1 10 15 https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Pope_Paul_III_with_his_Grandsons/ARTSTOR_103_41822000645323.jpg a58dd8d7b55bf6384226d6ebc73ceaef 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pope Paul III with his Grandsons Subject The topic of the resource Titian's painting Pope Paul III with his Grandsons was commissioned by the pope himself who asked Titian personally for a portrait due to his immense fame.[1] In this picture Pope Paul III is pictured with his two sons Cardinal Alessandro Fernese and Ottavio Fernese. Pope's did not traditionally and were not supposed to have families, but after the fall of the Roman Empire some Pope's were corrupt and sacrilegious. Later in his life, Pope Paul III was charged with nepotism to punish him for propelling his family members' careers forward.[2] The painting was not finished because of the clear depiction of the ongoing feud in the family. [3] Description An account of the resource Titian's portrait of the Pope and his grandsons is filled with rich tones of red and maroon along with dark brown, black and skin toned tan accented with white and silver. Seated in the focal point of the painting is Pope Paul III dressed in a white fur and silk robe with a velvet vestment. He is also wearing a traditional pope's cap. His left hand is gripping the arm of the chair symbolizing his power and strength. His head is turned slightly to the right to address his one grandson Ottavio. Ottavio is bowing slightly next to the pope in reverence and as a polite gesture. He is wearing a black shirt with a brown sash that holsters a knife. His high white socks accent the ouline of his figure from the wooden backdrop. The pope's other grandson stands slightly behind the left side of the pope's chair. He is adorned in red cardinal vestments looking directly at the viewer, but with his body positioned as if he is ready to assume the throne. In the background of the painting faint outlines of detailed wood can be seen, but since the painting is not finished the details are not fully fleshed out. There is a red banner that flows very naturally, showcasing Titian's skill in Renaissance art. [1] Phillips-Court, Kristin. “Emblematic Narrative in Caro's Gli Straccioni (with an Eye to Titian's Paul III).,” 2004. [2] Murphy, Francis Xaiver. “The Council of Trent.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 20, 2020. [3]Wethey, Harold E. “Titian.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 23, 2020. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Murphy, Francis Xaiver. “The Council of Trent.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 20, 2020. https://www.britannica.com/biography/Paul-III/The-Council-of-Trent. Phillips-Court, Kristin. “Emblematic Narrative in Caro's Gli Straccioni (with an Eye to Titian's Paul III).,” 2004. https://link.gale.com/apps/doc/A120702683/AONE?u=duke_perkins&sid=AONE&xid=28639a9d. Titian. “Pope Paul III with His Grandsons.” ARTSTOR. JSTOR, 2020. Museo e gallerie nazionali di Capodimonte. Naples, Italy. https://library.artstor.org/#/asset/ARTSTOR_103_41822000645323. Wethey, Harold E. “Titian.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 23, 2020. https://www.britannica.com/biography/Titian. Publisher An entity responsible for making the resource available Data from: University of California, San Diego Pope Paul III Date A point or period of time associated with an event in the lifecycle of the resource 1545-1546 Contributor An entity responsible for making contributions to the resource Darien Sansosti Rights Information about rights held in and over the resource Titian, ca. 1488-1576. 1545-46. Pope Paul III with his Grandsons. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/ARTSTOR_103_41822000645323. Format The file format, physical medium, or dimensions of the resource 200 x 174 cm Type The nature or genre of the resource Oil painting on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo e gallerie nazionali di Capodimonte Naples, Italy https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/The_Golden_Age/1586871792354752-9.zucchi.oro.jpg 70d10c6e5cef43e0a67b3bcd35217912 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Golden Age Source A related resource from which the described resource is derived Pillsbury, Edmund. "Drawings by Jacopo Zucchi." Master Drawings 12, no. 1 (1974): 3-88. Accessed November 5, 2020.http://www.jstor.org/stable/1553219. Puttfarken, Thomas “Golden Age and Justice in Sixteenth-Century Florentine Political Thought and Imagery: Observations on Three Pictures by Jacopo Zucchi.” Journal of the Warburg and Courtauld Institutes 43 (1980):130.https://doi.org/10.2307/751192. “The Golden Age | Artworks | Uffizi Galleries.” Accessed November 7, 2020. https://www.uffizi.it/en/artworks/the-golden-age. Image Source: Zucchi, Jacopo“The Golden Age | Artworks | Uffizi Galleries.” Accessed November 4, 2020. https://www.uffizi.it/en/artworks/the-golden-age. Description An account of the resource The Golden age is part of a cycle of three paintings in the Uffizi, including the other two representations