1 10 16 https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Doge_Leonardo_Loredan/N-0189-00-000072-wpu.jpg dc5f2c6da6826f7c156f8f71dbdf2676 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 October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK 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 Doge Leonardo Loredan Subject The topic of the resource A portrait of the Doge of Venice from 1501-1521. Creator An entity primarily responsible for making the resource Giovanni Bellini Date A point or period of time associated with an event in the lifecycle of the resource c. 1501-1502 Format The file format, physical medium, or dimensions of the resource Oil on poplar, 61.6 x 45.1 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, United Kingdom Source A related resource from which the described resource is derived Brown, David Alan; Ferino-Pagden, Sylvia. Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting. New Haven: Yale University Press, 2006. The National Gallery. “Doge Leonardo Loredan: Giovanni Bellini.” Accessed October 5, 2020. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. Humfrey, Peter. Painting in Renaissance Venice. New Haven: Yale University Press, 1997. Image Source: The National Gallery, accessed October 5, 2020. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. Publisher An entity responsible for making the resource available Image Source: The National Gallery, accessed October 5, 2020. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. 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: The National Gallery, accessed October 5, 2020. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. Description An account of the resource This work by Giovanni Bellini presents Doge Leonardo Loredan shortly after his election to the position [1]. It depicts him ceremoniously in elegant robes with the symbolic corno ducale on his head. Loredan is seen with a look of consternation upon his face, appearing to be focused intently on something in the distance. Behind him is a solid blue background and the artist has signed his name at the bottom of the frame. The painting itself is relatively simple, the only adornment coming from the clothwork on his clothes. However, the level of detail is visually stunning. Bellini uses a variety of techniques to convey messages about the important subject in these details. First, he uses a harsh light source on the left side to grant perspective. This now more three-dimensional figure appears more real––an effect aided by the use of natural, soft tones both in the skin of Loredan and in the background. Furthermore, the lighting brings out the wrinkles on the Doge’s face, signalling his age and therefore wisdom to the Venetian people. And although his gaze makes him seem a somber and serious person, his placid expression underscores his clear judgement and impartiality. The portrait is nothing short of an open display of power. The commissioning of one of the most well-respected artists in Venice at the time and having his signature unmistakeable is no coincidence for the Doge. In addition to that, the solid background incorporates the very expensive pigment ultramarine––the wealth in addition to the power [2]. This painting was meant to hang in the council room of the Palazzo Ducale in Venice alongside those made for other doges, but this one elegantly stood out––evoking busts of the great Roman emperors and thus implying Loredan was equal in grace and greatness to them [3]. [1] Peter Humfrey, Painting in Renaissance Venice, (New Haven: Yale University Press, 1997), 23. [2] “Doge Leonardo Loredan: Giovanni Bellini,” The National Gallery, accessed October 5, 2020, https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. [3] David Alan Brown and Slyvia Ferino-Pagden, Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting, (New Haven: Yale University Press, 2006), 42. https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Happy_Union/N-1326-00-000032-wpu.jpg bd0bd91a4bce0b03db87fd542c1b3d6f 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 October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK 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 Happy Union Creator An entity primarily responsible for making the resource Paolo Veronese (1528-1588) Publisher An entity responsible for making the resource available Image Source: Veronese, Paolo. Happy Union. The National Gallery. Accessed October 21, 2020. <a href="https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union">https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union</a> Date A point or period of time associated with an event in the lifecycle of the resource 1575 Contributor An entity responsible for making contributions to the resource Carmel Falek Rights Information about rights held in and over the resource Public Domain. Image Source: Veronese, Paolo. Happy Union. The National Gallery. Accessed October 21, 2020. <a href="https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union">https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union</a> Format The file format, physical medium, or dimensions of the resource Oil on canvas, 187.4 x 186.7 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 The National Gallery, London, United Kingdom Description An account of the resource The painting of the Happy Union was most likely commissioned by a husband and wife to decorate the ceilings of their home. Veronese was chosen to create this painting, making a series called the Four Allegories of Love on the dichotomy between a healthy and unhealthy relationship [1]. Happy Union has an opposite titled Unfaithfulness, depicting a ruined and sad relationship. Veronese, born in Verona to an artistic family, made a name for himself in the Venetian art scene. He learned how to draw through copying the engravings