2 10 16 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 Depicted here we see the Roman god of wine and fertility, Bacchus, jump from his chariot to meet with the Cretan princess, Ariadne, with whom he has fallen in love. Titian highlights these two figures, using a lighter shade for their skin compared with the rest of the figures in the image. We also see great articulation in the clothing of the figures. Directing the eyes of the viewer to the main subject matter, there are multiple diagonal lines pointing towards Ariadne, who looks out onto the sea as her lover--Theseus--leaves her stranded and sails away, an interpretation that many have come to agree with after Venetian historian Carlo Ridolfi suggested it in 1648 [1]. The faces, as well as the body positions, point downward and to the left. Even Bacchus, with his rich maroon scarf, looks down upon Ariadne with desire. In addition to directing attention, this line also separates major elements of the composition. In terms of color, both in the foreground and the background, this diagonal line separates the rustic browns, greens, and gold from the rich blues, whites, and maroon. It is also important to note the use of a rare and highly expensive color: ultramarine blue. The use of such a color speaks not only to the importance of the painting but also to the importance of the commissioner--Alfonso d’Este, Duke of Ferrara. In addition to color, the line also separates the geography of the image. Once again, the blues of the sky and the sea are separated from the greenery of the mainland. Intended for decor in the castle of Alfonso d’Este, this painting was a part of a series of paintings that depicted scenes from the tales of Ovid and other classical subject matters [2]. As a result, many interpretations of this one art piece can be generated. Contrary to the belief that this is the first meeting between Bacchus and Ariadne, for example, there have been interpretations that argue that this is the last meeting between the two, with evidence drawn from Ovid’s Fasti [3]. Often, the preferences and attributes of the donor were embedded into an art piece in Renaissance Venice, as many other artists at the time did. Titian is no exception, although he worked primarily with royalty. As mentioned before, the use of expensive and rare pigment--the ultramarine blue--not only shows Titian’s ability but also shows the power and wealth of his commissioner, Alfonso d’Este. In addition, the presence of exotic animals speaks to the wealth of Alfonso d’Este: according to records, d’Este had a hobby of ‘collecting’ exotic pets for his court. Thus, through the stylistic and compositional elements, Titian is able to showcase the wealth of Alfonso d’Este, the Duke of Ferrara. [1] Graves H. Thompson, "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 5, 2020. <a href="http://www.jstor.org/stable/3292884">http://www.jstor.org/stable/3292884</a>. [2] Cecil Gould, "Titian." Grove Art Online. 2003; Accessed 4 Oct. 2020. <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>. [3] Angus Easson, "The Source of Titian's Bacchus and Ariadne." Journal of the Warburg and Courtauld Institutes 32 (1969): 396-97. Accessed October 5, 2020. doi:10.2307/750625. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived I) Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. <a href="https://library.artstor.org/asset/ANGLIG_10313768527">https://library.artstor.org/asset/ANGLIG_10313768527</a>. II) Journal Article 1: Gould, Cecil. "Titian." Grove Art Online. 2003; Accessed 4 Oct. 2020. <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>. III) Journal Article 2: Easson, Angus. "The Source of Titian's Bacchus and Ariadne." Journal of the Warburg and Courtauld Institutes 32 (1969): 396-97. Accessed October 5, 2020. doi:10.2307/750625. IV) Journal Article 3: Thompson, Graves H. "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 5, 2020. <a href="http://www.jstor.org/stable/3292884">http://www.jstor.org/stable/3292884</a>. V) Book: Phillips, Claude. “Bacchus and Ariadne.” Essay. In The Earlier Work of Titian, edited by Jonathan Ingram, Wilelmina Mallière, and Project Gutenberg Online Distributed Proofreading Team. Seeley & Co., Ltd., 1897. <a href="https://www.gutenberg.org/files/12626/12626-h/12626-h.htm#Bacchus_and_Ariadne">https://www.gutenberg.org/files/12626/12626-h/12626-h.htm#Bacchus_and_Ariadne</a>. VI) Museum: Titian. “Titian: Bacchus and Ariadne: NG35: National Gallery, London,” 2020. <a href="https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne">https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne</a>. Publisher An entity responsible for making the resource available Court of Ferrara Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. <a href="https://library.artstor.org/asset/ANGLIG_10313768527">https://library.artstor.org/asset/ANGLIG_10313768527</a>. 