of the Ages of Silver, and Iron. The cause or context the cycle of Zucchi was commissioned is not known based on the limited historic documentary, but the circle could be seen as serving the role of portrait covers. [1]In its appearance, the golden age is the ideal and fantastic period of time when human life is full of happiness and peace in the everlasting spring. It’s emphasized in the painting with the blooming flowers, pervasive soft grasses, streams of water, and vibrant plants in the background landscapes. People don’t know the definition of evil and receive harvest without the need for cultivation, as it can be reflected in the exaggerated plump grapes the male figure holding in the foreground. “O bell’anni dell’oro” on the top of the painting is the name of a song, a reference to a musical interlude performed for the festivities of the nuptials of Cosimo I and Eleonora di Toledo. It’s the motto in the painting that emerges in the parchment displayed by two angel figures hovering in the air, and that motto lays the foundation of the cycle’s close connection with the Medici family. [1] The Golden Age myth has proven to be as convincing and effective as ideology in fulfilling the needs of a particular political environment. The Golden Age had gone beyond a period of primordial prosperity for the classical authors. It emphasizes creating the condition of universal morality and justice without punishment or judges. It also celebrates reproduction and breeding of descendants, alluding to the “natural law”, with the painting’s focus on subjects of the pleasant family scene, and depiction of children and animals. How the illusion of the Golden Age helps with political ambitions was to demonstrate to the public that Medici would return along with a return of faith and military strength, as well as artistic accomplishments about liberty, morality, and prosperity. It also reminds the public of the glorious age that people experienced during the previous govern period of the Medici family. [2] Under the perfect justice, the theme of the painting is also closely associated with internal peace, the “Quiet” and “Tranquillity” associated with Medici’s iconography. [2]The emphasis on peace can be reflected in the depiction of actions in the painting----- a group of women and children dancing in a circle on the right side, another group of women gathering and communicating on the lake bank, and young figures picking and sharing flowers and fruits in the foreground, etc. As subjects mainly about private life and family happiness, they form an overall relaxing and undisturbed tone in the wonderland. Jacopo Zucchi had studied under Italian artist Vasari and later became his collaborator and work for the Medici. [3] His theme shows a near resemblance to the Metamorphoses by Ovid, a work that the painter is likely to have had the interpretation of his own, integrating the iconographic elements from the literature source. The painting includes some of the artist’s distinctive styles. It shows his inspiration for composition from Vasari, depicting groups of figures scattered along with the steam. The structure of the painting lays its base from the bottom and construct diagonally to create the depth of the space. [1] The gestures of figures are dynamic, distinct, and at the same time rhythmically guiding the viewers’ focus to perceive the painting as a whole. [1]“The Golden Age | Artworks | Uffizi Galleries.”, Uffizi Galleries, Accessed November 3, 2020. <a href="https://www.uffizi.it/en/artworks/the-golden-age">https://www.uffizi.it/en/artworks/the-golden-age</a>. [2] Thomas Puttfarken, “Golden Age and Justice in Sixteenth-Century Florentine Political Thought and Imagery: Observations on Three Pictures by Jacopo Zucchi.” Journal of the Warburg and Courtauld Institutes 43 (1980): 130. [3] Edmund Pillsbury, "Drawings by Jacopo Zucchi." Master Drawings 12, no. 1 (1974): 3 Creator An entity primarily responsible for making the resource Jacopo Zucchi Publisher An entity responsible for making the resource available Uffizi Galleries Zucchi, Jacopo“The Golden Age | Artworks | Uffizi Galleries.” Accessed November 4, 2020. https://www.uffizi.it/en/artworks/the-golden-age. Date A point or period of time associated with an event in the lifecycle of the resource 1575 c. Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Pictures are propriety of the Gabinetto Fotografico delle Gallerie degli Uffizi. Format The file format, physical medium, or dimensions of the resource Oil on panel, 50 x 38.5 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Uffizi Galleries, Florence, Italy https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae/SCALA_ARCHIVES_10310197960.jpg f837e48854974b3d268be8ba42c47f8e 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Danaë Description An account of the resource In this painting Titian exhibits his use of colorito, which is when color is used in a dominating manner in the work. The color helps depict the story of the painting, which involves Jupiter seducing Danaë. The story explains how Danaë was locked in a tower