1 10 15 https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Sisyphus/01sisyph.jpg f8167885c68359229ccf7c666efd9b64 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 14: Prado Museum (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 Museo Nacional del Prado, Madrid, Spain 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 Sisyphus Subject The topic of the resource The mythical figure Sisyphus––forever condemned to the depths of Tartarus––struggles to push a boulder up a hill. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Falomir, Miguel. "The 'Furias': From Titian to Ribera." Museo del Prado. Last modified 2014. <a href="https://www.museodelprado.es/en/whats-on/exhibition/the-furias-from-titian-to-ribera/5421b042-69b8-4345-8e6f-11ea4ced0823">https://www.museodelprado.es/en/whats-on/exhibition/the-furias-from-titian-to-ribera/5421b042-69b8-4345-8e6f-11ea4ced0823</a>. Jansen, Sharon L. The Monstrous Regiment of Women: Female Rulers in Early Modern Europe. London: Palgrave Macmillan, 2002. Morford, Mark; Lenardon, Robert J. Classical Mythology. Oxford: Oxford University Press, 1999. Image Source: World Gallery of Art, accessed November 17, 2020. https://www.wga.hu/html_m/t/tiziano/09/01sisyph.html. Publisher An entity responsible for making the resource available Image Source: World Gallery of Art, accessed November 17, 2020. https://www.wga.hu/html_m/t/tiziano/09/01sisyph.html. Date A point or period of time associated with an event in the lifecycle of the resource 1548-1549 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: World Gallery of Art, accessed November 17, 2020. https://www.wga.hu/html_m/t/tiziano/09/01sisyph.html. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 237.0 x 216.0 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 Museo del Prado, Madrid, Spain Description An account of the resource In Greek mythology, Sisyphus is the founder and first sovereign ruler of modern Corinth (which was then Ephyra). After numerous attempts to trick the gods and cheat death, the gods finally catch up to him and punish him. Sisyphus’ sentence is to roll a rock up a hill, where each time he nears the top it rolls back to the bottom so he can start again––the definition of futility to which he lends his name [1]. Despite employing a limited palette of earthy hues such as browns and grays, Titian is able to achieve a tremendous amount of depth and color––a hallmark of the Venetian emphasis on colorito. This technique casts a dull, muted light over the subject that brings a grim feeling upon the viewer. This is only added to by the rock’s shadow that casts his face in anonymity. This signals the hardship, pain, and suffering that Sisyphus is forced to endure for his sins. The intense attention to detail on the figure’s veins and muscles also underscore his strain from an eternity of physical labor. Much like its surviving sister painting, Tityus, Sisyphus was commissioned for Mary, Queen Consort of Hungary and Bohemia to hang in the Great Hall of her Binche Palace [2]. As a myth, Sisyphus warned Greeks of how dangerous and wrong it was to resist the gods (and those who had their blessings, which more often than not meant the powerful elite). Furthermore, it pushed the idea of a universal definition of justice––one that reflected some higher moral order. Mary––who had a difficult time asserting authority as a woman in power during the 16th century––needed to send a message [3]. Placing this work in the room in which she received guests, she could do exactly that. Mary all but explicitly defined herself as a figure of justice who must never be questioned––a powerful ruler who continued the legacy of the gods of ancient Greece. [1] Mark Morford and Robert J. Lenardon, Classical Mythology (Oxford: Oxford University Press, 1999), 491. [2] Miguel Falomir, "The 'Furias': From Titian to Ribera," Museo del Prado, last modified 2014. <a href="https://www.museodelprado.es/en/whats-on/exhibition/the-furias-from-titian-to-ribera/5421b042-69b8-4345-8e6f-11ea4ced0823">https://www.museodelprado.es/en/whats-on/exhibition/the-furias-from-titian-to-ribera/5421b042-69b8-4345-8e6f-11ea4ced0823</a>. [3] Sharon L. Jansen, The Monstrous Regiment of Women: Female Rulers in Early Modern Europe (London, Palgrave Macmillan, 2002), 99. https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Venus_and_Adonis/Venus_and_Adonis-2.jpg cd2fb1eb5fc05bb5b77e95a5c3ccf3a0 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 14: Prado Museum (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 Museo Nacional del Prado, Madrid, Spain 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 Venus and Adonis Description An account of the resource In this painting, we see Venus--the Roman goddess of love and affection--depicted with blonde hair, draped with a fine and elegant fabric from the waist down. In her lap lies Adonis, an adept hunter in Greco-Roman mythology who dons bright and vibrant orange clothing. Following Venus’ gaze, we see Cupid holding back an aggressive dog while another dog lies calmly at his feet. Veronese brings attention to the main subjects in the composition in multiple ways. The first of these is through the vibrant colors of the clothing, as well as the designs. Although Veronese transitions away from the Mannerist influences of Michelangelo and Giambattista Zelotti, characteristics of the Mannerist style are still displayed, such as the elaborate decoration of Venus and the bright colors of the clothing.¹ Golden floral decorations on the garments of Venus complement the simple, yet elegant pearl necklace as well as the golden bracelet on her wrist. In addition, the purple of the garment complements the orange of Adonis’ clothing, drawing the viewer’s attention. In a broader view, the vivid hues of purple and orange contrast with the natural browns and greens of the surroundings, as well as the dark blue of the sky, drawing attention to the foreground of the composition. This contrast in color may have been used to communicate the status of the characters within mythology. In addition to the contrast in color on a micro- and macroscopic scale, there is a sense of foreshortening through Adonis’ body. As his head lies in Venus’ lap, his body extends backward. This sense of depth is seen in the comparison of Venus’ leg with Adonis’ leg, with the latter seeming smaller and darker. With these qualities, this painting seeks to serve an allegorical purpose. Believed to have been the specific moment when Venus tries to keep Adonis from going on his hunt, this painting brilliantly takes a snapshot of the scene while also foreshadowing the tragic death of Adonis. Upon closer investigation, the viewer will notice the snake wrapped around Adonis’ torso as well as the aggression of the dog. However, the danger of the snake is insidious compared to the hound on the left, creating a balance in the painting that will be soon be disrupted.