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 Muhib Methani 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 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 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 Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived 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 Nichols, Tom. Titian: And the End of the Venetian Renaissance. United Kingdom: Reaktion Books, 2013 Marx, Daniel, and Emil Kren. 2020. "Bacchus And Ariadne By TIZIANO Vecellio". Wga.Hu. <a href="https://www.wga.hu/html_m/t/tiziano/08a/1ferra2.html">https://www.wga.hu/html_m/t/tiziano/08a/1ferra2.html</a>. Holberton, Paul. "Battista Guarino's Catullus and Titian's 'Bacchus and Ariadne'." The Burlington Magazine 128, no. 998 (1986): 347-44. Accessed October 6, 2020. http://www.jstor.org/stable/882494. Publisher An entity responsible for making the resource available Artstor, https://library.artstor.org/#/asset/ANGLIG_10313768527;prevRouteTS=1601911921956. Date A point or period of time associated with an event in the lifecycle of the resource 1520-23 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource ©The National Gallery, London 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 National Gallery of Art, London, United Kingdom Description An account of the resource In this painting, we see Bacchus, the god of wine, leaping from his chariot towards Ariadne, who has been abandoned by her lover, to protect her from his revelers close behind. Titian highlights the central tension between Bacchus and Ariadne in multiple ways. First, he places Bacchus in the center of the image, so the viewer feels compelled to follow his gaze and stance to Ariadne on the left. Second, the two are the only figures on the left side of the painting as compared to the right, which is packed with his followers, making it easier for the audience to focus on the left side. Also, the pair’s light skin tones contrast with the heavily pigmented blue sky, which really makes the pair pop in the painting, rather than on the right where the many figures are darker toned and placed against a brown and green nature background. In addition, the sky behind them is much less textured than the two’s extremely lifelike garments, which creates yet another contrast that places the viewer’s eye on them. Finally, the shading on the left side of the painting is much lighter than on the right, giving the beholder the idea that the sun is shining on them and casting the revelers in the shadows. The sun’s focus on the couple makes the viewer want to focus on them as well. Now, the question becomes why would Titian want to focus on the couple? This work was completed for Alfonso D’Este, Duke of Ferrera, so Titian created many aspects of the painting with him in mind. D’Este was famed for his fine wines, so he would have seen himself in the god of wine, Bacchus. In addition, the Duke of Ferrera was a renowned collector of exotic animals, so Tom Nichols believes that the inclusion of the leopards dragging Bacchus’s carriage is a reference to D’Este’s menagerie, making him further identify with Bacchus [1]. Therefore, the painting needs to portray Bacchus, and by association D’Este, in a good light as a protector of women, which necessitates the focus being on the two central figures and their actions. Titian also attempts to please D’Este in his painting style as well. The duke originally commissioned Raphael to paint a narrative painting of Bacchus; however, Raphael passed away before having completed it. Therefore, Titian uses many Raphaelesque elements, such as the contrapposto stance of Ariadne and the packed composition of Bacchus’s entourage, to make them seem more numerous than they are [2]. In addition, Paul Holberton believes that the work reproduced Battista Guarino’s Cattalus. This work was dedicated to Alfonso D’Este, Battista’s former pupil, and the cum priviligeo, and therefore the dedication, was dated to around the time that Titian started the painting. This evidence makes it seem likely that