by herself, which led to a life of loneliness and obscurity. Jupiter, the king of gods, came upon her and used his divinity to impregnate her. This eventually led to her giving birth to Perseus. [2] Titian was known for his mythological story-telling with his artwork, and this is clearly no exception. [3] Jupiter is represented in this work as a cloud of gold, possibly to represent his mysticality. Gold was also a color that represents power and wealth. Furthermore, the clean, white sheets represent the innocence and purity of Danaë. Additonally, the distant background also serves as a disconnect between Danaë and society. Titian uses a beautiful blue to represent the serenity of the outside world, but the implementation of perspective also shows how distant Danaë is from society. Another interesting idea about this painting is that it is rumored by scholars to visually quote Michelangelo. Titian was known to be a continuous studier of the motifs and subjects in the works of Michelangelo. [1] This provides a connection between painting in Rome and painting in Venice. [1] Freedman, Luba. "Apelles, Giovanni Bellini, and Michelangelo in Titian's Life and Art. [2] “Danae.” Artble, August 10, 2017. [3] Terisio Pignatti, and David Piper. Titian. Source A related resource from which the described resource is derived “Danae.” Artble, August 10, 2017. https://www.artble.com/artists/titian/paintings/danae. Terisio Pignatti, and David Piper. Titian. New York, New York: Rizzoli, 1981. Freedman, Luba. "Apelles, Giovanni Bellini, and Michelangelo in Titian's Life and Art." Artibus Et Historiae 34, no. 67 (2013): 251-73. Accessed November 4, 2020. http://www.jstor.org/stable/23510254. Image: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Publisher An entity responsible for making the resource available Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Date A point or period of time associated with an event in the lifecycle of the resource 1544 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 117 x 69cm, Oil on canvas 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 e gallerie nazionali di Capodimonte, Naples, Italy Creator An entity primarily responsible for making the resource Titian https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae/570px-Tizian_011.jpg cbbf9725cc681774773374d509e89bcf 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Danaë Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived “Danae, 1545 by Titian.” Titian.org. Accessed November 4, 2020. https://www.titian.org/danae.jsp. “Titian's Danaë .” National Gallery of Art, June 19, 2014. https://www.nga.gov/press/exh/3951.html. Zarucchi, Jeanne Morgan. "The Gentileschi "Danaë": A Narrative of Rape." Woman's Art Journal 19, no. 2 (1998): 13-16. Accessed November 4, 2020. doi:10.2307/1358400. Image Source: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Publisher An entity responsible for making the resource available Image Source: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Date A point or period of time associated with an event in the lifecycle of the resource 1544 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, 117 x 69cm 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 e gallerie nazionali di Capodimonte, Naples, Italy Description An account of the resource The painting Danaë, by Titian, was made in 1544 and is located in the Capodimonte Museum in Naples, Italy. The painting was made for Cardinal Alessandro Farnese’s bedroom and is representative of his own mistress. The painting was made for the Cardinal during a visit by Titian to Rome, and it represents both his highly respected side as a distinguished patron along with his womanizer personality [1]. The painting is in fact a mythical interpretation of Ovid’s Metamorphoses text by Titian, much like his other work later in his life. In addition, this is once again a very specific, “love” commission similar to other paintings from the artist, such as Bacchus and Ariadne which had a very particular meaning for Alfonso d’Este. The story of Danaë is quite complex. It involves very detailed parts which Titian is able to perfectly depict. In the image, we can clearly see the main subject Danaë as she lays under a shower of gold. This shower is representative of Zeus and Jupiter, as he disguises himself into Danaë’s locked chamber in order to impregnate her and give her a son in Perseus [2]. The painting not only shows Titian’s ability to adapt stories into visual depictions, but also his talent of manipulating colors and shades. The composition is made up of a carefully calculated Danaë, as she is positioned in a relaxed manner on her bed. She is dressed in white representing her purity and the scene looks to be getting light from an outside source, which mainly highlights the woman, and creates a shadow in the middle of the painting. The gold is also now made more vivid through these shadows which highlights the symbolism of Zeus and shows Danaë’s openness to the situation. This strategy is key to making the woman the center of attention for Titian’s patron Farnese [3]. There