of Albert Durer, and became very famous in Italy during the sixteenth century, painting for many churches and even the Ducal Palace [2]. In Happy Union, Veronese captures the matrimony between a man and a woman. A nude woman unites the couple with a laurel wreath, a symbol of triumph, and an olive branch, a symbol of peace. The woman is assisted by a nude boy, possibly representing the mother-son relationship of Venus and Cupid, who were Roman gods of love, fertility, and marriage. On the right corner there is a dog, which was a representation of fidelity at the time. Veronese heavily utilizes symbolism to highlight the importance of matrimony to the viewer. The dog, laurel wreath, and olive branch all represent key aspects of a healthy and successful marriage. He incorporates architecture into his painting through the nude woman sitting on a sculpted sphere with a building behind her, decorated with detailed columns. Veronese created the painting with a dull and faded color palette, with the colors being very minimal and muted, possibly trying to not be flashy and overpowering. He uses color to depict the garments of the couple and the nude woman, making the lady’s dress pink with gold detail, the man’s clothes green with gold drapery, and the nude woman’s cloth covering her back gold. The color that unifies the three figures is gold, a color of purity and righteousness. He only paints colorful clothes for the couple and the nude woman in order to draw the viewer’s attention to them as they are the key figures of this story. Veronese composes the painting using a diagonal line as the viewer’s eyes read the painting from the top left corner with the nude woman sitting on top of the sphere to the bottom right corner with the child and dog. As Xavier Solomon writes, Happy Union presents the narrative from left to right [3]. He uses this singular line composition to visually depict this story of a happy marriage as the viewers’ eyes progress through the painting. Happy Union was created with the purpose of depicting the beauty and purity of true love. It represents what it means to be in a successful marriage, with the ideals of fidelity, love, virtue, and peace symbolized. Veronese incorporates his perspective on what it means to be in a happy union in this painting, highlighting his ideas on love. [1] “Paolo Veronese: Happy Union: NG1326: National Gallery, London,” The National Gallery, ccessed October 21, 2020, https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union. [2] Francois Crastre and Frederic Taber Cooper, Veronese, (New York: Frederick A. Stokes Company), 17. [3]Xavier F. Salomon, "New Evidence for the Original Arrangement of Paolo Veronese's 'Allegories of Love'," Master Drawings 50, no. 1 (2012): 60. Source A related resource from which the described resource is derived Crastre, Francois, and Frederic Taber Cooper. Veronese. New York, NY: Frederick A. Stokes Company, 1912. Penny, Nicholas. "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae 35, no. 70 (2014): 211-19. “Paolo Veronese.” The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/artists/paolo-veronese. Salomon, Xavier F. "New Evidence for the Original Arrangement of Paolo Veronese's "Allegories of Love"." Master Drawings 50, no. 1 (2012): 59-64. “Paolo Veronese: Happy Union: NG1326: National Gallery, London.” The National Gallery. Accessed October 21, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union. Image Source: Veronese, Paolo. Happy Union. The National Gallery. Accessed October 21, 2020. <a href="https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union">https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union</a> https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/St._Jerome_In_His_Study/ARTSTOR_103_41822000462703.jpg a0e88f54cab06d7951aa3fa5512e14b5 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 October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK 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 St. Jerome In His Study Subject The topic of the resource Antonello da Messina's St.Jerome in his study differs from his previous depictions of the saint. St.Jerome is shown as an middle aged man in this painting with distinct facial features. Jerome was a monk and a scholar who compiled the Latin vulgate translation of the Bible. [1] He was a penitent hermit who lived out his life distanced from the rest of society. Countless portrayals of the saint either depict him doing some scholarly activity or standing in front of a cruxifix stiking his breast with a stone. [2]. This painting was commissioned during the Catholic counter-reformation to paint Catholic ideologies and views in a warm light. Description An account of the resource One of the first thing that sticks out at the viewer when looking at Messina's painting is the architecture that he frames the picture in. A yellow or tan limestone arch that is in the Venetian architectural style stands in front of the audience to create a sense of grandeur. The clean curves and edges of the arch are designed carefully maintain a visually appealing aestethic. A peacock, a pigeon, and a golden bowl lie on a step that is part of the arch just, below the view into St. Jerome's study. Both birds have a symbolic meaning to them. The peacock represents the idea of immortality, while the pigeon represents the Catholic Church. These ideas challenge the protestant reformation while also complementing each other since the Catholic Church believes in eternal life after death. As we glimpse inside of the arch, St. Jerome sits at his study, a wooden step-like structure, reading a book. He sits in a very scholarly position, donning red cardinal robes that were awarded to him posthumously[3]. The robes show the hyperrealism that the artist was going for by flowing in the most natural way possible. The books