Titian used this source in order to further appeal to D’Este as it had significance to him [3]. [1] Tom Nichols, Titian: And the End of the Venetian Renaissance (United Kingdom: Reaktion Books, 2013), 54. [2]Daniel Marx and Emil Kren, "Bacchus And Ariadne By Tiziano Vecellio,” in Web Gallery of Art (2020), <a href="https://www.wga.hu/html_m/t/tiziano/08a/1ferra2.html">https://www.wga.hu/html_m/t/tiziano/08a/1ferra2.html</a>. [3] Paul Holberton. "Battista Guarino's Catullus and Titian's 'Bacchus and Ariadne'" in The Burlington Magazine 128, no. 998 (United Kingdom: The Burlington Magazine Publications 1986), 347-44. https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/A_Sparrowhawk/download.jpg 5722a60318e77dcac7135dc7c0ceebc1 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 A Sparrowhawk Creator An entity primarily responsible for making the resource Jacopo de' Barbari Date A point or period of time associated with an event in the lifecycle of the resource 1510s Contributor An entity responsible for making contributions to the resource Raj Kumar 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 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 Oak, 17.8 cm x 10.8 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery (Layard Bequest 1916), London, England Publisher An entity responsible for making the resource available Image Source: Jacopo de' Barbari, active 1500; died 1516?. 1510s. A Sparrowhawk. Place: The National Gallery, London, Layard Bequest, 1916. https://library.artstor.org/asset/ANGLIG_10313768031. Description An account of the resource Jacopo de’ Barbari was a Venetian painter, famous for having his own unique style. De’Barbari was a printmaker and even engraved wood to portray some of his pieces, which have been known to be highly influential [1]. He is probably most remembered for his View of Venice, a woodcut that represents a bird’s eye view of the city of Venice in which Barbari used creativity, intellect, and imagination to construct [2]. De’Barbari’s painting A Sparrowhawk represents an exquisite image of a tranquil bird sitting on a wooden bar in its home. A sparrowhawk is a bird of prey that was a major aspect of the world of gentlemen at that time. These birds were considered prized possessions in the home and were very well-trained for their owners [3]. De’Barbari incorporated lots of detail into this small canvas to describe the well-being and life of this bird. Using natural light, hyperrealism is created in the painting, which can be seen through the strong shadow casted by the sparrowhawk. Calculated and beautiful strokes of dark brown are used to detail the feathers of the sparrowhawk. The texture of the painting can be viewed as very soft to show the serene nature of the bird in the paiting. De’Barbari incorporates many elements to depict how this bird was a treasure in the house and would stay protected in the household. A small bell lies above the bird’s left foot to alert the handler to its whereabouts and the bird is attached to a bar, so it cannot fly away. Venetians valued these sparrowhawks because they represented the “hunt” as they were birds of prey, so they wanted them to stay in the house and protect the members of the household [3]. Interestingly, De’Barbari adds his own style to this painting by showing the bird in the moment [2]. The bird’s bright eye, painted with yellow color hues, is wide open, displaying that something has caught its attention. It shows how keenly alert this bird is to the world, another reason that it brings so much value. The sparrowhawk’s stature adds to the serious nature of the painting, where the bird has just witnessed some type of severe event. Just as something outside of the painting catches the bird’s attention, De’Barbari makes this painting catch the attention of all of its viewers with his exquisite detail. [1] Blumberg, Naomi, “Jacopo De’ Barbari,” Encyclopedia Britannica, 2 [2] Baker, Henry, “Description of the View of Venice,” Getty Portal, 5 [3] Tikkanen, Amy, “Sparrowhawk Bird Facts: Accipiter Nisus.” Wildlife Guide, 1, 2 Source A related resource from which the described resource is derived Jacopo de' Barbari, active 1500; died 1516?. 