² While the visual characteristics are easily analyzed, the subject matter and function of the painting are much more convoluted. Many scholars have assumed that the figures in the painting are Venus and Adonis, as a result of Raffaelo Borghini’s comparison of the painting to previous artworks of Veronese. However, none of the elements in the composition of the painting are direct references that would serve to identify the figures. According to Victor Nieto Alcaide, these figures could be Cephalus and Procris from Ovid’s Metamorphoses, specifically Book VII.³ Regardless of the mythological allegory, a theme of love--and possibly loyalty--is displayed. This may shine a light on the function of the painting, as it was bought from Veronese by Diego Rodríguez de Silva y Velázquez, an artist for the Spanish court. As a result, the painting may serve to encourage love and prosperity in Spain, while also emphasizing the importance of loyalty and patriotism. <ol> <li style="font-weight:400;">Britannica Educational Publishing Staff, The 100 Most Influential Painters and Sculptors of the Renaissance : 100 Most Influential Painters and Sculptors of the Renaissance (Chicago, IL: Rosen Publishing Group, 2009), ProQuest Ebook Central.</li> <li style="font-weight:400;">David Rosand, “The Passion of Adonis,” Arion: A Journal of Humanities and the Classics, vol. 21, no. 3 (2014) pp. 5–27, <a href="http://www.jstor.org/stable/arion.21.3.0005">www.jstor.org/stable/arion.21.3.0005</a></li> <li style="font-weight:400;">Víctor Nieto Alcaide, "Veronés y Ovidio : Procris, Céfalo y la Brisa" Espacio Tiempo y Forma Historia del Arte[Online] 7, no. 16, (1 January 2003)</li> </ol> Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived <ul> <li style="font-weight:400;">Journal Article 1: David Rosand. “The Passion of Adonis.” Arion: A Journal of Humanities and the Classics, vol. 21, no. 3, 2014, pp. 5–27. JSTOR, www.jstor.org/stable/arion.21.3.0005. Accessed 27 Oct. 2020.</li> </ul> <ul> <li style="font-weight:400;">Journal Article 2: Nieto Alcaide, Víctor. "Veronés y Ovidio : Procris, Céfalo y la Brisa" Espacio Tiempo y Forma. Serie VII, Historia del Arte[Online], Number 16 (1 January 2003)</li> </ul> <ul> <li style="list-style-type:none;"> <ul> <li style="font-weight:400;">Link to translated google doc of article: <a href="https://docs.google.com/document/d/182Klr4D0-FWSzLIOFT156nvt_4tw305EdL3RspTu2rs/edit?usp=sharing">https://docs.google.com/document/d/182Klr4D0-FWSzLIOFT156nvt_4tw305EdL3RspTu2rs/edit?usp=sharing</a></li> </ul> </li> </ul> <ul> <li style="font-weight:400;">Book: Britannica Educational Publishing Staff. 2009. The 100 Most Influential Painters and Sculptors of the Renaissance : 100 Most Influential Painters and Sculptors of the Renaissance. Chicago, IL: Rosen Publishing Group. Accessed October 27, 2020. ProQuest Ebook Central.</li> </ul> <ul> <li style="font-weight:400;">Image Source: Paolo Veronese. c. 1580. Venus and Adonis. painting. Place: Museo del Prado. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195705">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195705</a>.</li> </ul> <ul> <li style="font-weight:400;">Museum: Veronese, Paolo (Paolo Cagliari). “Venus and Adonis - The Collection.” The Collection - Museo Nacional del Prado. Museo Nacional del Prado, January 1, 1585. <a href="https://www.museodelprado.es/en/the-collection/art-work/venus-and-adonis/692667da-d0f5-4765-ba03-30fdce3513d1">https://www.museodelprado.es/en/the-collection/art-work/venus-and-adonis/692667da-d0f5-4765-ba03-30fdce3513d1</a>.</li> </ul> Publisher An entity responsible for making the resource available Commissioner/Patron unknown, possibly Diego Rodríguez de Silva y Velázquez (artist for Spanish Court) Image source: Paolo Veronese. c. 1580. Venus and Adonis. painting. Place: Museo del Prado. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195705">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195705</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1580 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 162 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 Museo del Prado https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Bacchanal_of_the_Andrians_[Bacchinal_at_Andros]/ARTSTOR_103_41822000638419.jpg 2b6b1c5f674fb5445dc73fcd53bdc711 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 14: Prado Museum (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 Museo Nacional del Prado, Madrid, Spain 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 Bacchanal of the Andrians (Bacchinal at Andros) Subject The topic of the resource Bacchanal of the Andrians by Titian depicts a group of Andrian people drinking from the river of wine on the mythical island of Andros. The painting was commissioned by Alfonso d'Este, the duke of Ferrara at the time, as part of a collection that would be put in his studio. Titian's painting was placed in the same room as Giovanni Bellini's Feast of the Gods, who was Titian's former teacher. Since the two great artists were never on good terms, Titian took the opportunity to upstage his teacher by depicting a similar theme and displaying his superiority in as many ways as possible.