that surround the saint on the shelves only reinforce that he was a scholarly man. To the left of the saint's feet you can see a cat along with two potted plants. On the right is a small chest with a doge's hat resting on top of it. Slightly behind the chest is a lion walking away from the viewer down a hallways of arcades. This lion is in fact St.Jerome, and the robes on the chest are the ones that he has shed as he has become a lion. Above the Saint Jerome are arches of the gothic style that serve to show the status and wealth of not only the saint, but of the church. Through the windows in the back of the image we are given a view of the natural world. On the two windows on the lower floor there are rolling hills of lush green and countless bushes and trees. Outside the windows on the upper level of the building, birds can be seen flying around freely. The floor of this painting is one of the most important aspects to the perspective of the viewer. The design of these tiles makes the image seem to be three dimensional with long hallways and spanning arches. The fact that his work is a painting allows for the effect that we are glimpsing into a window by allowing the artist to carefully create shadows that reinforce the image's three-dimensionality. It also allows the painter to create more constrast between the more muted colors of shadows and the archway and vibrant tones of the books and saint's robes. [1] ANTONELLO DA MESSINA (active 1456—died 1479), Saint Jerome in his Study." In The National Gallery Companion Guide, by Erika Langmuir. 2nd ed. The National Gallery, 2016. [2] Jolly, Penny Howell. "Antonello Da Messina's 'St Jerome in His Study': A Disguised Portrait?" The Burlington Magazine 124, no. 946 (1982): 27-29. [3]Kim, Young Richard. ""Jerome and Paulinian, Brothers"." Vigiliae Christianae 67, no. 5 (2013): 517-30. Creator An entity primarily responsible for making the resource Antonello da Messina Source A related resource from which the described resource is derived "ANTONELLO DA MESSINA (active 1456—died 1479), Saint Jerome in his Study." In The National Gallery Companion Guide, by Erika Langmuir. 2nd ed. The National Gallery, 2016. http://proxy.lib.duke.edu/login?url=https://search.credoreference.com/content/entry/ngcg/antonello_da_messina_active_1456_died_1479_saint_jerome_in_his_study/0?institutionId=2558 Jolly, Penny Howell. "Antonello Da Messina's 'St Jerome in His Study': A Disguised Portrait?" The Burlington Magazine 124, no. 946 (1982): 27-29. Accessed October 7, 2020. http://www.jstor.org/stable/880603. Kim, Young Richard. ""Jerome and Paulinian, Brothers"." Vigiliae Christianae 67, no. 5 (2013): 517-30. Accessed October 7, 2020. http://www.jstor.org/stable/42003525. Antonello, da Messina, 1430?-1479. St. Jerome in his study. https://library.artstor.org/asset/ARTSTOR_103_41822000462703. Publisher An entity responsible for making the resource available Antonio Pasqualino Date A point or period of time associated with an event in the lifecycle of the resource 1475 Contributor An entity responsible for making contributions to the resource Darien Sansosti 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 46 x 36 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art of London; London, England https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Bacchus_and_Ariadne/bacchus_and_ariadne.jpg 9eabf64416e03057ac021ea03fbe8bf3 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 October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK 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 Bacchus and Ariadne Description An account of the resource The painting Bacchus and Ariadne, created by Titian between 1520 and 1523, is a depiction of the Myth of Ariadne. Specifically, it depicts the version in the 64th poem of Catullus [2]. In the myth Ariadne, daugther of the King of Crete, helps the hero Theseus through the labyrinth of the minotaur [1]. Theseus promises to take Ariadne back to the city of Athens with him, but instead abandons the princess on the island of Naxos, the setting of this painting. She is searching for Theseus when the god Bacchus comes to the island, the moment of the myth captured by Titian in this painting [2]. Ariadne stands on the left side of the painting, relatively alone. Her gaze looks towards Bacchus, but her body is turned towards the sea, with her right arm reaching out. This gives her the appearance of looking for Theseus, perhaps just having seen his ship sailing for Athens. Bacchus returns her gaze, and is jumping out of his chariot towards her. Bacchus' chariot is pulled by two cheetahs, which are nimble and exotic animals. Some scholars have debated on why this choice may be significant [3], but in Tresidder's analysis of the painting and history he concludes that cheetahs were likely the most common type of big cat in 16th century Italy [3], and complimented the flightiness of Bacchus well. They could also be included due to the Duke of Ferrera's love of exotic animals. Behind the god there are several other mythological creatures, including several satyrs, who are often depicted in scenes with Bacchus [2]. Titian uses colors that are very bright and strong including many bright blues and pinks. Ariadne is surrounded mostly in blue, with a small piece of red fabric over her shoulder, while Bacchus is mostly nude with a piece of pink fabric moving around him. There is a lot of movement in this work, both in the fabric and the positioning of the figures. The movement of the figures behind Bacchus draws the viewer's eye to the leaping Bacchus. Additionally, the use of light in the painting places emphasis on Ariadne and Bacchus, as they appear much brighter than the other figures, shadowed by the trees. These elements both draw the eye to the couple and show their immediate connection as they see each other. [1] Daviau, Donald G., and George J. Buelow. "The Ariadne Myths." In The "Ariadne Auf Naxos" of Hugo Von Hofmannsthal and Richard Strauss, 87-99. University of North Carolina Press, 1975. Accessed October 7, 2020. doi:10.5149/9781469657363_daviau.9. [2] Thompson, Graves H. "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 7, 2020. http://www.jstor.org/stable/3292884. [3] Tresidder, Warren. "The Cheetahs in Titian's 'Bacchus and Ariadne'." The Burlington Magazine 123, no. 941 (1981): 481-85. Accessed October 7, 2020. http://www.jstor.org/stable/880424. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library-artstor-org.proxy.lib.duke.edu/asset/ANGLIG_10313768527. Daviau, Donald G., and George J. Buelow. "The Ariadne Myths." In The "Ariadne Auf Naxos" of Hugo Von Hofmannsthal and Richard Strauss, 87-99. University of North Carolina Press, 1975. Accessed October 7, 2020. doi:10.5149/9781469657363_daviau.9. Thompson, Graves H. "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 7, 2020. http://www.jstor.org/stable/3292884. Tresidder, Warren. "The Cheetahs in Titian's 'Bacchus and Ariadne'." The Burlington Magazine 123, no. 941 (1981): 481-85. Accessed October 7, 2020. http://www.jstor.org/stable/880424. Huffman, Kristen. “A Virtual Tour: National Gallery of Art London.” Duke University. Lecture presented at the Duke University, September 2020. Publisher An entity responsible for making the resource available Patron: Duke Alfonso I d'Este of Ferrara Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library-artstor-org.proxy.lib.duke.edu/asset/ANGLIG_10313768527. Date A point or period of time associated with an event in the lifecycle of the resource 1520-1523 Contributor An entity responsible for making contributions to the resource Jacey Curd Rights Information about rights held in and over the resource National Gallery, London National Gallery Picture Library Format The file format, physical medium, or dimensions of the resource 176.5 x 191 cm, Oil on Canvas 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 The National Gallery, London https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Portrait_of_Doge_Leonardo_Loredan/ANGLIG_10313768375.jpg 75ba2ed716df6100b3d5444ee37419c9 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 October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Doge Leonardo Loredan Creator An entity primarily responsible for making the resource Giovanni Bellini 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 poplar, 61.4 × 44.5 cm Type The nature or genre of the resource Painting Description An account of the resource This artwork was done by renowned Venetian artist Giovanni Bellini. Bellini's masterpieces marked a shift in Venetian artwork, as he was one of the first painters to create a dynamic between the painting and the viewer. His expert use of landscapes to was one of many reasons why he was commissioned to do so many altarpieces. [1] This specific painting depicts Doge Leonardo Loredan, who was the 75th doge of Venice from 1501 until his death in 1521. This painting was made near the end of Bellini's career, which is when many artists of the time tend to become slightly more irrelevant, however Bellini just seemed to get better. This is evident in the mystical portrait he creates. [2] We can see the Doge wearing the typical ducal crown. Additionally, Bellini highlights the wrinkles on Leonardo's forehead and cheeks because age during the this time period represented wisdom. The portrait intended to represent the style of the busts from Ancient Rome. Furthermore, the plain blue background contributes to the mysticality of the work, but also provides a subtle landscape design that does not distract the viewer from the main focus, which is the Doge. Finally, the Doge is portrayed wearing lavish clothing, with lots of gold. This white and gold represents the purity and power of the Doge, which demonstrates the confidence the people had in their Doge. Overall, the painting exemplifies the aristocratic nature of the Venetian people and society. The final visual detail that has significance in this painting is the neat signature of Bellini. The care and bravura with which the signature is handled suggests it as a signature done by the master himself. The letters are perfectly space, and there are many defining features. The "A" stradles the crease, the second "L" in Bellini is slightly raised, and the there is a triangular point at the end of his name. This attention for detail represents the strive for perfection that Bellini had in his work. [3] [1] Christiansen, Keith. "Bellini and the Meditational "poesia"." Artibus Et Historiae 34, no. 67 (2013): 9-20. Accessed October 7, 2020. http://www.jstor.org/stable/23510240. [2] Brown, David Alan. Giovanni Bellini: the Last Works. Milano: Skira, 2020. [3] Pincus, Debra. "Giovanni Bellini's Humanist Signature: Pietro Bembo, Aldus Manutius and Humanism in Early Sixteenth-Century Venice." Artibus Et Historiae 29, no. 58 (2008): 89-119. Accessed October 6, 2020. http://www.jstor.org/stable/40343651. Source A related resource from which the described resource is derived Image: Giovanni Bellini, active about 1459; died 1516. 