1510s. A Sparrowhawk. Place: The National Gallery, London, Layard Bequest, 1916. Accessed October 5, 2020. https://library.artstor.org/asset/ANGLIG_10313768031. Blumberg, Naomi. “Jacopo De' Barbari.” Encyclopædia Britannica. Encyclopædia Britannica, inc., January 1, 2020. Accessed October 5, 2020. https://www.britannica.com/biography/Jacopo-de-Barbari. Barker, Henry. “Description of the View of Venice.” portal.getty.edu, 1820. Accessed October 5, 2020. http://portal.getty.edu/books/gri_9923113030001551. Tikkanen, Amy. “Sparrowhawk Bird Facts: Accipiter Nisus.” The RSPB, 2017. Accessed October 5, 2020. https://www.rspb.org.uk/birds-and-wildlife/wildlife-guides/bird-a-z/sparrowhawk/. Millon, Alexandre, Jan Tøttrup Nielsen, Vincent Bretagnolle, and Anders Pape Møller. "Predator-Prey Relationships in a Changing Environment: The Case of the Sparrowhawk and Its Avian Prey Community in a Rural Area." Journal of Animal Ecology 78, no. 5 (2009): 1086-095. Accessed October 5, 2020. http://www.jstor.org/stable/40405844. https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/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 <a href="https://library.artstor.org/#/asset/ANGLIG_10313768375">Doge Leonardo Loredan</a> Description An account of the resource The portrait of Doge Leonardo Loredan is one of Giovanni Bellini's most famous paintings, and it is currently in the National Gallery in London, United Kingdom. Doge Leonardo Loredan ruled Venice from 1501 to 1521, and Bellini completed the painting around the time of his inauguration. This painting is also one of Bellini's most admired paintings and one of the best-preserved out of all of his known artworks [3]. Doge Leonardo Loredan was a contentious chief magistrate, but he was also very dominant towards his people. Bellini wanted to capture that mentality in this portrait, and he painted Loredan as a very powerful, meaningful doge. Loredan is dressed in a corno ducale, the official hat, worn over a linen cap, and his formal silk robe with baroque buttons. This painting was inspired both by the Netherlandish Renaissance and the noble portrait busts of Ancient Rome. [1] It expresses the extravagant and aristocratic nature of Venetian artwork. Behind Loredan is a blue background, which contains ultramarine, ultimately showing the direct subject as Loredan. Ultramarine is one of the most costly blue pigments with white mixed in it. [4] This painting appears to be life-like, showing Loredan's wrinkles and his exact facial structure, which viewers might not always get to see up close in artworks. His pale blue eyes express his intelligence because of the intensity of his gaze. He is looking to the right, but the left eye faces the audience more than the right eye. His nose is well defined, casting a shadow on the left side of his nose. He has an earnest face, which extends the sort of gravitas seen in Roman Emperors. [1] It is almost as if he is about to break his pose, going into a one-sided smile or a smirk. He appears to be well lit, having light cover the majority of his face. His face's left side has some shade because of the light angle coming from the right side. Bellini pays much attention to what Loredan was wearing. The silk robe has a beautiful design to it that shows his royalty and wealth. The silk robe and the corno ducale correspond with the white, blue, and green patterns. The corno ducale also appears to have a gold headband that wraps around the official hat. Bellini painted the gold buttons with such devotion, making the silk robe more valuable. Bellini portrays him with a fair amount of life still in him, and the angle of sunlight Bellini uses hints the time of day to be late afternoon or early evening. Across the bottom of the painting, a brown table like structure has a signature in the middle of it. The words represented at the bottom of the portrait are "Ioannes Bellinvs." When zoomed in, the signature has three folds that show four squares. There is some damage to the signature and some differentiation on some of the letters. The signature casts a shadow on the white cartellino with the black letters with even space between each letter. [2] It looks like Bellini added it at the last minute, and his imprint on the table is called a false modesty, which is how Bellini showed his skill at painting a range of materials, reinforcing their different textures by painting the one on top of the other [4]. [1] “Portrait of Doge Leonardo Loredan (1502).” Portrait of Doge Leonardo Loredan, Giovanni Bellini: Analysis, 2020. http://www.visual-arts-cork.com/famous-paintings/doge-leonardo-loredan.htm. [2] 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): Page 93. Accessed October 5, 2020. http://www.jstor.org/stable/40343651. [3] “The Sainsbury Wing at London’s National Gallery.” 