is also a baby cupid that lays near her feet, which of course represents love and, in this case, it has done its job as Zeus has made his way into the room. As can be seen, Danaë shows Titian’s ability to control color and utilize symbols to transform a mythological story into a visual representation. He is able to conform to his patron, Farnese, while also displaying his artistic skills with his creative freedom. [1] “Titian's Danaë,” National Gallery of Art (June 19, 2014) [2] Jeanne Morgan Zarucchi, "The Gentileschi "Danaë": A Narrative of Rape," Woman's Art Journal 19, no. 2 (1998): 13-16. [3] “Danae, 1545 by Titian,” Titian.org (2020) https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/The_Penitent_Magdalene/SCALA_ARCHIVES_1039489004.jpg 910acd61d536e5fddb760d20eea6429e 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Penitent Magdalene Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian. c. 1533-35. Saint Mary Magdalene in Penitence, The Penitent Magdalen. painting. Place: Galleria Palatina. https://library.artstor.org/asset/SCALA_ARCHIVES_1039489004. Aikema, Bernard. "Titian's Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and Its Critics." Journal of the Warburg and Courtauld Institutes 57 (1994): 48-59. Accessed November 4, 2020. doi:10.2307/751463. Cole, Bruce. Titian And Venetian Painting, 1450-1590. N.p.: Taylor & Francis, 2018. "The Penitent Magdalene By Titian | Artworks | Uffizi Galleries". 2020. Uffizi.It. https://www.uffizi.it/en/artworks/saint-mary-magdalene. Publisher An entity responsible for making the resource available Artstor. Titian. c. 1533-35. Saint Mary Magdalene in Penitence, The Penitent Magdalen. painting. Place: Galleria Palatina. https://library.artstor.org/asset/SCALA_ARCHIVES_1039489004. Date A point or period of time associated with an event in the lifecycle of the resource 1533-35 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on panel, 84 x 69.2 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 Pitti Palace, Florence, Italy Description An account of the resource In this painting, we see a penitent Mary Magdalene worshipping the heavens. Titian portrays Mary Magdalene realistically in multiple ways. First, with regards to the composition of the image, Titian places an ointment jar right next to her, providing a realistic scale for the viewer to use to estimate her size. Second, Titian, rather than using a uniform tone to represent Magdalene’s skin, makes her skin look fleshy, infusing pinks into her otherwise golden skin-tone. In addition, Titian layers the paints on her eyes, making them seem glossy and filled with tears, which adds emotion and expression to her face. In addition, Titian uses shadows to show the heavenly light being reflected on Magdalene, realistically creating shadows around the edge of her figure and adding emphasis for the viewer on the more realistic aspects of the painting, specifically her face. In addition, Titian layers gold in order to create texture in Magdalene’s hair, which is frizzy and adds dimension to the painting, making her seem more alive. Finally, nothing separates the viewer from Magdalene, the main character, creating a connection between God and the viewer, making the viewing experience more personal. Now, the question becomes why would Titian want to make Magdelene more realistic? First the lifelike nature of Magdalene’s portrayal enhances the sensuality of her appearance. Titian adds lots of femininity to the painting by using thick, concentrated brushstrokes and warm tones, highlighting the eyes, soaked in crystalline tears, and the copper blonde hair that covers her bare breasts [1]. In addition, Bruce Cole believes that Titian derived Magdalene’s pose from Venus Pudica, highlighting not only the Renaissance idea of relying on classicism but also the carnal nature of the painting [2]. Bernard Aikema speculates that the reason for this erotic portrayal of Magdalene was as a result of influence from the writings of Saint John Cassian. Cassian believed that temptation should be seen as a test for believers of Christ; therefore, Titian’s work served as a temptation for male viewers who had to overcome their temptations in order to view the religious nature of the work [3]. This realistic and erotic approach makes viewers have a religious and moral battle with themselves, thus increasing their connection with the painting and the significance of the religious scene to them. [1] "The Penitent Magdalene By Titian | Artworks | Uffizi Galleries," (2020), Uffizi.It. <a href="https://www.uffizi.it/en/artworks/saint-mary-magdalene">https://www.uffizi.it/en/artworks/saint-mary-magdalene. </a> [2] Bruce Cole, Titian And Venetian Painting, 1450-1590 (N.p.: Taylor & Francis, 2018), 113. [3] Bernard Aikema, "Titian's Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and Its Critics" in Journal of the Warburg and Courtauld Institutes 57 (1994): 48-59. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Venus_of_Urbino/SCALA_ARCHIVES_1031314662.1.jpg e836b7a1454507a3e4c570fecb51c97a 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Venus of Urbino Description An account of the resource The oil on canvas painting was commissioned for Guidobaldo II, who was designated one year later as the duke of Urbino [1]. Contrary to the description provided by the title, the primary subject matter of the image is a representation of an Italian woman in her bedchamber [1]. The work was intended to be a piece for Guidobaldo’s private enjoyment, a symbol of female beauty, and the qualities he looked for in a spouse [1]. The driving theme of the painting is its sexual nature and seductive tones. The woman is framed front and center, resting legs crossed on a bed with a set of white sheets underneath her nude body and pillows supporting her upper body. The whiteness of the sheets produces a monolithic effect, accentuating her skin and its luminous quality. Directly underneath the sheets is a crimson red bed cushion [2]. The red coloring of the furniture signals an association with passion, desire, and love, standard emotive connections with the color [2]. She is lying in a relaxed position with her gaze directed towards the viewer. It appears the woman could be looking at her lover, who had just entered the room, awaiting his arrival in a flirtatious manner. Her left-hand rests over her pubic region, designating the pelvic area as the focus of the image. Titian employs this positioning from ancient Greek and Roman sculptures of Venus, where she is similarly represented [2]. However, Titian’s illustration is much more erotic. Under these circumstances, the image intends to please the viewer with an ideal depiction of the female body. Also included in the work are various other smaller symbols that relate further meaning. The sleeping dog on the bed is possibly symbolizing marital fidelity [3]. In the background, two maids are at the service of the woman, one searching in the chest and the other holding a luxurious ceremonial gown over her shoulder [3]. The maids represent the woman's high esteem and prestige and how her needs were carefully attended to as a member of a wealthy household. [1] Helen Gardner and Fred S. Kleiner, Gardner's Art Through the Ages: The Western Perspective (Boston, MA: Wadsworth/Cengage Learning, 2010), 488. [2] James R. Jewitt, “Titian, Venus of Urbino,” Smarthistory, August 2020, https://smarthistory.org/titian-venus-of-urbino/. [3] “Venus of Urbino by Titian,” Uffizi, The Uffizi Gallery, Accessed November 3, 2020, https://www.uffizi.it/en/artworks/venus-urbino-titian. Creator An entity primarily responsible for making the resource Titian (Tiziano Vecelli) Source A related resource from which the described resource is derived Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. Boston, MA: Wadsworth/Cengage Learning, 2010. Jewitt, James R. “Titian, Venus of Urbino.” Smarthistory, August 2020. https://smarthistory.org/titian-venus-of-urbino/. “Venus of Urbino by Titian.” Uffizi. The Uffizi Gallery. Accessed November 3, 2020. https://www.uffizi.it/en/artworks/venus-urbino-titian. Image Source: Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314662. Publisher An entity responsible for making the resource available Image Source: Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314662. Date A point or period of time associated with an event in the lifecycle of the resource 1538 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Image Source: Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314662. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 119.2 x 165.5 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Uffizi Gallery, Florence, Italy https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae_[with_Cupid]/danae.jpg dcd686a1d8dd83d195a90d5c1970bbd9 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Danaë (with Cupid) Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Commissioner: Cardinal Alessandro Farnese. Image Source: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Date A point or period of time associated with an event in the lifecycle of the resource 1544 Contributor An entity responsible for making contributions to the resource Raj Kumar 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, 117 x 69 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Museum of Capodimonte, Naples, Italy Description An account of the resource Titian, known as the greatest Italian Renaissance painter of the Venetian school, was known for penetrating human character in his canvases. In many of his paintings, he carefully represented physical beauty and a level of eroticism that has not been matched [1]. Titian’s Danaë, painted in 1544, was a commission made for the Cardinal Alessandro Farnese. It is the first of six versions of the same composition made in the 1540s through 1560s. The painting depicts the myth of Danaë, in which her father (Acrisius) receives a prophecy from an oracle that declares his death would be at the hands of his future grandson. In this composition, Danaë is imprisoned in a tower by her father following the oracle’s warning. Danaë is shown fully naked on a bed of white sheets, used to denote her