1 10 15 https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Portrait_of_Bishop_Bernardo_de_Rossi/SCALA_ARCHIVES_1039488106.jpg 9bb7af497493e8bf4b05c6289692729c 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 Portrait of Bishop Bernardo de’ Rossi Creator An entity primarily responsible for making the resource Lorenzo Lotto (1480-1557) Publisher An entity responsible for making the resource available Bernardo de’ Rossi Image Source: Lorenzo Lotto. 1505. Portrait of Bishop Bernardo de' Rossi. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488106. Date A point or period of time associated with an event in the lifecycle of the resource 1505 Contributor An entity responsible for making contributions to the resource Carmel Falek 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 panel, 52.0 x 40.0 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 Nacional Del Prado, Madrid, Spain Description An account of the resource Lorenzo Lotto was commissioned to create a portrait for the Bishop Bernardo de’ Rossi that showed his elegance and status. Lorenzo Lotto, born in Venice in 1480, learned how to paint with the Murano school, as Henry S. Francis points out, working on modernizing portrait painting [1]. He mainly worked in smaller towns, not gaining much popularity with other rivaling artists such as Titian and Bellini dominating the Venetian art scene. On his trip to Treviso, he came in contact with the Bishop who supported his talents and commissioned many paintings [2]. In the Portrait of Bishop Bernardo de’ Rossi, we see de’ Rossi facing the viewer with his body on the diagonal. The central figure looks straight out at the audience, trying to make eye contact. In turn, this creates the feeling that the Bishop is commanding the attention in the room as he gazes out to the viewer. Lotto details his facial features in a way that showcases dominance and power, but restrained. His nostrils are flared and his lips are closed, not smiling at all, highlighting Bernardo de’ Rossi’s seriousness. He wears a red coat over his clothes beneath. Red is a color that signifies aggression and power. However, Lotto details the Bishop in a lighter and duller shade of red, not overpowering the painting. This shows the restraint in energy seen in the religious figure, as he is stern and aggressive yet not overbearing. He composes the man in front of a dark green curtain. The simplicity of this background serves to make the viewer pay all of their attention to the Bishop, rather than looking past him. In addition, de' Rossi is the source of light in the painting, drawing all possible attention towards him. In his hand, the Bishop holds a rolled-up piece of paper tightly, showcasing his ring which is a symbol of his wealth and power. Lotto strived to capture the inner thoughts and emotions of his subjects, going past surface level depictions. He details every bit of the Bishop’s imperfections. He paints the eye bags, the wrinkles on the skin, even including pieces of curly hair falling out of his black cap. This is Lotto’s way of going past the strict and aggressive side of the religious figure and focusing more on his flaws, humanizing him. Lotto dives deeper into the mind of de’ Rossi, going beyond the Bishop's desire to portray himself as a stern and powerful man to others. As Margaret Morse says, the commissioners of portraits at the time wanted to highlight their status and fame [3]. Nevertheless, Lotto goes past the Bishop’s wishes to frame himself as a source of power, painting him more realistically and highlighting his imperfections. The overall purpose of this painting is to depict the Bishop and his true self, showcasing both how he wants others to view himself yet how he is imperfect. The Portrait of Bishop Bernardo de’ Rossi was commissioned to highlight the power and social status of the Bishop, however, Lotto pushes the boundaries, painting a more realistic and non-idealistic depiction. [1] Henry S. Francis, "Portraits by Lorenzo Lotto," The Bulletin of the Cleveland Museum of Art 44, no. 3 (1957): 43 [2] “Lorenzo Lotto. Portraits - Exhibition.” Museo del Prado. Accessed October 6, 2020. https://www.museodelprado.es/en/whats-on/exhibition/lorenzo-lotto-portraits/4efebe6a-ba81-ab76-08b9-83363fb32538?searchMeta=lorenzo. [3] Margaret A. Morse, "Domestic Portraiture in Early Modern Venice: Devotion to Family and Faith," In Domestic Devotions in Early Modern Italy (LEIDEN; BOSTON: Brill, 2019): 127 Source A related resource from which the described resource is derived Francis, Henry S. "Portraits by Lorenzo Lotto." The Bulletin of the Cleveland Museum of Art 44, no. 3 (1957): 43-46. Hills, Paul. "Lorenzo Lotto's Shrouds and Veils." Artibus Et Historiae 34, no. 68 (2013): 9-28. “Lorenzo Lotto. Portraits - Exhibition.” Museo del Prado. Accessed October 6, 2020. https://www.museodelprado.es/en/whats-on/exhibition/lorenzo-lotto-portraits/4efebe6a-ba81-ab76-08b9-83363fb32538?searchMeta=lorenzo. Morse, Margaret A. "Domestic Portraiture in Early Modern Venice: Devotion to Family and Faith." In Domestic Devotions in Early Modern Italy, edited by Corry Maya, Faini Marco, and Meneghin Alessia, 117-38. LEIDEN; BOSTON: Brill, 2019. Image Source: Lorenzo Lotto. 