, Feast in the House of Levi.” Smarthistory. Accessed September 30, 2020. https://smarthistory.org/paolo-veronese-feast-in-the-house-of-levi/. “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. Feast in the House of Levi. painting. Place: Gallerie dell'Accademia di Venezia. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314658. 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. Type The nature or genre of the resource Painting 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 <a href="https://library.artstor.org/#/asset/AHSC_ORPHANS_1071313534">The Tempest</a> Creator An entity primarily responsible for making the resource Giorgione (Giorgio da Castelfranco) 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. <a href="https://www.jstor.org/stable/23202635">http://www.jstor.org/stable/23202635</a>. Dr. James R. Jewitt, “Giorgione, The Tempest,” Smarthistory, April 17, 2020, <a href="https://smarthistory.org/giorgione-the-tempest/">https://smarthistory.org/giorgione-the-tempest/</a>. Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. <a href="https://library.artstor.org/asset/AHSC_ORPHANS_1071313534">https://library.artstor.org/asset/AHSC_ORPHANS_1071313534</a>. “The Tempest (1508).” The Tempest, Giorgione: Analysis, Meaning, 2020. <a href="http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm">http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm</a>. Publisher An entity responsible for making the resource available Commissioner : Gabriele Vendramin Image Source : Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. 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 Seamus Harding Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions Data : Art Images for College Teaching 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, 31x29" 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 Galleria dell"Accademia, Venice, Italy Description An account of the resource The Tempest was created by Giorgione (Giorgio da Castelfranco) around 1510. The enigma behind this painting baffled many historians over the years and there are different interpretations of this painting. This wasn’t on display for many years as it traveled but in the rendition of the Gallerie dell'Accademia, it is now on display. What is very interesting about this painting is that there has been an x-ray analysis done that shows that there was supposed to be another woman where the man is now [1]. This painting is a classic Renaissance landscape. It sets a scene of two figures sitting by a river with a storm approaching. In the right foreground appears a nude woman breastfeeding her child and the baby is protected by her breast and her thigh. She is looking at the audience with a blank expression. There appears to be sunlight in the top left corner shining down onto the nude woman. The beautiful scenery, which is aesthetic variations of plants, along with the nude woman, is illuminated by sunlight that hasn’t been covered by the storm. The left foreground shows a man who is dressed very thrillingly, holding a stave and looking at the naked woman. You can tell he is a member of the Campagnia della Calza, a fraternity composed of young nobles in Venice, because of his two-toned hosiery [1]. He has a white shirt on, a red throw over that looks like a cape, and multi-colored pants. The red really pops in this painting because that is the only red shown throughout the artwork. He casts a shadow on the right side of his body due to the sun's angle right on top of him. In between the two figures appears a small pond which is shaded by the man. The river, on the other hand, is a lighter blue that has reflections of the wildlife on it. The background reveals several things: a city, a stream that turns in a river, a bridge crossing over the river, and a storm with a lightning bolt appearing through the dark clouds. The figures do not seem very worried about this storm approaching. There is a shadow on the buildings in the background either representing rain or the gloomy darkness of the clouds. There have been several interpretations as to what this painting really represents. Marcantonio Michiel portrays this painting as a small landscape with a gypsy and a soldier [2]. To the more specific details, historians believe that the incoming storm has significance. It could have referred to the war of the League of Cambrai or from a biblical point of view, The Flight of Egypt [1]. The town is believed to be either Padua but other historians claim that it signifies Heaven. [1] “The Tempest (1508).” The Tempest, Giorgione: Analysis, Meaning, 2020. http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm. [2] Bosch, Lynette M. F. "GIORGIONE'S "TEMPEST" REVISITED." Source: Notes in the History of Art 10, no. 2 (1991): Page 7. Accessed September 30, 2020. http://www.jstor.org/stable/23202635. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Titian_Pieta.png b465b7626f830f4803197b92712bb6c2 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 Pietà Creator An entity primarily responsible for making the resource Titian, completed by Jacopo Palma Giovane Source A related resource from which the described resource is derived Grabski, Józef. "The Contribution of Collaborators in Titian's Late Works." Artibus Et Historiae 34, no. 67 (2013): 285-310. <a href="http://www.jstor.org/stable/23510256">http://www.jstor.org/stable/23510256</a>. Nygren, Christopher J. "Titian's Miracles: Artistry and Efficacy between the San Rocco Christ and the Accademia Pietà." Mitteilungen Des Kunsthistorischen Institutes in Florenz 57, no. 3 (2015): 320-49. <a href="http://www.jstor.org/stable/43738211">http://www.jstor.org/stable/43738211</a>. Rona, Goffen. Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian. New Haven: Yale University Press, 2002. Image Source: Artstor, accessed September 27, 2020. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314659. Date A point or period of time associated with an event in the lifecycle of the resource 1576 Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource Public Domain. Image Source: Artstor, accessed September 27, 2020. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314659. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 378.0 x 347.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Subject The topic of the resource The Virgin Mary cradles the dead body of Christ in the presence of Mary Magdalene and St. Jerome. Publisher An entity responsible for making the resource available Image Source: Artstor, accessed September 27, 2020. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314659. Description An account of the resource The scene depicted in Titian’s Pietà shows a dead Jesus Christ in the arms of his mother the Virgin Mary. St. Jerome clutches his arm while a startled Mary Magdalene rushes either towards or away from the corpse in horror. Behind the scene is a golden dome-like structure framed by a set of statues representing Moses and Hellespontine Sibyl as well as a vegetation-covered pediment [1]. The dome features an image of a Pelican picking at its own blood to feed its young, a common allegory for the Passion of Christ. All lines and the flow of action seem to direct the audience's gaze radially inwards towards the limp head of Jesus, the subject of the painting. The muted colors create a sombre mood devoid of life––the result of the vast absence left by the loss of the son of God. The body of Jesus alone is canvassed with a grim, silvery, and unnatural light. We can also see a shift from religious to pastoral imagery as we move up through the work. This symbolizes the natural progression towards death and an inevitable reunification with God. Pietà was the last work of Titian before his demise by plague in 1576. He modeled the figure of St. Jerome after himself as a prayer to protect himself from the epidemic, the death of Christ symbolic of his own impending one [2]. It was originally meant to be placed on Titian’s grave to earn a spot at the burial site, but following his death it ended up in the church of St. Angelo in Venice prior to being moved to the Gallerie dell'Accademia. The piece was finished by Jacopo Palma Giovane, but why it ended up in his hands is unclear. What is known is that he saw himself as the natural artistic successor to the greatness of Titian, even inscribing on the work his own name [3]. [1] Goffen Rona, Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian (New Haven: Yale University Press, 2002), 385. [2] Christopher J Nygren, "Titian's Miracles: Artistry and Efficacy between the San Rocco Christ and the Accademia Pietà," Mitteilungen Des Kunsthistorischen Institutes in Florenz 57, no. 3 (2015): 321. [3] Józef Grabski, "The Contribution of Collaborators in Titian's Late Works," Artibus Et Historiae 34, no. 67 (2013): 289. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/The_Tempest_Giorgione.png 2cd80e333157cd39494c750a3ae96ddf 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, painted by Giorgione c. 1505, is considered a groundbreaking piece of artwork for the time it was created in. Breaking traditional Venetian style, Giorgione painted a piece highly focused on the landscape, with a variety of hidden meanings inserted throughout the image. While Giorgione faced an untimely death in 1510 due to the plague, The Tempest outlives him as an incredible piece of art that analysts debate and discuss to this day. In the painting, two large figures appear in the foreground – a mother sitting on a small, grassy hill nursing her baby, while a man watches her. The man is striking a casual, but regal pose, and is dressed in clothing that was typically worn by affluent members of society. While the man watches the woman nurse her baby, she stares out of the painting with a rather blank look on her face. All but the baby's face is obscured by the mother, as she sits in a shielding, protective position. The figures in the foreground have been subject to various interpretations, some stating that the figures are representations of Adam and Eve with child, a soldier watching over a gypsy, or simply two civilians of Venice. [1] The background, or "top" of the painting, however, contains the truly celebrated aspects of Giorgione's genius. The vast difference between the fore and background has led analysts to claim the painting can be split into two halves that have no relation to one another. While Giorgione uses bright, warm colors in the foreground, creating the illusion of sun and heat, the background is filled with dark colors to show the storm brewing. A bolt of lightning is seen cutting across the dark blue and grey clouds, and both the city and trees in the background are shaded, creating an ominous sense. Giorgione uses depth in the painting to make the storm appear very far away from the figures in the foreground, as well as the stark contrast in lightning, thus allowing the two scenes to exist separately from one another, but occur simultaneously. A singular, agreed-upon meaning has yet to be derived from The Tempest. In agreement with the theory that the figures symbolize Adam and Eve, some scholars have claimed that the storm represents God's wrath and their looming banishment. The separation of the figures from the storm in the background plays into Adam and Eve's blissful unawareness and their temporary time in the Garden of Eden. A more common theory, however, suggests that Giorgione had little biblical meaning, and rather was making a statement about the impending war between Venice and the League of Cambria. In accord with the theory that the figures are simply civilians of Venice or a soldier with a civilian, Giorgione was believed to be illustrating the hurt and harm that would come to the people of Venice if the two nations did in fact come to battle.