innocence and virtue [2]. Knowing the consequences, Danaë let herself be seduced and impregnated by Zeus. Zeus, appearing as a shower of gold coins, broke the defenses used by Danaë’s father through this disguise. With a white cloth partially draped across her leg, Danaë’s eyes face the shower of gold coins, representing her acceptance of Zeus into her space. Titian contrasts the direction of her eyes with the direction of her body, which faces towards the frame, once again depicting her openness to Zeus. Danaë’s beauty lives up to the standards of Venetian females as she represents the ideal body with her pale skin [2]. Titian uses subtle details like soft body texture and jewelry to emphasize Danaë as a perfect representation of beauty. The figure of cupid on the right gazes upon the scene at the shower of gold coins as he seemingly leans out of the frame. This action symbolizes his acceptance and support for Danaë’s decision. Titian’s Danaë is known as one of the most erotic and sensual works of the time [1]. Titian creates a tranquil scene where Zeus penetrates through Acrisius’s barrier and impregnates his daughter. This painting is often used to evoke the rivalry between painting in Venice and Rome (specifically Michelangelo’s works). Michelangelo is said to have visited this painting, appreciating it for its coloring and style, but mentioned the lack of Venetians ability to draw [3]. [1] Harold Wethey, Titian (Encyclopedia Britannica) 1, 2. [2] Madlyn Millner Kahr, Danaë: Virtuous, Voluptuous, Venal Woman (The Art Bulletin 60, no. 1, 1978) 47, 48. [3] Zhenya Gershman, Rembrandt: The "I" Witness (Arion: A Journal of Humanities and the Classics, 2011), 65. Source A related resource from which the described resource is derived Wethey, Harold. “Titian.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed November 4, 2020. https://www.britannica.com/biography/Titian. Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43-55. Accessed October 30, 2020. doi:10.2307/3049743 Gershman, Zhenya. "Rembrandt: The "I" Witness." Arion: A Journal of Humanities and the Classics, Third Series, 19, no. 2 (2011): 65-91. Accessed November 4, 2020. http://www.jstor.org/stable/41308565. Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Venus_of_Urbino/SCALA_ARCHIVES_1031314662.jpg e836b7a1454507a3e4c570fecb51c97a 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Venus of Urbino Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library-artstor-org.proxy.lib.duke.edu/asset/SCALA_ARCHIVES_1031314662. <div> <div class="gtx-trans-icon"> Grabski, Józef. ""Victoria Amoris": Titian's "Venus of Urbino." A Commemorative Allegory of Marital Love." Artibus Et Historiae 20, no. 40 (1999): 9-33. Accessed November 3, 2020. doi:10.2307/1483663. “Venus of Urbino, 1538 by Titian.” Titian, Paintings, Quotes, and Biography, 2011. https://www.titian.org/venus-of-urbino.jsp. Takac, Balasz. “Venus of Urbino, Titian's Most Sensual Painting.” Widewalls, April 17, 2020. https://www.widewalls.ch/magazine/titian-venus-of-urbino. </div> </div> Publisher An entity responsible for making the resource available Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library-artstor-org.proxy.lib.duke.edu/asset/SCALA_ARCHIVES_1031314662. Date A point or period of time associated with an event in the lifecycle of the resource 1538 Contributor An entity responsible for making contributions to the resource Jacey Curd 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, 119 x 165 cm Type The nature or genre of the resource Painting, oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerina degli Uffizi, Tuscany, Italy Description An account of the resource Venus of Urbino, created by Titian, shows a nude woman lounging on a bed in the foregound of the painting. Besides this figure, there are several other symbolic elements with significance [1]. One of these is the bouquet of roses she holds in her hand, which symbolize love. The white sheets she lays on symbolize purity, and the red bed represents love. The little dog that is curled up by her feet is a representation of fidelity [2]. These symbols are what lead many scholars to believe that this woman is Venus, goddess of love, and not another woman, though this is continually disputed. I would side with the scholars who believe this is a depiction of Venus, given both the symbolism and history of the work. Titian is known for many of his paintings depicting mythological scenes, and this particular painting bears strong resemblance to Giorgone's Sleeping Venus in its composition, which was actually finished by Titian [1]. There is also debate among scholars as to whether Titian's interpretation highlights the sensuality of the figure or her virtue and fidelity, given the figures she appears with. What is particularly striking about this work is the gaze of the main female figure, looking directly towards the viewer. Her body is twisted away from her gaze, but this gaze increases the sensuality of the figure in comparison with Giorgone's Sleeping Venus. She has many features that would have been considered the ideal of feminine beauty, such as her curled blonde hair and rosy cheeks. These features of the work, in combination with the symbolism and history discussed earlier, are what lead me to believe that this is a representation of Venus, and not simply a beautiful woman that Titian wanted to paint. [1] Grabski, Józef. ""Victoria Amoris": Titian's "Venus of Urbino." A Commemorative Allegory of Marital Love." Artibus Et Historiae 20, no. 40 (1999): 9-33. Accessed November 3, 2020. doi:10.2307/1483663. [2] “Venus of Urbino, 1538 by Titian.” Titian, Paintings, Quotes, and Biography, 2011. https://www.titian.org/venus-of-urbino.jsp. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Flora/Flora.jpg 1de53a287ab479347da290690c4b7789 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flora Description An account of the resource Depicted here we see Flora, the Greek goddess of Spring and the bride of Zephyr, emerging from a dark background and identified through the various flowers in her hand. While her surroundings remain dark, her figure emanates from the darkness, illuminating the canvas. Flora’s head tilts slightly to the viewer’s left, implying that she may be looking at something outside the space. While the contrast between the light figure and the dark background may appear to separate the composition, it is also unified through its choice of colors. The reds of the hair--also known as Titian red, the color Titian often used to paint the hair of many women--and drapery, the whites of the clothing, and the beige skin tone create a sense of connection through the harmony between them and the almost black background. Going into the finer details, we see that Titian brilliantly depicts the figure in a naturalistic way without taking away the idealistic beauty of a goddess. Titian achieves this through Flora’s clothing: while we see a rich silky red fabric, we also see wrinkles in the white of the clothing. In addition, we see the natural flow and curl of the hair as it hangs over Flora’s shoulder. Thus, we get a sense of the wealth and power associated with the image while also recognizing the innate beauty. While the subject matter of the painting is of Greco-Roman culture, its portrayal has roots in Venetian society during the Renaissance. Beginning with Giorgione’s Laura, the theme of feminine beauty developed from chastity to a blend of sexual indiscretion and modesty.¹ The development of this theme may also suggest that the figure may be Voluptas, the Greek goddess of sensual pleasures. Adapting these characteristics of “modest beauty” from Giorgione, Titian creates Flora in a dress--which will be discussed later--which hangs unfastened from her right shoulder, displaying a small portion of the breast. As with females in Giorgione’s paintings, Flora uses only three fingers to push up part of her clothing to cover her breast--an action that makes the viewer question whether she truly wants to cover herself and adds to the concept of modest beauty. These characteristics, although they would be frowned upon in the modern world, were great portrayals of gender inequality of the time, displaying woman as the “plaything of man.”² In addition to the figure having a Greco-Roman root, the clothing which Flora adorns has a Greco-Roman root as well. Although Flora’s garment could be identified as a camicia, it doesn’t match the wedding gowns of the time; rather, Flora has been dressed as a nymph.³ Thus, it has been assumed that Titian’s portrayal of Flora displays a Venetian perspective on Classical traditional wedding outfits. As a result, this piece stands out as a great example of Venetian society building on Classical traditions. <ol> <li style="font-weight:400;">Anne Christine Junkerman, "The Lady and the Laurel: Gender and Meaning in Giorgione's "Laura"," Oxford Art Journal 16, no. 1 (1993): 49-58. Accessed November 2, 2020. <a href="http://www.jstor.org/stable/1360536">http://www.jstor.org/stable/1360536</a>.</li> <li style="font-weight:400;">Sir Claude Phillips, Titian, (New York: Parkstone International, 2008), Accessed November 2, 2020, ProQuest Ebook Central.</li> <li style="font-weight:400;">Emma H. Mellencamp, "A Note on the Costume of Titian's "Flora"," The Art Bulletin 51, no. 2 (Jun 01, 1969): 174. <a href="https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1296211331?accountid=10598">https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1296211331?accountid=10598</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 I: Mellencamp, Emma H. 1969. "A Note on the Costume of Titian's "Flora"." The Art Bulletin 51 (2) (Jun 01): 174. <a href="https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1296211331?accountid=10598">https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1296211331?accountid=10598</a>.</li> </ul> <ul> <li>Journal Article II: Junkerman, Anne Christine. "The Lady and the Laurel: Gender and Meaning in Giorgione's "Laura"." Oxford Art Journal 16, no. 1 (1993): 49-58. Accessed November 2, 2020. <a href="http://www.jstor.org/stable/1360536">http://www.jstor.org/stable/1360536</a>.</li> </ul> <ul> <li>Book: Phillips, Sir Claude. 2008. Titian. New York: Parkstone International. Accessed November 2, 2020. ProQuest Ebook Central.</li> </ul> <ul> <li>Image Source: Titian, ca. 1488-1576. c.1515. Flora. Place: Galleria degli Uffizi. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000645729">https://library.artstor.org/asset/ARTSTOR_103_41822000645729</a>.</li> <li>Museum: “Flora by Titian: Artworks: Uffizi Galleries.” by Titian | Artworks | Uffizi Galleries. Accessed November 2, 2020. <a href="https://www.uffizi.it/en/artworks/flora">https://www.uffizi.it/en/artworks/flora</a>.</li> </ul> Publisher An entity responsible for making the resource available Unknown, but was acquired by Archduke Leopold Wilhelm of Austria and later relocated to the Uffizi Date A point or period of time associated with an event in the lifecycle of the resource 1515 Contributor An entity responsible for making contributions to the resource Muhib Methani 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 canvas, 79 x 63 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 Galleria degli Uffizi https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae/Tizian_011.jpg dc172cadb7d410c59530f1d03241f5b1 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Danaë Description An account of the resource Painted by Titian c. 1544, this version of Danaë was his first of many renditions of this scene, and is widely regarded as one of the most sensual paintings of the Italian Renaissance. Titian depicts the princess Danaë being impregnated by the Greek god Zeus in the guise of gold coins. Titian established himself as a very highly regarded, and influential interpreter of many famous myths, all of which he painted in great detail throughout his career – by 1510, Titian was appointed the official painter to the Venetian Republic [1]. In the myth of Danaë, Danaë’s father, Arcrisius, had received a prophecy from the Oracle that showed him a future in which his grandson was the cause of his death. In an attempt to protect himself and evade the prophecy, Arcrisius locked Danaë in a tower, away from any men [2]. In the scene that Titian paints, Zeus foils Arcrisuis’ plan by seducing Danaë in her tower, appearing in the form of gold coins. Danaë is shown on a bed of plain, white sheets – Titian strategically uses white to symbolize her purity and innocence. While one sheet is partially covering her leg, the majority of her figure is uncovered and she lays slightly upright on the bed. While her body is pointed towards the frame, her eyes gaze upwards in a calm, amorous way towards the cloudy haze of golden coins that represent Zeus, and her body language is open and relaxed, signifying her comfort and consent to Zeus. Titian skillfully accessorizes and adds details to Danaë’s figure to keep her consistent with the mythical descriptions of her – the ideal body of beauty in the time period, with soft blonde hair that falls over her shoulder naturally, and a ring and bracelet on the hand that is gently gripping the bedsheets on the side closest to the viewer. Titian uses lighting to highlight her pale figure and the white bedsheets, and places the rest of her bed and the background in a darker light, but adds a calm blue sky in the distance, adding to the overall serenity of the scene. Titian also highlights the figure of Cupid at the foot of Danaë’s bed, who is slightly in the background, moving out of the way from Zeus’ golden haze – seemingly to support and allow the scene he is watching. Ultimately, Titian’s use of body language, lighting, and context allows for the creation of a tranquil, beautiful depiction of the famous myth – the pure, virgin Princess Danaë being impregnated with her future son Perseus, by the god Zeus [3]. [1] “National Gallery of Art: Titian's Danaë ,” June 2014, https://www.nga.gov/press/exh/3951.html. [2] Editors of Encyclopedia Britannica, “Perseus,” Encyclopædia Britannica https://www.britannica.com/topic/Perseus-Greek-mythology. [3] Titian. Danaë. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960">https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960</a> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived “National Gallery of Art.” Titian's Danaë. Accessed November 2nd, 2020. https://www.nga.gov/press/exh/3951.html. Editors of Encyclopedia Britannica. “Perseus.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 2018. https://www.britannica.com/topic/Perseus-Greek-mythology. Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43-55. Accessed November 2nd, 2020. doi:10.2307/3049743. Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960 Publisher An entity responsible for making the resource available Commissioner Cardinal Alessandro Farnese Image Source: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Date A point or period of time associated with an event in the lifecycle of the resource c. 1544 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan 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, 117 cm x 69 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 e gallerie nazionali di Capodimonte, Napoli, Italy