1995. Cortlandt Forum 8 (5): 176. https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9508290503&site=ehost-live&scope=site. [4] “Giovanni Bellini: Doge Leonardo Loredan: NG189: National Gallery, London.” The National Gallery, 2016. 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 Image Source: Giovanni Bellini, active about 1459; died 1516. 1501-2. Doge Leonardo Loredan. Place: The National Gallery, London, Bought, 1844. <a href="https://library.artstor.org/asset/ANGLIG_10313768375.">https://library.artstor.org/asset/ANGLIG_10313768375. </a> “Giovanni Bellini: Doge Leonardo Loredan: NG189: National Gallery, London.” The National Gallery, 2016. <a href="https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan.">https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan.</a> Heath, Elizabeth. "Octavia Hill: The Reluctant Sitter." In Octavia Hill, Social Activism and the Remaking of British Society, edited by Baigent Elizabeth and Cowell Ben, 119-38. London: University of London Press, 2016. Accessed October 7, 2020. doi:<a href="https://www.jstor.org/stable/j.ctv4w3whm.13">10.2307/j.ctv4w3whm.13</a>. “Portrait of Doge Leonardo Loredan (1502).” Portrait of Doge Leonardo Loredan, Giovanni Bellini: Analysis, 2020. <a href="http://www.visual-arts-cork.com/famous-paintings/doge-leonardo-loredan.htm.">http://www.visual-arts-cork.com/famous-paintings/doge-leonardo-loredan.htm.</a> 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 5, 2020. <a href="http://www.jstor.org/stable/40343651.">http://www.jstor.org/stable/40343651.</a> “Portrait of Doge Leonardo Loredan.” Portrait of Doge Leonardo Loredan by Giovanni Bellini, 2020. <a href="http://www.giovannibellini.org/portrait-of-doge-leonardo-loredan/.">http://www.giovannibellini.org/portrait-of-doge-leonardo-loredan/.</a> “The Sainsbury Wing at London’s National Gallery.” 1995. Cortlandt Forum 8 (5): 176. <a href="https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9508290503&site=ehost-live&scope=site.">https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9508290503&site=ehost-live&scope=site.</a> Publisher An entity responsible for making the resource available The National Gallery of UK <a href="https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan">https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan</a> Image File : Giovanni Bellini, active about 1459; died 1516. 1501-2. Doge Leonardo Loredan. Place: The National Gallery, London, Bought, 1844. <a href="https://library.artstor.org/asset/ANGLIG_10313768375.">https://library.artstor.org/asset/ANGLIG_10313768375.</a> 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 Seamus Harding Rights Information about rights held in and over the resource Photograph: ©The National Gallery, London Giovanni Bellini, active about 1459; died 1516. 1501-2. Doge Leonardo Loredan. Place: The National Gallery, London, Bought, 1844. <a href="https://library.artstor.org/asset/ANGLIG_10313768375">https://library.artstor.org/asset/ANGLIG_10313768375.</a> 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; 61.6 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 The National Gallery, London, United Kingdom https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/The_Adoration_of_the_Kings/n-0268-00-000062-hd.jpg 9cac01d8e9e45c7ec6aa60c1e5ba8978 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 Adoration of the Kings Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived <ul> <li>Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online, (October 2011). <a href="https://doi.org/10.1093/gao/9781884446054.article.T089003">https://doi.org/10.1093/gao/9781884446054.article.T089003</a></li> <li>The National Gallery, London.“Paolo Veronese.” accessed October 5, 2020. https://www.nationalgallery.org.uk/artists/paolo-veronese.</li> <li>Brook, Irene. "Veronese," Renaissance Studies 30, no. 3 (2015): 457. </li> <li>Cocke, Richard. Veronese. London: Chaucer Press, 2005.</li> <li>Salomon, Xavier. Veronese. London: National Gallery Company, 2014.