[1] Description An account of the resource Titian paints his image with vibrant warm colors and darker cool colors. The one exception to this is the color of the sky in some areas and a woman's dress, which are both a light shade of blue. The painting has a vast amount of contrast across the canvas to create contrast. The work is set in a naturalistic setting with trees, rolling hills, deep blue water, and a river of wine flowing in the fore ground. The first figure that the viewer encounters is a nude woman reclining on the ground with her head tilted back. This woman is partially clothed in a flowing, vibrant white cloth that flows naturally in the traditional Renaissance style. This woman is supposed to personify loneliness and feelings of abandonment as she reclines, separate from the rest of the figures in the painting. The viewers eye will then move to the group of Andrians by the trees posed in various positions and clothed to different degrees. The people in the picture are shown donning clothing colored in deep reds, light blues, glistening orange, white, or wearing no clothing at all. All of the garments that the Andrians are wearing are flowing similarly to the woman that is seen in the fore ground of the work. Most of the men seen standing around the group of women are nude or mostly nude. The baby that stands in the middle of all of the drunken adults stands near the center of the work, urinating into the river of wine. Lying on the ground in front of the women in the large group is a small piece of parchment. This paper is inscribed with a fragment of a music set that was designed to be sung by a group of people starting at different times.[2] This gives us an insight on Renaissance drinking songs from the time period. The background that Titian created is complex, containing some of the most meaningful pieces of the work. On a hill in the background is a man with a snow white beard who seems to be lying on the hill surrounded by reeds, too drunk to be with the rest of the Andrians. The man is in fact a personification of the river of wine.[3] The ocean that spans to the left with a boat on top of it sailing over the horizon. The sky is a mix of gray, dark blue, light blue, white and black, almost like there is a storm waiting to happen. This represents the dark future that the Andrians are moving towards. Titian painted this piece with the figures in a drunken stupor so that they can celebrate drunkeness and human desire. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Bertos, Rigas N. "A Short Note on the "Bacchanal of the Andrians"." Mitteilungen Des Kunsthistorischen Institutes in Florenz 20, no. 3 (1976): 407-10. Accessed October 21, 2020. http://www.jstor.org/stable/27652414. Bertos, Rigas N. "Some Remarks on TITIAN and BELLINI at Ferrara." RACAR: Revue D'art Canadienne / Canadian Art Review 2, no. 2 (1975): 49-54. Accessed October 21, 2020. http://www.jstor.org/stable/42630093. Smith, Gertrude P. "The Canon in Titian's Bacchanal." Renaissance News 6, no. 3/4 (1953): 52-56. Accessed October 21, 2020. doi:10.2307/2857210. Titian, ca. 1488-1576. 1518-9. Bacchanal at Andros. Place: Museo del Prado. https://library.artstor.org/asset/ARTSTOR_103_41822000638443. Publisher An entity responsible for making the resource available Alfonso d'Este Date A point or period of time associated with an event in the lifecycle of the resource 1518-1519 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 193 x 175cm Type The nature or genre of the resource Oil painting on cavas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo del Prado; Madrid, Spain https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Venus_and_Adonis/Venus_and_Adonis.jpg 79b950101a8714cc4c6df9dae4751314 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 14: Prado Museum (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 Museo Nacional del Prado, Madrid, Spain 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 Venus and Adonis Creator An entity primarily responsible for making the resource Titian Date A point or period of time associated with an event in the lifecycle of the resource 1554 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Copyright ©Museo Nacional del Prado The granted permission for the images rights of the artworks belonged to the Image Bank of the Museo del Prado is destined to be used in projects based on the study of History of Art. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 186 cm x 207 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 Prado Museum, Madrid, Spain Description An account of the resource The scene of Venus and Adonis comes from the literary work The Metamorphosis by Ovid. After being mistakenly hit by an arrow from Cupid, Venus, the goddess of love, became the lover of the mortal young hunter Adonis. Venus had a foreboding that Adonis would be in danger while hunting, and tried to prevent him from going to the hunt one day. But Adonis, who didn't believe it, stubbornly hunted alone and was attacked by irritated wild boars that Adonis failed to kill. Venus heard his cry in the sky above her chariot, but could not save him. When she descended to the woods to find him, Adonis was already dead. The paradoxical structure of this myth depicts the ambiguous boundaries between divinity and mankind, as expressed in Titian's art. [1] Titian chose a moment full of love and loss in the middle of the entire plot, in which the goddess Venus’ futile efforts were too feeble to save him. Titian skillfully constructed a scene that contains all the key components of the narrative. There's the sign of a very powerful beam of white light in the background scenery that presumably points to the location where Adonis dies, describing the future. [1] The light over the head of Adonis represents Venus falling down from the heavens to return to his wounded mortal lover. Titian was very strong at creating portraits, especially as many of his artistic commissioners for his portraits came from among aristocrats and most entitled rulers in foreign countries. He was good at creating subtle eye expressions that communicate certain sensations with the audience. The exquisite drawing skills are also reflected in the intimate eye contact of the two figures in this painting. Venus's eyes and eyebrows, looking up, convey a mixed emotion of pleading, fear, and helplessness, meeting the tender gaze in Adonis' reaction. The limbs of the two characters stretch out exaggeratedly. Venus’ calves, the tilt of his waist, and Adonis’ upwardly raising and naturally pendent arms form a nearly clockwise cycle, which is imaginable for the audience to feel their movement for the very next second. Venus was shown to be off-balanced in both literal and metaphorical ways. This unbalanced, off-centered posture, like a moment in a comedy or ballet, arouses the audience's emotions and attention more powerfully. In terms of color, the scheme becomes quieter and contains less contrast, but the compensation is injected by the stronger energy produced by the light in this painting.