[2] [1] Wethey, Harold E. “Giorgione” April 18, 2019. https://www.britannica.com/biography/Giorgione. <div>[2] Settis, Salvatore. "Giorgione's Tempest: Interpreting the Hidden Subject." University of Chicago Press, 1990. </div> Creator An entity primarily responsible for making the resource Giorgione Source A related resource from which the described resource is derived Image Source: Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Wethey, Harold E. “Giorgione” April 18, 2019. https://www.britannica.com/biography/Giorgione. Settis, Salvatore. "Giorgione's Tempest: Interpreting the Hidden Subject." University of Chicago Press, 1990. Jewitt, Dr. James R. “Giorgione, The Tempest.” Smarthistory, May 2018. https://smarthistory.org/giorgione-the-tempest/. <div></div> Publisher An entity responsible for making the resource available Commissioner: Gabriele Vendramin c. 1505 Image Source: Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Date A point or period of time associated with an event in the lifecycle of the resource c. 1505-1510 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan 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, 31 cm 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]/Scenes_from_the_Life_of_Saint_Ursula_Martyrdom_of_the_Pilgrims_and_the_Funeral_of_Saint_Ursula/80martyr.jpg e7f733c9594368b4c75521218b508c98 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 Scenes from the Life of Saint Ursula: Martyrdom of the Pilgrims and the Funeral of Saint Ursula Description An account of the resource The Martyrdom of the Pilgrims and the Funeral of Saint Ursula was a single painting in a cycle created by the Vittore Carpaccio for the Scuole Piccola [1] and commissioned by the Loredan family [2]. The cycle narrates the life, marriage, and martyrdom of St. Ursula, with this specific piece focusing on her martyrdom. It depicts how she refused to marry the Hun prince and accepted her fate of death in order to remain dutiful to her fiancé as well as to her Christian ideals. [3] This piece is divided into two sections with the left-most section focusing on St. Ursula’s martyrdom and the right-most section telling the story of her funeral. The two parts of this piece are divided by a large pole that is depicted with the Loredan family’s coat of arms. In the left section of the painting, the immediate chaos of this piece can be observed. The chaotic nature of this piece is created by the tight spatial organization that Carpaccio has created with both the fighting army as well as the group of virgins that stand near St. Ursula. This feature along with Carpaccio’s manipulation of form, by making St. Ursula’s figure appear larger than the figures that surround her, places St. Ursula in the role of an active figure in this piece. Though she may be serenely accepting her fate, Carpaccio has shown her as a figure that has actively chosen to protect her Christian ideals, even if the result of that decision is her untimely demise. On the right-most side of the piece, Carpaccio uses another form of spatial organization to highlight St. Ursula. Specifically, the way St. Ursula is depicted on the bier makes her appear more elevated than those around her. By physically and spatially placing her above the rest of the scene, Carpaccio is emphasizing her connection to God. He furthers this connection to God by manipulating light. Again, compared to the other figures in this scene, St. Ursula has been depicted more brightly and vividly. This shows that her active choice to live with God led to her martyrdom and, thus, closer to God. In this piece, Carpaccio has utilized numerous stylistic elements to not only emphasize St. Ursula as an important divine figure but also capture the essence of her active choice to protect Christianity by accepting her death. By choosing to live by her Christian ideals, she marks her as a model and example of Christian piety. [1] Benezit Dictionary of Artists, “Carpaccio, Vittore.” Benezit Dictionary of Artists, (2011). [2] "Martyrdom of the Pilgrims (Saint Ursula and the Eleven Thousand Virgins) and Funeral of Saint Ursula,” Gallerie Accademia, accessed September 29, 2020, http://www.gallerieaccademia.it/en/martyrdom-pilgrims-saint-ursula-and-eleven-thousand-virgins-and-funeral-saint-ursula. [3] Elizabeth Rodini. "The Politics of Marriage in Carpaccio's St. Ursula Cycle," Early Modern Women 8, (Fall 2013): 85-117. Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived <ul> <li>Rodini, Elizabeth. “The Politics of Marriage in Carpaccio’s St. Ursula Cycle.” Early Modern Women 8, (Fall 2013): 85-117. http://www.jstor.org/stable/23617847.</li> <li>Benezit Dictionary of Artists. “Carpaccio, Vittore.” Benezit Dictionary of Artists, (2011). doi:10.1093/benz/9780199773787.article.b00032555.</li> <li>Gallerie Accademia. "Martyrdom of the Pilgrims (Saint Ursula and the Eleven Thousand Virgins) and Funeral of Saint Ursula,” Gallerie Accademia. Accessed September 29, 2020. http://www.gallerieaccademia.it/en/martyrdom-pilgrims-saint-ursula-and-eleven-thousand-virgins-and-funeral-saint-ursula. </li> </ul> Publisher An entity responsible for making the resource available Scuole piccola Date A point or period of time associated with an event in the lifecycle of the resource 1493 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 271 x 560 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]/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.