</li> </ul> Publisher An entity responsible for making the resource available Church of San Silvestro Date A point or period of time associated with an event in the lifecycle of the resource 1573 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource ©The National Gallery, London National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996 Format The file format, physical medium, or dimensions of the resource Oil on canvas, 355.6 x 320.0 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 The National Gallery, London, United Kingdom Description An account of the resource Paolo Veronese, or Paolo Caliari, painted the Adoration of the Kings, a piece that is also known as The Adoration of the Magi, in the early 1570s for the Scuola de San Giuseppe for the Church of San Silvestro [1]. In this piece, Veronese’s distinct style, which had been influenced by his contemporaries, Titian and Tintoretto, [2] of creating a distinctly fluid and harmonious style while utilizing exquisite detailing and vivid coloring can be seen in his depiction of the birth of Jesus. [3] In this particular biblical scene, the three kings, or the three magi, have come to visit the Virgin Mary and the child Jesus to pay their respects to these important, divine figures. Though there is an abundance of color and detail in this piece, the viewer cannot help but be drawn to the figure of the Virgin Mary. Veronese utilizes line in conjunction with color to create an emphasis on the Virgin. From the top left corner diagonally to the Virgin, a bright, golden light emanates from the heavens to illuminate the Virgin’s face. This detail works in hand with the contrast of light and dark in this piece to emphasize the Virgin. Particularly, there is a brightness and illumination on the Virgin and Child Jesus when compared to the surrounding figures, such as the three kings and the other individuals around her. These factors combine to create an emphasis on the Virgin Mary and Jesus and place them as the key and central figures of this piece. Further contributing to the importance of the central figures in this scene, is the positioning of the Virgin Mary and the child Jesus she holds in her arms. She is placed above the visiting magicians in a manner that elevates her above them both in a physical manner and in a divine manner. Her elevation above them bolsters the portrayal of her divinity and marks her as a conduit of God’s protection and connection to the natural and profane world. This allusion paired with her gaze, down towards the three kings, can extend to show her as a divine figure looking down towards the visiting kings in approval. Beyond the individual details surrounding the Virgin Mary and child, there is an abundance of detail and color in the piece as a whole. The patterning on the clothes of the magi and the grandiose roman arches in concord with the deep blue of the sky and the shining greens and reds of the fabric coalesce to signify to viewers, both of the time and contemporary, of the importance of the scene. Veronese has created a fitting piece for such a central biblical event. His manipulation of light, color, line, and position not only create an emphasis on the Virgin Mary and child as important figures but does so in a manner that celebrates their divinity and emphasizes their divine connection to the natural world of Venice. [1] Irene Brook, "Veronese," Renaissance Studies 30, no. 3 (2015): 457. [2] “Paolo Veronese,” The National Gallery, accessed October 5, 2020, <a href="https://www.nationalgallery.org.uk/artists/paolo-veronese">https://www.nationalgallery.org.uk/artists/paolo-veronese</a>. [3] Diana, Gisolfi, "Veronese [Caliari], Paolo" Grove Art Online, (October 2011): 1. https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/The_Adoration_of_the_Kings/N-0268-00-000062-wpu.jpg 5194ab54378f42281019d1b97fc7e768 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 Adoration of the Kings Creator An entity primarily responsible for making the resource Paolo Veronese (1528-1588) Publisher An entity responsible for making the resource available Church of Saint Silvestro Image Source: Veronese, Paolo. The Adoration of the Kings. The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings Date A point or period of time associated with an event in the lifecycle of the resource 1573 Contributor An entity responsible for making contributions to the resource Carmel Falek Format The file format, physical medium, or dimensions of the resource Oil on canvas, 355.6 x 320.0 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 The National Gallery, London, United Kingdom Description An account of the resource Paolo Veronese was commissioned to paint The Adoration of the Kings by the Church of Saint Silvestro in Venice because the church wanted a painting for the nave of the building [1]. Born in 1528 to a