[2] It was part of a collection of mythical works commissioned by King Philip II of Spain entitled poesie(poems). Venus and Adonis were designed to be seen alongside Danaë, the first of the poems that are now lost. This Venus and Adonis marked the start of Philip's preeminent relationship that allowed him almost absolute freedom to paint a variety of images of what-ever topic he desired for the next few years for the emperor. In a letter to Philip, Titian clarified that the two works would provide opposing front and hind views of a nude Venus, thereby enabling painting to compete with the form of sculpture. [3] [1] Aneta Georgievska-Shine . "Titian and the Paradoxes of Love and Art in "Venus and Adonis"." Artibus Et Historiae 33, no. 65 (2012): 97-99 [2] “Venus and Adonis - The Collection - Museo Nacional Del Prado.” Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/venus-and-adonis/bc9c1e08-2dd7-44d5-b926-71cd3e5c3adb. [3] Nicholas Penny, National Gallery Catalogues (new series): The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, (National Gallery Publications Ltd 2008), 203, 284 Source A related resource from which the described resource is derived Georgievska-Shine, Aneta. ‘Titian and the Paradoxes of Love and Art in “Venus and Adonis”.’ Artibus Et Historiae 33, No. 65 (2012): 97-113. Accessed October 20, 2020. Http://Www.Jstor.Org/Stable/23509713. Museo Nacional Del Prado, “Venus and Adonis - The Collection - Museo Nacional Del Prado.” Accessed October 21, 2020. Https://Www.Museodelprado.Es/En/the-Collection/Art-Work/Venus-and-Adonis/Bc9c1e08-2dd7-44d5-B926-71cd3e5c3adb. Penny, Nicholas, National Gallery Catalogues (New Series): The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, 2008, National Gallery Publications Ltd, ISBN 1857099133, Image Source: Museo Nacional Del Prado, “Venus and Adonis - The Collection - Museo Nacional Del Prado.” Accessed October 21, 2020. Https://Www.Museodelprado.Es/En/the-Collection/Art-Work/Venus-and-Adonis/Bc9c1e08-2dd7-44d5-B926-71cd3e5c3adb.,” Publisher An entity responsible for making the resource available Commissioned by King Philip II of Spain “Venus and Adonis - The Collection - Museo Nacional Del Prado.” Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/venus-and-adonis/bc9c1e08-2dd7-44d5-b926-71cd3e5c3adb. https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Saint_Margaret_and_the_Dragon/LESSING_ART_10310120561.jpg 0cfee459e881957fa609af4eafbe916c 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 14: Prado Museum (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 Museo Nacional del Prado, Madrid, Spain 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/LESSING_ART_10310120561">Saint Margaret and the Dragon</a> Description An account of the resource Titian created Saint Margaret and the Dragon in ca. 1565 and it is currently in the Museo del Prado in Madrid, Spain. Philip II owned two paintings of this saint: one remains of the Escorial, which came in 1574, and the version in the Museo del Prado has better quality and most likely belonged to Mary of Hungary [1]. Saint Margaret and the Dragon is one of Titian's later masterpieces as he has adapted to the religious-themed Renaissance. Saint Margaret appears in the center of the painting with her left leg in front of the other. It appears as if she is floating in the middle of the painting as well. Titian's painting reminds me of the portrait effect on an iPhone camera because Saint Margaret is clearly present in the center of the artwork and the background around her is blurry. Margaret is wearing an olive green dress over a white shirt with a pinkish scarf around her neck. She is looking down at her right, holding out a cross with her left hand, protecting herself from the black dragon that appears on the right side of the painting. Margaret is a conjurer of beasts because the dragon vaporizes as the cross appears, causing the dragon to explode. The original story portrays that Margaret has been swallowed by the devil, which is in the shape of a dragon, but after she makes the sign of the cross, the creature explodes into many pieces, freeing her and not harming her [2]. Despite the Council of Trent's ban on the representation of such unhistorical events, Titian placed pictorial tradition over ecclesiastical admonitions. There was more of a sense of context because she is inhabiting the wilderness and the visual background is a reference to Venice prior, a city like St. Christopher. The background of this painting presents a burning city, ultimately Venice burning up. When you zoom in on this painting, you see the fires across the skyline with various buildings and boats in the water. This landscape provides an illusionistic interplay with Venice's view burning in the background and the moon shining over the lagoon. Titian used fire frequently in his paintings even if the fire was not literally described in the painting, such as an explosive force [3]. This painting provides both the fire in the background, depicting Venice prior, and the story of Saint Margaret has the devil explode into several pieces due to the cross she was holding. The distinct blue sky is somewhat present in the background but mostly covered by the smoke from the city below. You also can view the rocky cave on the right side of the painting that holds the dragon and a skull in the lower-left corner. [1] “Saint Margaret - The Collection.” The Collection - Museo Nacional del Prado, 2015. <a href="https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.">https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.