1505. Portrait of Bishop Bernardo de' Rossi. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488106. https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Bacchanal_of_the_Andrians/The_Andrians.jpg 1dbbc74f952ef240ea52a2cb33118659 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 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 19, 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 19, 2020. <a href="http://www.jstor.org/stable/42630093">http://www.jstor.org/stable/42630093</a>. “The Andrians - The Collection.” Museo del Prado. Museo del Prado. Accessed October 19, 2020. https://www.museodelprado.es/en/the-collection/art-work/the-andrians/c5309744-5826-48ac-890e-038336907c52. "Bacchanal Of The Andrians By Tiziano Vecellio". 2020. Wga.Hu. https://www.wga.hu/html_m/t/tiziano/08a/1ferra3.html. Image source: “The Andrians - The Collection.” Museo del Prado. Museo del Prado. Accessed October 19, 2020. https://www.museodelprado.es/en/the-collection/art-work/the-andrians/c5309744-5826-48ac-890e-038336907c52. Publisher An entity responsible for making the resource available Image source: “The Andrians - The Collection.” Museo del Prado. Museo del Prado. Accessed October 19, 2020. https://www.museodelprado.es/en/the-collection/art-work/the-andrians/c5309744-5826-48ac-890e-038336907c52. Date A point or period of time associated with an event in the lifecycle of the resource 1523-26 Contributor An entity responsible for making contributions to the resource Rafael Salazar-Paranhos Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 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 Prado Museum, Madrid, Spain Description An account of the resource The painting Bacchanal of the Andrians by Titian was made from 1523 to 1526 and is located in the Prado Museum in Madrid, Spain. This painting was one of the pieces of art Titian made for the Duke of Ferrara, Alfonso d’Este. This portrait has many similarities to that of Bacchus and Ariadne, another painting by Titian, located in the National Gallery in London. To start, this is once again a large portrait for the Duke of Ferrara that shows Titian’s ability to masterfully use colors and shadows in order to highlight his subjects. While in Bacchus and Ariadne Titian focuses on the story of love and affection, in this case pleasure is what is highlighted. The masterful use of light and color is able to focus on specific areas of the island of Andros, and bring attention to the symbol of wine once again. [1] Titian utilized the chapter Andrians from the text "Eicones" by Pholostrato as inspiration for this painting, showing his true commitment to his work. [2] When d’Este learned that the island was blessed with the presence of a river of wine, he believed it would be a fitting depiction in his castle. [3] To start, towards the center, there are multiple people drinking wine. There is a clear bottle highlighted in the center of the portrait, continuing once again the theme of wine that was present with Bacchus, in Bacchus and Ariadne. Towards the left, behind the trees, a man is seen drinking straight from the bottle, while another carries a wine container above his head. Titian highlights the male body towards the left with a naked man serving wine, and on the right side the painter highlights a nude woman. Here, he emphasizes the ideas of vulnerability, sensuality, and sexual availability for the audience. [4] The girl seems to be lost in the moment and looks to be enjoying herself. Titian makes sure to highlight this part of the portrait as light flashes upon her body. Most importantly however, could be the man lying on the hill towards to top right of the painting. He seems to be relaxed and on the outside of the main image. While there has been some discussion about his meaning, it was discovered that the old man was actually a personification of the wine river in Philostratos’s text. [2] This once again emphasizes the importance of wine for the Duke of Ferrara, but more importantly it represents the thoughtfulness behind Titian’s work and his ability to provide subtle details that suit his commissioners. In Bacchanal of the Andrians, Titian once again is able to show his skill with colors and light as a painter. Furthermore, he is able to personalize his depiction to his commissioner, d’Este, while also adapting a written story from the past into a visual depiction in the present. [1] Rigas N. Bertos, "Some Remarks on Titian and Bellini at Ferrara." RACAR: Revue D'art Canadienne / Canadian Art Review 2 (1975): 49-54. [2] Rigas N. Bertos "A Short Note on the "Bacchanal of the Andrians," Mitteilungen Des Kunsthistorischen Institutes in Florenz 20, no. 3 (1976): 407-10. [3] "Bacchanal Of The Andrians By Tiziano Vecellio," Wga.Hu, 2020. [4] “The Andrians - The Collection.” Museo del Prado. 