1501-2. Doge Leonardo Loredan. Place: The National Gallery, London, Bought, 1844. https://library.artstor.org/asset/ANGLIG_10313768375. Scholary Article 1: Pincus, Debra. "Giovanni Bellini's Humanist Signature: Pietro Bembo, Aldus Manutius and Humanism in Early Sixteenth-Century Venice." Artibus Et Historiae 29, no. 58 (2008): 89-119. Accessed October 6, 2020. http://www.jstor.org/stable/40343651. Scholary Article 2: Christiansen, Keith. "Bellini and the Meditational "poesia"." Artibus Et Historiae 34, no. 67 (2013): 9-20. Accessed October 7, 2020. http://www.jstor.org/stable/23510240. Book: Brown, David Alan. Giovanni Bellini: the Last Works. Milano: Skira, 2020. Publisher An entity responsible for making the resource available National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996 Date A point or period of time associated with an event in the lifecycle of the resource 1501 - 1502 Rights Information about rights held in and over the resource Photograph: ©The National Gallery, London Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery, London, England https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/The_Family_of_Darius_before_Alexander/Family_of_Darius_Before_Alexander.png 62ed484794d257beb578206a4f6e370c 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 October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK 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 Family of Darius before Alexander Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Greaves, Leonard. "The Family of Darius by Paolo Veronese." Journal of the Royal Society of Arts. 94, no. 4725 (1946): 605-06. Accessed October 6, 2020. http://www.jstor.org/stable/41362458. Richter, Jean Paul. "The Family of Darius by Paolo Veronese." The Burlington Magazine for Connoisseurs 62, no. 361 (1933): 181-83. http://www.jstor.org/stable/865338. Veronese. Princeton: Bates and Guild Company, 1904. Image Source: Artstor, accessed October 5, 2020. https://library.artstor.org/asset/ANGLIG_10313766769. Publisher An entity responsible for making the resource available Image Source: Artstor, accessed October 5, 2020. https://library.artstor.org/asset/ANGLIG_10313766769. Date A point or period of time associated with an event in the lifecycle of the resource c. 1565-1567 Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource <div class="value">Public Domain. Image Source: Artstor, accessed October 5, 2020. https://library.artstor.org/asset/ANGLIG_10313766769.</div> Format The file format, physical medium, or dimensions of the resource Oil on canvas, 236.2 x 474.9 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, United Kingdom Subject The topic of the resource The family of Darius III of Persia kneels before a forgiving Alexander the Great after being defeated in battle. Description An account of the resource Paolo Veronese’s The Family of Darius before Alexander depicts the family of Darius III pleading for mercy to Alexander. Mistakenly, the king of Persia’s mother addresses not the Greek king but his closest advisor––Hephaestion [1]. Rather than treat them hostilely because of the dishonor shown to him, Alexander shows restraint and thus acts justly. This message resonates strongly with Venetians at the time, who are then engaged in their own conflict with Turkey. As Venice often stresses its connections with Rome and by extension Greece, Veronese underscores the importance of mercy and fairness to the Republic [2]. The painting capitalizes on chaos to bring out its central meaning. Figures are strewn throughout the work, many of whom are unnecessary bystanders having nothing to do with the actions conspiring around Alexander. Included in this we see a dog ready to attack but held at ease by a guard as well as rearing horses in the background. Yet Veronese is able to cut through this turmoil using the natural, calming figure of Alexander in contrapposto. We are further alerted to his domineering presence by his brilliant red-colored robe, which contrasts with the bright purples, whites, and golds that surround him. Furthermore, Veronese directs our gaze towards the general by placing him at the intersection of the natural light source overhead in the painting and the diagonal line running across the painting separating Alexander, his men, and Darius’ family from the background. The work holds more than just one purpose. Not only does it show off the power of Venice and its commissioning family––the Pisanis––in relation to the might of Greece, it allows Veronese to flex his personal abilities as a painter [3]. He is able to show off his mastery of the use of color, texture, and naturalism in his figures on a massive scale (originally intended for the family’s estate). It therefore serves as a calling card to potential patrons and commissioners that pass through the wealthy household. [1] Jean Paul Richter, "The Family of Darius by Paolo Veronese," The Burlington Magazine for Connoisseurs 62, no. 361 (1933): 181. [2] Leonard Greaves, "Paolo Veronese––The Family of Darius before Alexander," Journal of the Royal Society of Arts. 94, no. 4725 (1946): 605. [3] Veronese, Princeton: Bates and Guild Company, 1904, 35. https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Doge_Leonardo_Loredan/doge.jpg dc5f2c6da6826f7c156f8f71dbdf2676 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 October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK 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 Doge Leonardo Loredan Description An account of the resource This art piece was painted by Giovanni Bellini. Bellini was raised in an artist family and later became one of the most well-known Venetian artists. This painting was through the medium of oil painting instead of egg tempera, which he pioneered in the Netherland. [1] This new technique allowed him to take advantage of oil paint's slow drying property to create more subtle details and soft color transition with blending colors directly on canvas or wood. The paint is a portrait of Doge Leonardo Loredan. Doge Leonardo Loredan was the ruler of Venice when Venice was almost the richest city in the world. He was elected in 1501 until he passed away in 1521. [2] This painting has presented to the viewer how focused both on the Doge’s character through his facial expression and his wealthiness from his robe and his dogal cap. When the viewer looks at Doge’s face, they will notice that his olive-colored eyes do not directly look at the viewer. Bellini painted his gaze this way, maybe