</a> [2] Kordecki, Lesley. "Margaret and the Dragon: Lydgate's Adoption of the Apocryphal." Preternature: Critical and Historical Studies on the Preternatural 9, no. 1 (2020): 53-75. [3] Hills, Paul. "Titian's Fire: Pyrotechnics and Representations in Sixteenth-Century Venice." Oxford Art Journal 30, no. 2 (2007): 187-204. (187) Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Hills, Paul. "Titian's Fire: Pyrotechnics and Representations in Sixteenth-Century Venice." Oxford Art Journal 30, no. 2 (2007) Kordecki, Lesley. "Margaret and the Dragon: Lydgate's Adoption of the Apocryphal." Preternature: Critical and Historical Studies on the Preternatural 9, no. 1 (2020) “Saint Margaret - The Collection.” The Collection - Museo Nacional del Prado, 2015. <a href="https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.">https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.</a> Image Rights: Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. <a href="https://library.artstor.org/#/asset/LESSING_ART_10310120561">https://library.artstor.org/asset/LESSING_ART_10310120561.</a> Publisher An entity responsible for making the resource available Royal Collection (Royal Palace of El Buen Retiro, Madrid, "pinturas recogidas de las Casas Arzobispales", 1747, no. 59; New Royal Palace, Madrid, "paso de tribuna y trascuartos", 1772, no. 59; Royal Palace, Madrid, "pieza azul", 1814-1818?). Image Rights: Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. <a href="https://library.artstor.org/asset/LESSING_ART_10310120561.">https://library.artstor.org/asset/LESSING_ART_10310120561.</a> Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1565 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y. Image Rights: Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. <a href="https://library.artstor.org/asset/LESSING_ART_10310120561.">https://library.artstor.org/asset/LESSING_ART_10310120561.</a> Format The file format, physical medium, or dimensions of the resource Oil on canvas; 209 x 183 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 Museo del Prado, Madrid, Spain https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Christ_Carrying_the_Cross/AWSS35953_35953_31697326.jpg 16b571a4c1578d660507f889f64535ef 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 14: Prado Museum (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 Museo Nacional del Prado, Madrid, Spain 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 Christ Carrying the Cross Description An account of the resource Titian’s Christ Carrying the Cross was not a one off subject matter or commission. Several decades prior Titian had created a version of Christ Carrying the Cross depicting Christ tied at the neck by the rope of an executioner [1]. This work was placed in the Scuola di San Rocco, and served as a template for his later version [1]. The mid 17th century rendition of the work, of which this item is the focus, was commissioned by Francesco Zuccato. He was an important Venetian mosaicist and a family-friend of Titian [2]. Zuccato’s father was Titian’s first teacher when he had moved to Venice at a young age [2]. The commission is denoted by Zuccato's physical traits appearing in the rendering of Simon within the painting. The image retains a fairly concise and concentrated narrative. The oil on canvas is dominated by two central figures, one of which is Christ and the other is Simon the Cyrene. Simon was enlisted to help Christ carry his cross, as he was failing to do so in a timely manner because of physical exhaustion. Simon has his head rested on one of the wooden beams of the cross, his face darkened but looking intently towards Christ’s bleeding face below. Their positions in carrying the cross practically overlap their bodies, establishing a connection between the two. Christ has tears dripping down his face, blood in the whites of his eyes, and a rope tied around his neck (but only partially visible). These elements emotively illustrate the amount of pain and suffering Christ is experiencing as he marches closer to this death. Furthermore, the painting is filled with different (and progressively darker) shades of brown to demonstrate a gloomy mood [3]. Instead of looking forward, Christ appears to be gazing at the viewer of the painting, a mechanism for instilling relatability and transporting the viewer to the scene. The painting is complete by its uncommon use of framing [3]. Only a fragment of the cross is visible, more than half of Christ's body remains outside of the image, and Simon’s head does not fit fully into the frame. These elements function as a device to heighten the perspective of the viewer and draw them into the scene rather than treating them as outliers or observing from a distance. [1] Tom Nichols, Essay, In Titian and the End of the Venetian Renaissance, (London, NC: Reaktion Books, 2013), 61-62. [2] “Christ Carrying the Cross,” The Collection - Museo Nacional del Prado, Museo Nacional del Prado, accessed October 21, 2020, https://www.museodelprado.es/en/the-collection/art-work/christ-carrying-the-cross/657fa964-0040-48df-971e-88f0de5c6714. [3] “Christ Carrying the Cross, 1508 by Titian,” Titian. Titian.org, 2011, https://www.titian.org/christ-carrying-the-cross.jsp. Creator An entity primarily responsible for making the resource Titian (Tiziano Vecellio) Source A related resource from which the described resource is derived “Christ Carrying the Cross.” The Collection - Museo Nacional del Prado. Museo Nacional del Prado. Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/christ-carrying-the-cross/657fa964-0040-48df-971e-88f0de5c6714. “Christ Carrying the Cross, 1508 by Titian.” Titian. Titian.org, 2011. https://www.titian.org/christ-carrying-the-cross.jsp. Nichols, Tom. Essay. In Titian and the End of the Venetian Renaissance, 61–62. London, NC: Reaktion Books, 2013. Image Source: “Canvas.” Artstor. ITHAKA. Accessed October 21, 2020. https://library.artstor.org/asset/AWSS35953_35953_31697326. Publisher An entity responsible for making the resource available Comissioned by Francesco Zuccato. Archive for Research on Archetypal Symbolism Image Source: “Canvas.” Artstor. ITHAKA. Accessed October 21, 2020. https://library.artstor.org/asset/AWSS35953_35953_31697326. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1565 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource Contact information: Allison Tuzo, Online Editor, ARAS, 28 East 39th Street, New York NY 10016; Tel No: 646-536-2632; Fax No: 212-682-2024; email: info@aras.org Image Source: “Canvas.” Artstor. ITHAKA. Accessed October 21, 2020. https://library.artstor.org/asset/AWSS35953_35953_31697326. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 67.0 x 77.0 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 Museo del Prado, Madrid, Spain https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Virgin_and_Child_with_Saints_Dorothy_and_George/65257805-c6ba-4727-bdb1-cb97a47da0fd.jpg 349cf0fb2f377b34c6ead34b9f76d487 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 14: Prado Museum (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 Museo Nacional del Prado, Madrid, Spain 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 Virgin and Child with Saints Dorothy and George Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Phillip II Date A point or period of time associated with an event in the lifecycle of the resource 1515 - 1518 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource University of California, San Diego Format The file format, physical medium, or dimensions of the resource Oil on panel, 83 x 130 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 Prado, Madrid, Spain Description An account of the resource Titian, or Tiziano Vecellio, first gained popularity for his religious pieces and for applying the colorito technique and providing innovative twists to classical interpretations of biblical stories, such as in The Virgin and Child with Saints Dorothy and George, [1-3] which he painted for King Phillip II. [2-1] In this piece, Titian provides an inventive depiction of the traditional interpretation of the sacra conversazione, or the depiction of the Virgin Mary in conversation with various saints by arranging his figures in a manner that differs from the expected axial layout. [3-2] He used a manipulation of light, position, and setting to provide an unprecedented and inventive interpretation of this classical religious portrayal. Immediately upon viewing this piece, four individuals can be identified—The Virgin Mary, the child Jesus, St. Dorothy, and St. George. The Virgin Mary holds the child Jesus and is clothed in a rich red dress and vivid, deep blue shawl as St. Dorothy and St. George approach her from the viewer’s left side. All the figures are situated in front of a green double curtain that exposes a section of the brilliant and clouded sky. Immediately, the viewer can recognize the centrality of and emphasis on the Virgin in this piece as she is elevated above all the others. Due to the positioning of the other figures, including the Child Jesus, their eyes and, thus, their gazes are pointed towards the Virgin Mary, which establishes her as the key figure of this piece and leads the viewer to immediately look upon her as well. Furthermore, the positioning of the two saints under the sky gives a sense of movement to this piece that conveys the notion that the saints have entered this sacred space that is occupied by the Virgin and Child Jesus. [2] This idea is further bolstered by Titian’s manipulation of light. As the three figures turn to gaze at the Virgin Mary, their faces are cast in shadows. However, the Virgin’s face is not cast in shadow; in fact, her face possesses an illumination and brightness that highlights her divinity as if she is the source of God’s light in this scene. She is further illuminated and accentuated through the coloring and detailing of her clothes. Of all the figures, her clothes are the brightest, richest, and most vibrant of all the figures, which further conveys the idea that the Virgin Mary is the key focus of this piece. The centrality and importance placed on the Virgin Mary in this piece is a reflection of the Virgin Mary’s importance to the Venetian people. Through his innovative interpretation, Titian emphasizes the Virgin’s divinity and reminds viewers of her divine connection to God. Viewers of this piece, at the time, would have seen the exaggerated importance as a reminder of her integral role in the city’s divine connection to God. She was their protector and a divine figure that they valued greatly as seen by the grandeur of this piece and the care with which Titian has depicted her. [1] Cecil Gould, “Titian”, Grove Art Online, (2003): 2. [2] Frederick Ilchman, Titian, Tintoretto, and Veronese: Rivals in Renaissance Venice, (MFA Publications: 2009), 23. [3] “The Virgin and Child with Saints Dorothy and George”, Museo del Prado, accessed October 15, 2020, https://www.museodelprado.es/en/the-collection/art-work/the-virgin-and-child-with-saints-dorothy-and/cb4b0922-04a4-4318-91ed-bbc4c7b60d78?searchid=838189fd-7f34-bc81-ba0c-6861e9fbabb4. Source A related resource from which the described resource is derived <ul> <li>Humfrey, Peter. Titian. London: Phaidon, 2007.</li> <li>Zuffi, Stefano. Titian. Milan: Arnoldo Mondadori Arte, 1991.</li> <li>Museo del Prado. “The Virgin and Child with Saints Dorothy and George”, Last modified August 10, 2020. Museo del Prado, accessed October 15, 2020, https://www.museodelprado.es/en/the-collection/art-work/the-virgin-and-child-with-saints-dorothy-and/cb4b0922-04a4-4318-91ed-bbc4c7b60d78?searchid=838189fd-7f34-bc81-ba0c-6861e9fbabb4. </li> <li>Gould, Cecil. "Titian." Grove Art Online. (2003).</li> <li>Ilchman, Frederick. Titian, Tintoretto, and Veronese: Rivals in Renaissance Venice. MFA Publications, 2009.</li> </ul> https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/The_Bacchanal_of_the_Andrians/ARTSTOR_103_41822000638443.jpg 390b4b5131082eaa538e92a68cd26ab7 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 14: Prado Museum (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 Museo Nacional del Prado, Madrid, Spain 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 Bacchanal of the Andrians Subject The topic of the resource A celebration of drunkenness Description An account of the resource Titian was commissioned to create this painting for Alfonso d’Este. This painting demonstrates the joy brought to the people from wine. Clearly, a wine glass is being held in the center of the painting to demonstrate the immense focus Titian places on alcohol. The painting also highlights the different stages of drunkenness because you can see people who are passed out, but also those who are still conscious. Another thing that I thought was quite interesting was the vast ages of those who are participating. In the foreground you can see a young child drinking among the men and women. The story behind this painting is that the islanders are awaiting the return of Bacchus and apparently there was a river of wine that ran through the island. This explains the reason for celebration and explains why alcohol is seen as a positive in this scenario.This painting contrasts the typical didactic and moralizing nature of other drunken paintings due to the fact that this painting seems to encourage the wine drinking. [1] It demonstrates the celebratory nature and points out the traits of human desire. The vivid and varying colors used by Titian also seem to represent the joyous and happy nature in the scene. The colors contribute to the fun and carefree vibe presented in this work. [3] Titian was know to carefully balance each color with those alongside it to create a harmonious overall impression, which in this case gives a sense of calmness among the chaos. It was believed the wine had strong effects, with the power to make men dominant, rich, and extraordinarily handsome. [2] This gave wine an important role in Venetian society, and this scene is no exception. [1] Fehl, P. (1996). Touchstones of Art and Art Criticism: Rubens and the Work of Franciscus Junius. [2] Reid, Heather L. "PHILOSTRATUS'S "GYMNASTICUS": THE ETHICS OF AN ATHLETIC AESTHETIC." [3] Zuffi, Stefano. Titian. Milan: Arnoldo mondadori arte, 1991. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Fehl, Philipp P. "Touchstones of Art and Art Criticism: Rubens and the Work of Franciscus Junius." Journal of Aesthetic Education 30, no. 2 (1996): 5-24. Accessed October 20, 2020. doi:10.2307/3333189. Reid, Heather L. "PHILOSTRATUS'S "GYMNASTICUS": THE ETHICS OF AN ATHLETIC AESTHETIC." Memoirs of the American Academy in Rome 61 (2016): 77-90. Accessed October 20, 2020. http://www.jstor.org/stable/44988074. <div> </div> <div>Titian. 1518. Bacchanal. painting. Place: Museo del Prado. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195607.</div> Zuffi, Stefano. Titian. Milan: Arnoldo mondadori arte, 1991. <div></div> Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Titian. 1518. Bacchanal. painting. Place: Museo del Prado. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195607. Date A point or period of time associated with an event in the lifecycle of the resource 1523-1525 Contributor An entity responsible for making contributions to the resource Jared Kreis Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 175 x 193 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 Museo Nacional del Prado, Madrid, Spain https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Saint_Margaret_and_the_Dragon/LESSING_ART_10310120561.jpg 0cfee459e881957fa609af4eafbe916c 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 14: Prado Museum (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 Museo Nacional del Prado, Madrid, Spain Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Margaret and the Dragon Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Artstor, Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. https://library.artstor.org/asset/LESSING_ART_10310120561. Date A point or period of time associated with an event in the lifecycle of the resource 1540-1550 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas; 242 x 182 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 Prado, Madrid, Spain Description An account of the resource In this painting, we see Saint Margaret, an Antioch virgin, emerging from a dragon’s severed body with a cross in hand. Titian makes Margaret the central figure in the painting in multiple ways. First, he makes her skin and clothing have much brighter colors, which contrasts heavily with the dark background. Second, he places Margaret in the center of the image, so the viewer feels compelled to look at her. In addition, Margaret’s dress and face is much more textured than her background, which creates yet another contrast that places the viewer’s eye on her. Finally, the light shines directly onto her, making the dragon and her background seem less important to the viewer. Now, the question becomes why would Titian want to focus on Saint Margaret? This work belonged to Mary of Hungary, who was a queen consort and governor of the Netherlands; thus, she was a strong, powerful woman. Titian wanted Mary to see herself in Saint Margaret; therefore, by making her the main character and figure in the painting, he gave Margaret a sense of agency. In addition, Titian gave agency to Margaret through the version of her encounter with the dragon that she chose to depict. In the commonly accepted tale, Margaret fends off the dragon by waving the cross, making it seem as though God saved her rather than herself. However, Titian uses the more legendary version, in which Margaret was swallowed by the dragon, and when she made the sign of the cross the dragon burst [1]. In addition, Maria Loh believes that Titian’s attention to detail is also indicative of Margaret’s autonomy during this event. Rather than giving Margaret a blank expression, he gives her one that expresses her emotion, as she looks down at what she has done to this dragon. In addition, Titian does not shy away from the violence of the scene, adding the manic brushstrokes of the waves and the city in the background and the skull, tying the picture to reality and making it seem more active [2]. This more active depiction combined with the artistic focus on her made Mary of Hungary resonate with the image more, tying into the Renaissance idea of connecting with religion on an individual level. However, Titian’s use of this less historically accurate description and his showcase of Margaret’s knee was frowned upon by the Council of Trent. Thus, Titian had to use techniques to make the painting seem more similar to those of his accepted contemporaries and predecessors. First, he drew inspiration from Raphael’s depiction of the scene, using Margaret’s contrapposto stance and the rock in the background to draw parallels between the two, making his painting seem like it had a historical basis [3]. Second, he also used the herringbone twill canvas, which was not only more complex but also more frequently used by his rivals, Tintoretto and Veronese, which also created connections between this work and the accepted work of his rivals [4]. [1] Miguel Falomir Faus, "Saint Margaret - The Collection - Museo Nacional Del Prado," in Museodelprado.Es (2003), https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8. [2] Maria H. Loh, Titian's Touch: Art, Magic and Philosophy (United Kingdom: Reaktion Books, 2019), 71. [3] Miguel Falomir Faus, "Saint Margaret - The Collection - Museo Nacional Del Prado," in Museodelprado.Es (2003), <a href="https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8">https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8</a>. [4] Nicholas Penny, Jill Dunkerton, Marika Spring, Rachel Billinge, Helen Howard, Gabriella Macaro, Rachel Morrison, David Peggie, Ashok Roy, Lesley Stevenson, Nelly Von Aderkas, and Jacqueline Ridge, "Titian's Painting Technique from 1540," in National Gallery Technical Bulletin 36 (United Kingdom: National Gallery London, 2015), 1-136. Source A related resource from which the described resource is derived Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. https://library.artstor.org/asset/LESSING_ART_10310120561. Falomir Faus, Miguel. 2003. "Saint Margaret - The Collection - Museo Nacional Del Prado". Museodelprado.Es. https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8. Penny, Nicholas, Jill Dunkerton, Marika Spring, Rachel Billinge, Helen Howard, Gabriella Macaro, Rachel Morrison, David Peggie, Ashok Roy, Lesley Stevenson, Nelly Von Aderkas, and Jacqueline Ridge . "Titian's Painting Technique from 1540." National Gallery Technical Bulletin 36 (2015): 1-136. Accessed October 20, 2020. http://www.jstor.org/stable/44678399. Loh, Maria H.. Titian's Touch: Art, Magic and Philosophy. United Kingdom: Reaktion Books, 2019. https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Sisyphus/sisyphus.jpg 6d132cff97755cc82ee360c90c53d3d1 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 14: Prado Museum (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 Museo Nacional del Prado, Madrid, Spain 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 Sisyphus Description An account of the resource Commissioned by Mary of Hungary for the Binche Palace and painted by Titian c. 1548, Sisyphus documents the story of the King of Corinth, Sisyphus. Sisyphus was condemned to push a boulder to the top of a hill in the Underworld repeatedly, for the rest of eternity as his punishment for many indiscretions during his lifetime [1]. Titian was well-versed in creating mythological narratives and added extraordinary detail to his human figures, which can be seen in this painting [2]. In Sisyphus, Titian shows an interest in the male human form and anatomy, as well as landscape details. Clearly focused on the figure of Sisyphus in the center of the painting, Titian uses lighting to highlight the figure as a whole, but also each individual muscle that is flexed as he struggles with pushing the boulder up the steep hill. Sisyphus wears only a small white cloth around his waist that appears to be slipping, but both hands are firmly above his head to prevent the boulder from falling and likely crushing him. His head is turned towards the viewer, but does not engage with the viewer through eye contact – rather, he is positioned to be looking behind him, with his eyes nearly closed in a defeated manner. The only white light in the painting surrounds Sisyphus, but contrasting religious paintings in which light denotes a holy or pure subject, Titian seems to only indicate that Sisyphus is forced to clear a path through the dark scenery, further reinforcing the strenuous conditions that he lives in. Sisyphus is surrounded by dark smoke that Titian blurs the edges to create a remarkably realistic effect. Titian paints fire and flames directly in front of the figure but uses depth to ensure that it appears in the background. On the bottom left, Sisyphus is followed by hellish creatures that seemingly blend into the smoke, creating the illusion of uncertainty in what lies in the darkness, as well as adding to the overall sense of torture that Sisyphus is facing. By meticulously capturing these details, Titian allows for the viewer to both understand how grueling his punishment is, and the hell he has been banished to. The story of Sisyphus has also been used to serve as a reminder of what happens when one repeatedly chooses to ignore right from wrong in the eyes of the gods – and Titian's painting reinforces this sentiment by documenting the moral so vividly [3]. Mary of Hungary may have wanted to include this painting in her collection to make clear both to herself and her visitors the ethics she hoped to embody. [1] Authors of Encylopedia Britannica, "Sisyphus" Encylopedia Britannica [2] Loh, Maria, “Abracadabra.” In Titian's Touch: Art, Magic, and Philosophy, 56–59. [3] Authors of Encylopedia Britannica. “The Myth of Sisyphus.” Encyclopædia Britannica Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Authors of Encylopedia Britannica. “Sisyphus.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 2017. https://www.britannica.com/topic/Sisyphus. Loh, Maria H. “Abracadabra.” In Titian's Touch: Art, Magic, and Philosophy, 56–59. London, UK: Reaktion Books, 2019. Authors of Encylopedia Britannica. “The Myth of Sisyphus.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 2019. https://www.britannica.com/topic/The-Myth-of-Sisyphus. Titian. “Sisyphus, 1548 - 1549 - Titian.” www.wikiart.org, January 1, 1970. Accessed October 20, 2020. https://www.wikiart.org/en/titian/sisyphus-1549. <div class="element"> <div class="field two columns alpha"></div> </div> Publisher An entity responsible for making the resource available Commissioned by Mary of Hungary Date A point or period of time associated with an event in the lifecycle of the resource c. 1548 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Rights Information about rights held in and over the resource WikiArt, Public Domain Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 237cm x 216cm 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 Museo Nacional Del Prado, Madrid, Spain