2020 https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Sisyphus/ae527919-6535-4541-bc70-72ac377829b8.jpg c9cdbb9dac43946268034a599ceb27a6 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 Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Image Source: Titian. “Sisyphus, 1548 - 1549 - Titian.” www.wikiart.org, January 1, 1970. Accessed October 20, 2020. https://www.wikiart.org/en/titian/sisyphus-1549. 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 Raj Kumar Rights Information about rights held in and over the resource Public Domain on Wikiart Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 237 cm x 216 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 Description An account of the resource Titian, one of the most important members of the 16th century Venetian school, was an Italian painter during the Renaissance [1]. Titian was famous for his drastic use of color, where he used calculated brushwork and subtle tone to spread his artistic message. Titian said that his finest works were mythologic narratives, which he compared to visual poetry [1]. Titian’s painting Sisyphus is a prime example of one of these mythologic narratives. Sisyphus is a Greek mythological figure who was the king of Corinth and was known for being avaricious and deceitful. For this reason, he was punished by Zeus and had an eternal punishment of rolling an incredibly heavy boulder continuously up a mountain in Hades [2]. It is this myth that Titian is portraying on his magnificent campus. In this painting, Titian focuses on the anatomy of Sisyphus and the environment that he has to live in due to his punishment. The brushstrokes carefully highlight the tone in Sisyphus’s muscles showing how tired his body is as it has to endure a constant fight with a boulder. The subtle lines that emphasize Sisyphus’s rib cage and other muscles like his biceps hint that he is being starved and put in terrible circumstances [3]. The snarling demon figures and bright flames in the bottom left of the canvas place Sisyphus in a hell-like environment. The use of dark color hues throughout the background show that Sisyphus is in a deep abyss that houses him as a prisoner (it is said that Sisyphus was sent to Tartarus). While Titian emphasizes the muscularity and body of Sisyphus in his painting, he takes a different approach when it comes to portraying Sisyphus’s face. At first glance, Sisyphus’s face may not even be noticeable, but it is being pushed down by the heavy boulder on his back. The lack of color around Sisyphus’s face demonstrate how Sisyphus is a shell of his former self and is now basically a machine constantly enduring suffering. The lack of emphasis on Sisyphus’s face creates this lasting effect that he is defeated and conquered [3]. The Myth of Sisyphus teaches us to never try to escape from failures or we will have a persistent struggle against life [2]. In this painting, Titian demonstrates this constant struggle and the toll it takes on one’s life through his portrayal of The Myth of Sisyphus. [1] Wethey, Harold, “Titian,” Encyclopedia Britannica, 1, 2 [2] Brooks, Kyle, “Conclusion: Our Pedagogical Task,” Journal of Feminist Studies in Religion 36, 189-191 [3] Mcgill, Jai, “Sisyphus, 1548 by Titian,” Titian.org, 1 Source A related resource from which the described resource is derived Wethey, Harold. “Titian.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 23, 2020. Accessed October 20, 2020. https://www.britannica.com/biography/Titian. Nichols, Tom. "The Master as Monument: Titian and His Images." Artibus Et Historiae 34, no. 67 (2013): 219-38. Accessed October 20, 2020. http://www.jstor.org/stable/23510252. Brooks, Kyle E. "Conclusion: Our Pedagogical Task." Journal of Feminist Studies in Religion 36, no. 1 (2020): 189-91. Accessed October 20, 2020. doi:10.2979/jfemistudreli.36.1.22. Mcgill, Jai. Sisyphus, 1548 by Titian. Titian.org, January 14, 2011. Accessed October 20, 2020. https://www.titian.org/sisyphus.jsp. Titian. “Sisyphus, 1548 - 1549 - Titian.” www.wikiart.org, January 1, 1970. Accessed October 20, 2020. https://www.wikiart.org/en/titian/sisyphus-1549. https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/The_Bacchanal_of_The_Andrians/Titian_Bacchanal.jpg 2151483347ba244b7426c30999748483 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 Description An account of the resource Here we see a group of followers of Bacchus enjoying themselves, drinking from the wine of the new river--a gift from Bacchus. Much like other pieces of his, Titian creates a sense of depth through the landscape; the trees and the green of the grass in the foreground recede into the hill on the right, creating a bright contrast against the darker, more calm hues of blue in the sky. Supplementing the receding diagonal created by the landscape, the composition also creates other diagonal lines through the movement of the figures in the foreground, as well as the highlighting of the sky and the female figure in the bottom right. Figures reaching for wine or leaning in a certain direction indicate a dynamic aspect within the composition. For example, the female figure in the bottom right lays on her back, leaning her head in the direction of the general diagonal. These diagonals bring attention to the maenad on the right, dressed in a bright white in contrast to the dull brown and black of the other figures in the foreground. We also see the use of aquamarine--a rare pigment which displays immense wealth--in the sea and the sky. Female worshippers of Bacchus, maenads were known for their extreme strength and immortality when under the influence. When considering the use of aquamarine, as well as the context of the power of the commissioner, Alfonso d’Este, the inclusion of this figure becomes a bit clearer. Including such a figure in a piece that would have been found in the Camerini d’Alabastro¹ not only showed the wealth of the Duke, but also portrayed a statement which implies immortality of lineage, power, and authority in the court of Ferrara. In addition, Titian also displayed Alfonso’s proclivity for music, something seen in other works that were part of the same set such as The Feast of the Gods.² In this case, Titian includes a sheet of paper with musical notes at the feet of the two women and in front of the urinating infant. In addition to making a statement for the commissioner, Titian also displayed a novel expression of art, something characteristic of his time period. Titian brought the drunkenness of the figures and applied it to the art piece in such a manner that the viewer may feel included. For example, the man holding the pitcher of wine holds the pitcher at a slight angle, probably due to inebriation. However, the wine stays level with the piece, making viewers question whether the landscape is tilted or the piece itself. As seen in that time period, other artists became aware of Titian’s new expressions in this genre of art, giving rise to images that have a striking resemblance to this piece such as Nicolas Poussin’s depiction of the same subject matter.³ <ol> <li style="font-weight:400;">C Hope, “Camerini d’Alabastro of Alfonso d’Este.” Burlington Magazine 113 (November): 641, <a href="https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=513389474&site=ehost-live&scope=site">https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=513389474&site=ehost-live&scope=site</a></li> <li style="font-weight:400;">Tim Shephard, "Alfonso and the Eloquence of Bacchus." In Echoing Helicon: Music, Art and Identity in the Este Studio (New York: Oxford University Press, 2014)</li> <li style="font-weight:400;">Richard T. Neer, “Poussin, Titian and Tradition: The Birth of Bacchus and the Genealogy of Images.” Word & Image 18, no. 3 (July 2002): 267–81, <a href="https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=504993412&site=ehost-live&scope=site">https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=504993412&site=ehost-live&scope=site</a></li> </ol> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived <ul> <li>Journal Article 1: Neer, Richard T. “Poussin, Titian and Tradition: The Birth of Bacchus and the Genealogy of Images.” Word & Image 18, no. 3 (July 2002): 267–81. <a href="https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=504993412&site=ehost-live&scope=site">https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=504993412&site=ehost-live&scope=site</a>.</li> </ul> <ul> <li>Journal Article 2: Hope, C. 1971. “Camerini d’Alabastro of Alfonso d’Este.” Burlington Magazine 113 (November): 641. <a href="https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=513389474&site=ehost-live&scope=site">https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=513389474&site=ehost-live&scope=site</a>.</li> </ul> <ul> <li>Book: Shephard, Tim. "Alfonso and the Eloquence of Bacchus." In Echoing Helicon: Music, Art and Identity in the Este Studioli, 1440-1530. New York: Oxford University Press, 2014. Oxford Scholarship Online, 2014. doi: 10.1093/acprof:oso/9780199936137.003.0005.</li> </ul> <ul> <li>Image Source: Titian. 1518. Bacchanal. painting. Place: Museo del Prado. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195607.</li> </ul> <ul> <li>Museum: “The Andrians - The Collection.” The Collection - Museo Nacional del Prado, 2019. <a href="https://www.museodelprado.es/en/the-collection/art-work/the-andrians/c5309744-5826-48ac-890e-038336907c52">https://www.museodelprado.es/en/the-collection/art-work/the-andrians/c5309744-5826-48ac-890e-038336907c52</a>.</li> </ul> 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 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. Image Source: Titian. 1518. Bacchanal. painting. Place: Museo del Prado. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195607. 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 del Prado https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Sisyphus/Sisyphus.jpg c9cdbb9dac43946268034a599ceb27a6 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 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 1548-1549 Contributor An entity responsible for making contributions to the resource Jacey Curd Rights Information about rights held in and over the resource The granted permission for the image rights of the artwork belong to the Image Bank of the Museo del Prado. “Sisyphus - The Collection.” The Collection - Museo Nacional del Prado. Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/sisyphus/bb56eb47-052f-4e15-8e46-75a3f18b13ad. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 237 by 216 cm Type The nature or genre of the resource Oil on Canvas Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo del Prado, Madrid, Spain Description An account of the resource Sisyphus is a painting that depicts an old Greek myth. It was painted by Titian, who completed numerous commissions for mythological paintings including Bacchus and Ariadne, Diana and Actaeon, and the work discussed here, Sisyphus [1]. The myth of Sisyphus has varied some over time [2], but late legends say that Sisyphus was punished in the afterlife for chaining Death, so no one would die, and subsequently cheating death a second time by asking his wife to not bury him properly so that he could escape the underworld. After he died the second time, he was punished by Hades, god of the Underworld, to roll a boulder up a hill for all time [3]. This is the scene that is included in every version of the myth and is the one Titian chose to depict. This painting is very dark, which is quite appropriate given Sisyphus is supposed to be in the Underworld. The brighter part of the painting shows his body, hunched over and straining to hold the rock. His face is barely visible at all. I think this depiction, where the focus of the painting is on the strain of the body as Sisyphus pushes the boulder up the mountain, best shows the story of him being tortured with this endless job. The viewer’s focus is drawn to his muscles, much like Sisyphus’s would be as he kept pushing up the hill. The use of color in this painting is very impressive given the limited number of colors used. Though there are no vibrant reds or blues, Titian still utilizes deep and varied colors in this work. In particular, it is color which allows Sisyphus’s muscles to protrude from his legs and arms, and his ribs to show. These elements, as well as the shadow of the boulder over his face, are what best show the torture Sisyphus is facing in this myth. [1] “Sisyphus, 1548 by Titian.” Titian, Paintings, Quotes, and Biography, 2011. https://www.titian.org/sisyphus.jsp. [2] The Editors of Encyclopedia Britannica. “Sisyphus.” Encyclopædia Britannica. Encyclopædia Britannica, inc., July 10, 2020. https://www.britannica.com/topic/Sisyphus. [3] Brooks, Kyle E. "Conclusion: Our Pedagogical Task." Journal of Feminist Studies in Religion 36, no. 1 (2020): 189-91. Accessed October 21, 2020. doi:10.2979/jfemistudreli.36.1.22. Publisher An entity responsible for making the resource available Commissioned by Mary of Hungary, Source A related resource from which the described resource is derived “Sisyphus, 1548 by Titian.” Titian, Paintings, Quotes, and Biography, 2011. https://www.titian.org/sisyphus.jsp. The Editors of Encyclopedia Britannica. “Sisyphus.” Encyclopædia Britannica. Encyclopædia Britannica, inc., July 10, 2020. https://www.britannica.com/topic/Sisyphus. Brooks, Kyle E. "Conclusion: Our Pedagogical Task." Journal of Feminist Studies in Religion 36, no. 1 (2020): 189-91. Accessed October 21, 2020. doi:10.2979/jfemistudreli.36.1.22. “Sisyphus - The Collection.” The Collection - Museo Nacional del Prado. Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/sisyphus/bb56eb47-052f-4e15-8e46-75a3f18b13ad. 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 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]/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]/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]/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