because the Doge is so solemn that no one can directly look at him in the eyes. Unlike other portrait painting during the Renaissance period, Bellini has painted almost every wrinkle and facial features of Doge’s appearance. The wrinkles on his skin could convey a sense of his experience being a ruler, and the glare from his eyes has expressed his sincerity. Also, at the same time, those vivid factors have contributed to the feel of realities rather than imaginations. When viewers examine at the magnificent golden robe, it set off a strong contrast with the background. The robe is sewed with gold threads in a unique pattern with the light reflection. The painting stroke adopted by Bellini delivers the exceptional quality of the texture to further show his wealthiness and created an accurate representational art. [1] Humfrey, Peter, Ursula Lehmann-Brockhaus, Lucinda Hawkins, and Ulrike Bauer-Eberhardt. "Bellini family." Grove Art Online. 2003; https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000007643. [2] National Gallery of UK. “Doge Leonardo Loredan by Giovanni Bellini”n.d. Accessed October 5, 2020. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Humfrey, Peter, Ursula Lehmann-Brockhaus, Lucinda Hawkins, and Ulrike Bauer-Eberhardt. "Bellini family." Grove Art Online. 2003; https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000007643. National Gallery of UK. “Doge Leonardo Loredan by Giovanni Bellini”n.d. Accessed October 5, 2020. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. Garten, Jessica. “The World of Doge Lorenzo Loredan (1436−1521) behind His Portrait.” Armstrong State. Accessed October 5, 2020. Universityn.d. https://www.armstrong.edu/history-journal/history-journal-the-world-of-doge-lorenzo-loredan-14361521-behind-his-portr. Kaplan, Paul H. D. "Loredan, Leonardo, Doge of Venice." Grove Art Online. 2003; https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000051919. Bätschmann, Oskar. Giovanni Bellini. Online, ebook: London : Reaktion Books, Limited April 2008 Chicago : Chicago Distribution Center [Distributor], 2008. Publisher An entity responsible for making the resource available The National Gallery of UK https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan Date A point or period of time associated with an event in the lifecycle of the resource 1501-1502 Contributor An entity responsible for making contributions to the resource Emily Song Rights Information about rights held in and over the resource This image is licensed for non-commercial use under a Creative Commons agreement by the National Gallery of UK Format The file format, physical medium, or dimensions of the resource Oil on poplar, 61.4 × 44.5 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery, London, United Kingdom https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Bacchus_and_Ariadne/ANGLIG_10313768527.jpg 2904ebd3de40a04a03c1b47dd4df8e2e 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 October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK 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 Bacchus and Ariadne Description An account of the resource Titian was commissioned by the Court of Ferrara to create the Bacchus and Ariadne for placement in the Alabaster Room in the ducal palace [1]. This collection was one of the most important and highly valued at the time, since it featured works from artists such as Raphael, Dosso Dossi, Giovanni Bellini, and Titian [1]. Therefore, Titian’s work appeared alongside others in a series of paintings that complemented each other, all of which consisted of mythological ideology. Ariadne, a princess and the daughter of the King Minos of Crete, was abandoned on the island of Naxos by Thesues [2].. Bacchus, the god of wine, finds her on the island when he visits and instantly falls in love with her [2]. Scholars such as Edgar Wind believe the painting could be a representation of their last encounter (as found in Ovid’s Fasti, iii), making the leap from the chariot and the record that Ariadne was sleeping when Bacchus found her understandable parts of the image [3]. However, the conventional interpretation of the work bases the context off of Ovid’s Metamorphoses [3]. Ariadne is pictured on the left side of the image in bright, blue luxurious garments. In the middle, Bacchus is pictured suspended in the air. He is almost fully nude, with a bright rose cape covering part of his lower body and dangling in the air behind him. His position conveys a sense of motion and action in the painting, portraying his unfathomable love for Ariadne that he can’t restrain. The image exhibits an asymmetrical balance, with various figures (of whom are followers/servants to Bacchus) on the right side of the image and Ariadne’s sole figure on the right. If the image is split diagonally from the bottom left corner to the top right corner, one side appears very light and is dominated by blue pigment while the other is much darker and more condensed, dominated by skin tones and some green vegetation [1]. The two cheetahs in the image serve as a representation of Alfonso d’Este’s obsession with the exotic and his berserk nature. While the piece was meant to convey the mythological tale, it was also supposed to be a representation of his court and a portrayal of his legacy. [1]ColourLex, n.d, Titian, Bacchus and Ariadne, ColourLex, accessed October 5, 2020, https://colourlex.com/project/titian-bacchus-ariadne/. [2] Richard Stemp, The Secret Language of the Renaissance: Decoding the Hidden Symbolism of Italian Art, (United Kingdom: Duncan Baird, 2006). [3] Angus Easson, "The Source of Titian's Bacchus and Ariadne," Journal of the Warburg and Courtauld Institutes, 32 (1969), 396-97. Creator An entity primarily responsible for making the resource Titian (Tiziano Vecellio) Source A related resource from which the described resource is derived ColourLex. n.d. Titian, Bacchus and Ariadne. ColourLex. Accessed October 5, 2020. https://colourlex.com/project/titian-bacchus-ariadne/. Stemp, Richard. The Secret Language of the Renaissance: Decoding the Hidden Symbolism of Italian Art. United Kingdom: Duncan Baird, 2006. Easson, Angus. "The Source of Titian's Bacchus and Ariadne." Journal of the Warburg and Courtauld Institutes 32 (1969): 396-97. doi:10.2307/750625. Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library.artstor.org/asset/ANGLIG_10313768527. Publisher An entity responsible for making the resource available Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library.artstor.org/asset/ANGLIG_10313768527. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1520-3 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource Photograph: ©The National Gallery, London National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996. Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library.artstor.org/asset/ANGLIG_10313768527. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 176.5 x 191 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery, London, UK https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Bacchus_and_Ariadne/download.jpg 13aebc5e0dd50a10a1e9db080b28a8a3 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 October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK 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 Bacchus and Ariadne Description An account of the resource Bacchus and Ariadne, painted by Titian ca. 1520-1523, depicts the story of Bacchus, the god of wine, encountering Ariadne, the daughter of King Minos, for the first time. In the painting, we see Bacchus jumping from his chariot in such a haste that his clothes are flying off, as he struck by Ariadne's beauty. As the story goes, told by the Roman poet Ovid, Ariadne has been abandoned by her lover, Theseus. As she watches him sail away, Bacchus' chariot approaches her, and upon seeing her, Bacchus immediately declares his love for her, and proposes, offering to be a better husband to her than Theseus. [1] Titian uses a remarkable amount of detail to capture both the dynamic senses of the scene, as well as more obscure aspects to add depth to the characters' backgrounds. As Bacchus approaches Ariadne, he is surrounded by a seemingly excited group of followers, who carry a strange assortment of times, from a beheaded animal to metal cymbals. As mentioned before, Bacchus' clothing is slipping from his body and blows behind him as Titian captures him in midair. The pink color of the robe is shown in the painting only in Bacchus' clothes, drawing attention to both the haste with which he is jumping off the chariot, as well as the meticulously painted individual folds of the cloth, allowing the observer to truly feel as if it is in motion. Titian uses light to draw attention to Bacchus as well – his skin tone is notably lighter than most of his followers, and he stands in the center of the painting illuminated, demonstrating both his holy presence, as well as how he approaches Ariadne. Titian creates depth and layering of the painting by making Bacchus appear in the foreground and his chariot and followers in the background. The chariot is drawn by two cheetahs, a rather exotic animal, while a small dog faces his followers who carry parts of a beheaded animal. The head of the animal can be seen laying on the ground, towards the foreground of the painting. Titian continues to capture the dynamic scene by painting Ariadne in movement as well, as she appears startled but makes direct eye contact with Bacchus. Her clothing, the beautiful bright blue cloth, also slips away from her figure, and one hand is tucked behind her to hold on to her clothing, while the other is outstretched towards the water, presumably reaching out for Theseus as he leaves her. Titian's use of light and color draws attention to Ariadne in a unique method. While she is mildly highlighted by the coloring of her skin, similar to Bacchus, predominantly, the white and lighter blue clouds in the sky seem to point towards her figure. Around her head, there is a large white cloud, potentially in similar use to a halo, showing her upper-class status, especially as she receives attention from a god. Titian also uses facial expressions to bring to life the interactions between figures. Ariadne looks up at Bacchus with a startled look, but their eye contact suggests interest and connection. [2] Titian's use of color is largely unique to him as an artist – he uses blue as a main feature in the frame, one of the most expensive pigments at the time. The painting was commissioned by Alfonso d'Este, the Duke of Ferrara (1505-1597). As a notable member of upper-class society, the Duke was able to commission various mythological paintings, bringing Titian his first notable commission. [3] Thus, Titian was able to experiment with using expensive colors and styles admired by d'Este. Throughout the painting, Titian is believed to have placed a number of acknowledgments towards d'Este to allude to his appreciations as well as his notable status. While Bacchus' chariot is usually depicted being pulled by tigers or panthers, Titian paints cheetahs, largely believed to be due to d'Este's menagerie with exotic cats at the castle of Ferrara. [4] Ultimately, through Titian's use of pigment, lighting, and dynamic interaction between figures, he brings to life the famous tale of Bacchus and Ariadne, adding unique detail and elements to the series of paintings for Alfonso d'Este. [1] "Bacchus and Ariadne, 1521-23 by Titian" 2018. https://www.titian.org/bacchus-and-ariadne.jsp. [2] Gould, Cecil. The Studio of Alfonso D'Este and Titian's Bacchus and Ariadne: a Re-Examination of the Chronology of the Bacchanals and of the Evolution of One of Them. London: National Gallery. Publ. Dep., 1969. [3] Tiziano, Walter, "Mythological Paintings for the Castle of Ferrara (1516-1524)" 2017. https://www.wga.hu/html_m/t/tiziano/08a/index.html. <div>[4] Swartz, Mark. “Bacchus and Ariadne (1520-23),” no. 8 (1998): 47. https://doi.org/10.2307/25563285.</div> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library.artstor.org/asset/ANGLIG_10313768527 "Bacchus and Ariadne, 1521-23 by Titian" 2018. https://www.titian.org/bacchus-and-ariadne.jsp. Gould, Cecil. "The Studio of Alfonso D'Este and Titian's Bacchus and Ariadne: a Re-Examination of the Chronology of the Bacchanals and of the Evolution of One of Them." London: National Gallery. Publ. Dep., 1969. Tiziano, Walter, "Mythological Paintings for the Castle of Ferrara (1516-1524)" 2017. https://www.wga.hu/html_m/t/tiziano/08a/index.html. Swartz, Mark. “Bacchus and Ariadne (1520-23),” no. 8 (1998): 47. https://doi.org/10.2307/25563285. Huffman, Kristen. “A Virtual Tour: National Gallery of Art London.” Duke University. Lecture presented at the Duke University, September 2020. Publisher An entity responsible for making the resource available Castle of Ferrara Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library.artstor.org/asset/ANGLIG_10313768527. Date A point or period of time associated with an event in the lifecycle of the resource 1520-1523 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Rights Information about rights held in and over the resource The National Gallery of Art, London Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 176.5cm x 191cm 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 The National Gallery of Art, London https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Bacchus_and_Ariadne/N-0035-00-000177-wpu.jpg 0c073b283941a324269ea136e1c45239 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 October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK 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 Bacchus and Ariadne Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Court of Ferrera Image Source: Titian. Bacchus and Ariadne. Accessed October 6, 2020. https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne. Date A point or period of time associated with an event in the lifecycle of the resource 1520-1523 Contributor An entity responsible for making contributions to the resource Olivia Migli Rights Information about rights held in and over the resource ©The National Gallery, London Format The file format, physical medium, or dimensions of the resource Oil on canvas, 176.5 x 191 cm Description An account of the resource Titian is commissioned by the Duke of Ferrera, Alfonso d’Este, to create a painting for a room within the castle at Ferrara. In the early 1520’s he creates this colorful piece Bacchus and Ariadne depicting the story of its namesaske, Bacchus and Ariadne, using aquamarine blue, a highly pigmented and expensive material, to create this painting displaying the prestige of Titian himself and the great riches of Alfonso d’Este as well. As well as Titian’s work, d’Este’s collection for this particular room consisted of works of bacchanalian subjects by Dosso Dossi and Giovanni Bellini [1]. The story of Bacchus, the god of wine, and Ariadne, Princess of Crete, starts on the island of Naxos. Here she is abandoned by her lover, Theseus, who’s ship can be seen fleeing in the far left [2]. Here, Bacchus is depicted leading a band of revelers, Titian captures the very moment that Ariadne and Bacchus make eye contact. The gazes of both main figures is very telling of the love at first sight that Titian wishes to portray. The clothing of Ariadne shows the sweeping movement of her turning to lock eyes with Bacchus, this action is accentuated by the red cloth encircling her. Titian captures Bacchus’s leap out of the chariot mid-motion by using the brightly colored cloth suspended above him to show the jump and the pining nature of it. Leading Bacchus’s chariot are two cheetahs, it is said that perhaps Titian chose cheetahs in order to make it clear that he was returning from his trip to India [3]. These exotic animals could also be a result of the Duke of Ferrera's own love of exotic pets, as he owned a zoo of different animals. The colorful palette, highlighting the two main figures, draws the viewer’s eye across the painting. The composition of this paining is formatted as two halves diagonally splitting the painting. The top half consists of the ultra blue, vivid sky matching Ariadne’s clothing. The bottom half is made up of earth tones such as brown and green as well as darker skin toned figures compared to the fair skin of both Bacchus and Ariadne. This again helps move the viewers gaze effortlessly across the painting. [1] Cecil Goudl, “Titian,” Grove Art Online, 2003, <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242</a>. [2] Titian, “Titian: Bacchus and Ariadne: NG35: National Gallery, London,” The National Gallery, March 1, 1520, <a href="https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne">https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne</a>. [3] Warren Tresidder, “The Cheetahs in Titian's 'Bacchus and Ariadne',” The Burlington Magazine, August 1981, pp. 481-485, 481. Source A related resource from which the described resource is derived Goudl, Cecil. “Titian.” Grove Art Online, 2003. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242. Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library.artstor.org/asset/ANGLIG_10313768527. Titian. “Titian: Bacchus and Ariadne: NG35: National Gallery, London.” The National Gallery, March 1, 1520. https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne. Tresidder, Warren. “The Cheetahs in Titian's 'Bacchus and Ariadne'.” The Burlington Magazine123, August 1981. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery, London, England