family of stonecutters in Verona, Paolo made a name for himself as a revolutionary mannerist painter. As Nicholas Penny analyzes, Veronese's style drew from Raphael's techniques with an added aspect of looseness and fluidity [2]. He was comissioned by various churches and government departments in Venice as he was a popular painter there at the time [3]. During the time Veronese worked on The Adoration of the Kings, his workshop was also comissioned by another church, Santa Corona in Vicenza, to create a painting depicting the same biblical story, which can be seen in the striking similarities of both paintings [1]. The Adoration of the Kings was created by Veronese with the purpose of narrating a biblical story for the audience, the members of the church, to see when looking toward the nave of the building. He was commissioned to depict the biblical story of the three kings visiting baby Christ after his birth in the stable. The Virgin Mary sits on a throne off center holding the child as the men, including the kings, are on their knees, representing their praise and devotion to her and the newborn. Alluding to the birth of Christ in a farm stable, Veronese details cattle, goats, and horses, making the viewer feel as if they are in the scene, witnessing the miracle of Christ. He combines the run down stable architecture with the classical arches and columns from Greek and Roman building styles in the background. In addition, Veronese paints cherubs up above, looking down in awe of the newborn child, as a way to connect the heavenly realm to this scene on Earth. Veronese utilizes light to signify the key roles of Mary and Christ. This can be seen with the beam of light hitting only the Virgin, illuminating her and the child in the painting. They are the source of brightness, representing their importance in the scene. The rest of the painting is dark, illustrating the dichotomy between the holy and bright Virgin and Christ compared to the other humans. Veronese uses lines to shape the painting and highlight important aspects of the scene. He creates a straight diagonal line of light to draw the viewer's attention to Mary and Christ as it beams down on them. In addition, Veronese utilizes rich colors when depicting the clothing of the kings, emphasizing their position and importance in this religious scene. This can be seen with rich yellow and red fabrics that Veronese paints for the kings' robes. Specifically, he paints the fabrics with great detail, indicating the folding and patterns of the clothes. The use of these rich colors and precision with the small details draws the viewer's attention to the kings as well, demonstrating their key role in the story. He also composes the painting with a combination of free and compact space, as the ground is filled with people and animals looking and adoring the newborn child, conveying the biblical story. Meanwhile, Veronese incorperates free space in the upper half of the painting in order to focus more on the architectural and scenic background than on the characters and story. [1] “Paolo Veronese: The Adoration of the Kings: NG268: National Gallery, London,” The National Gallery, accessed September 29, 2020, https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings. [2] Nicholas Penny, "Composition, Gesture and Meaning in an Early Painting by Veronese," Artibus Et Historiae 35, no. 70 (2014): 211-212. [3] Barry Jones, "V," Dictionary of World Biography, 894. Source A related resource from which the described resource is derived Brooke, Irene. “Veronese.” Renaissance Studies 30, no. 3 (2015): 457–68. Jones, Barry. "V." In Dictionary of World Biography, 887-902. Acton ACT, Australia: ANU Press, 2019. “Paolo Veronese.” The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/artists/paolo-veronese. “Paolo Veronese: The Adoration of the Kings: NG268: National Gallery, London.” The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings. Penny, Nicholas. "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae 35, no. 70 (2014): 211-19. Tuohy, Thomas. "Works by Paolo Veronese in British Collections." The British Art Journal 14, no. 3 (2013): 3-8. Image Source: Veronese, Paolo. The Adoration of the Kings. The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings. Rights Information about rights held in and over the resource Public Domain. Image Source: Veronese, Paolo. The Adoration of the Kings. The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings