2 10 14 https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/The_Choice_Between_Virtue_and_Vice/Paolo_veronese_[boucher]_-_hercules_na_encruzilhada.jpg 8e21d3fd252321bf2bd73b0c546202e5 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 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA 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 Choice Between Virtue and Vice Creator An entity primarily responsible for making the resource Paolo Veronese Publisher An entity responsible for making the resource available Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1565 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource The Frick Collection Format The file format, physical medium, or dimensions of the resource Oil on canvas, 219.1 x 169.5 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 Frick Collection, New York City, New York, USA Description An account of the resource Though the patron of this piece may be unknown, the moral lesson shown is clear, which is offered in the form of a story with Hercules at a crossroads. He must choose between Vice, the woman facing away from the viewer and clothed in bright fabrics, who offers him a life of ease and pleasure, or Virtue, who looks more dim and haggard, but points towards the rugged ascent to true happiness. [1] In the piece, Hercules has favored Virtue, but the figure of Vice has ripped his stockings and has a jagged knife that leans against the breast of a sphinx under her skirt as Hercules shields himself from Virtue who, in turn, protects him. [1] The lesson in this piece was conveyed to viewers in conjunction with the painting’s partner piece Allegory of Wisdom and Strength, which was originally hung to the right of The Choice Between Vice and Virtue. [1] This piece is also accompanied with an inscription, located on the entablature at the upper left, which states that “Honor and Virtue flourish after Death.” [1] In The Choice between Vice and Virtue, also known as The Choice of Hercules, [2] Veronese has used his signature style of vivid coloring and detailing in a new direction that results in more intense detailing and complex development. [2] For instance, the painter has used light and color in a flipped symbolism that sets it apart from the traditional use of light and color as symbols in paintings. The figure of Virtue is dull, plain, and cast in shadows, whereas the figure of Vice is bright and illuminated as she is garbed in beautiful and richly colored clothing. However, he reminds the viewers that initial looks may be deceptive by using the symbolism of duplicity associated with the Sphinx as well as the placement of a knife under Vice’s skirt. Though the figure of Vice appears far more attractive, Hercules has chosen the path of Virtue as seen by the spatial positioning in this piece. The white-clothed figure of Hercules can be seen reaching for Virtue as Virtue holds to him and tries to shield him from Vice’s continued attacks, which can be seen in the layout of this piece as Vice continues to reach for him. Through the use of symbolism, light, and spatial organization, Veronese hopes to teach his viewers a moral lesson through this piece, though he does so in a unique manner. Traditionally, the elements of light and bright colors were used to indicate the divine, good, or just. However, Veronese, in this piece, has turned this symbolism to show that what may appear good may not, in reality, be good. This furthers the moral lesson Veronese is conveying through his story because he shows viewers, both contemporary and of his time, that the choice for true happiness and virtue may not be as glamorous as individuals hope for and that it is easy to be trapped in the allure of vice. [1] “The Choice Between Vice and Virtue,” The Frick Collection, accessed November 6, 2020, <a href="https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice;jsessionid=5F4ED9F5E888E0A7D067364109DBECF3?ctx=2d203f6b-ee1c-4f5a-9e91-dc71fb66a6c9&idx=0">https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice;jsessionid=5F4ED9F5E888E0A7D067364109DBECF3?ctx=2d203f6b-ee1c-4f5a-9e91-dc71fb66a6c9&idx=0</a>. [2] Diana Gisolfi, “Veronese [Caliari], Paolo,” Grove Art Online, July 2013: 13. Source A related resource from which the described resource is derived <ul> <li>The Frick Collection. “The Choice Between Vice and Virtue.” Accessed November 6, 2020, <a href="https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice;jsessionid=5F4ED9F5E888E0A7D067364109DBECF3?ctx=2d203f6b-ee1c-4f5a-9e91-dc71fb66a6c9&idx=0">https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice;jsessionid=5F4ED9F5E888E0A7D067364109DBECF3?ctx=2d203f6b-ee1c-4f5a-9e91-dc71fb66a6c9&idx=0.</a></li> <li>Gisolfi, Diana. “Veronese [Caliari], Paolo”. Grove Art Online (July 2013): 13. <a href="https://doi.org/10.1093/gao/9781884446054.article.T089003">https://doi.org/10.1093/gao/9781884446054.article.T089003</a>.</li> <li>Brook, Irene. "Veronese," Renaissance Studies 30, no. 3 (2015): 457. </li> <li>Cocke, Richard. 2005. Veronese. London, England: Chaucer Press.</li> <li>Salomon, Xavier F. 2014. Veronese. London, England: National Gallery Company.</li> </ul> https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Pietro_Aretino/Untitled.png 546d53ee8b66c3fd7b916b1edcc05777 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 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA 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 Pietro Aretino Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Salomon, Xavier F. “An important work by Titian has been hiding in plain sight.” Apollo Magazine, September 20, 2019. https://www.apollo-magazine.com/an-important-work-by-titian-has-been-hiding-in-plain-sight/. The Frick Collection. “Pietro Aretino.” Accessed November 10, 2020. https://www.frick.org/exhibitions/parmigianino/aretino. The Metropolitan Museum of Art. “Portrait of Pietro Aretino.” Accessed November 10, 2020. https://www.metmuseum.org/art/collection/search/662705. Image Source: The Frick Collection, accessed November 10, 2020. http://collections.frick.org/view/objects/asitem/items$0040:263. Publisher An entity responsible for making the resource available Image Source: The Frick Collection, accessed November 10, 2020. http://collections.frick.org/view/objects/asitem/items$0040:263. Date A point or period of time associated with an event in the lifecycle of the resource c. 1537 Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource Public Domain. Image Source: The Frick Collection, accessed November 10, 2020. http://collections.frick.org/view/objects/asitem/items$0040:263. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 101.9 x 85.7 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Frick Collection, New York, NY Subject The topic of the resource Prominent Italian author Pietro Aretino sits for a portrait. Description An account of the resource Pietro Aretino was an influential Italian author during the sixteenth century. In addition to his artistic work, however, he was a friend to countless people in power and was nicknamed “the scourge of princes” for his use of blackmail against correspondents [1]. He was keen and active in the realm of politics. In this self-titled work by Titian, Aretino dominates the frame. Although his clothes are dark and muted in color, he still is able to emerge from the background blanketed in a gray shadow. This further allows the gold chain that drapes over his neck and his fair-complexion to bring attention to his bearing over the viewer, from whom he remains aloof. He stands facing the left at a three-quarter turn, giving him additional breadth that projects power and purpose. His gaze is soft and turned upward, showing his wisdom and by extension his creativity that served as the basis for much of his work––meanwhile his graying beard implies a more insidious type of aging. The piece and the figure portrayed can be summed up by one word: presence. Although the portrait currently hangs in New York’s Frick Collection, it was commissioned for Aretino’s publisher Francesco Marcolini [2]. Another one of Titian’s portraits of Aretino (now in the Pitti Palace) was sent as a gift to Cosimo de’ Medici, a powerful and wealthy Florentine banker who ruled over a dynasty [3]. Together, the two recognize Pietro Arentino’s dominance of both the artistic and political landscape, a feat that few of his time could dare to claim. Furthermore, the use of such a prolific and recognized painter signalled great wealth and supremacy. Anyone whose eyes fell upon the portraits––either at the palace of a baron of Florence or at the office of a very well respected publisher––would know instantly the importance of both the owner and the subject. [1] “Pietro Aretino,” The Frick Collection, accessed November 10, 2020, https://www.frick.org/exhibitions/parmigianino/aretino. [2] Xavier F. Salomon, “An important work by Titian has been hiding in plain sight,” Apollo Magazine, September 20, 2019, https://www.apollo-magazine.com/an-important-work-by-titian-has-been-hiding-in-plain-sight/. [3] “Portrait of Pietro Aretino,” The Metropolitan Museum of Art, accessed November 10, 2020, https://www.metmuseum.org/art/collection/search/662705. https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Mars_and_Venus_United_by_Love/SS7731421_7731421_11764786.jpg 3dd0f01935b79dbba3ccc7b7597b2502 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 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="https://library.artstor.org/#/asset/SS7731421_7731421_11764786">Mars and Venus United by Love</a> Creator An entity primarily responsible for making the resource Paolo Veronese (1528 - 1588) Source A related resource from which the described resource is derived Veronese, Paolo. "Mars and Venus United by Love."Metropolitan Museum of Art. Accessed November 8, 2020. <a href="https://www.metmuseum.org/art/collection/search/437891.">https://www.metmuseum.org/art/collection/search/437891.</a> Bayer, Andrea. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." The Metropolitan Museum of Art Bulletin 63, no. 1 (2005): 20. Krén, Emil, and Daniel Marx. “Mars and Venus United by Love,” accessed November 8, 2020, <a href="https://www.wga.hu/html_m/v/veronese/10/1allego2.html.%C2%A0">https://www.wga.hu/html_m/v/veronese/10/1allego2.html. </a> Salmon, Xavier F. "Veronese's Skies in S. Sebastiano." The Burlington Magazine 154, no. 1315 (2012): 712. Image Source: Paolo Veronese (Paolo Caliari) (Italian, Verona 1528-1588 Venice). 1570s. "Mars and Venus United by Love." Painting, Paintings. Place: <a href="https://www.metmuseum.org"> The Metropolitan Museum of Art</a>. <a href="https://library.artstor.org/asset/SS7731421_7731421_11764786.">https://library.artstor.org/asset/SS7731421_7731421_11764786.</a> Date A point or period of time associated with an event in the lifecycle of the resource 1570s Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource This image was provided by The Metropolitan Museum of Art. Contact information: The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028, <a href="http://www.metmuseum.org/">http://www.metmuseum.org/</a> Image Source: Paolo Veronese (Paolo Caliari) (Italian, Verona 1528-1588 Venice). 1570s. "Mars and Venus United by Love." Painting, Paintings. Place: <a href="https://www.metmuseum.org/">The Metropolitan Museum of Art</a> <a href="https://library.artstor.org/asset/SS7731421_7731421_11764786.">https://library.artstor.org/asset/SS7731421_7731421_11764786.</a> The person who associated a work with this deed has dedicated the work to the public domain by waiving all of his or her rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. Format The file format, physical medium, or dimensions of the resource Oil on canvas; 205.7 x 161 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 Metropolitan Museum of Art, New York City, New York, USA Description An account of the resource Mars and Venus United by Love was painted by Paolo Veronese (Paolo Caliari) in the 1570s. Veronese was most likely commissioned by Emperor Maximilian II to create this mythological masterpiece. Before the Metropolitan Museum of Art received this painting in 1909-1910, several European royalties owned this painting, starting with Emperor Rudolf II in Prague by 1621. [1] This painting has been in several different exhibits over the last hundred years in the Metropolitan Museum of Art. Veronese displays the Roman gods’ Mars and Venus in a beautiful landscape with their son, Cupid, placed in the lower-left corner. Cupid is tying a love knot around his parents, symbolizing a happy marriage. Both parents are looking at their son; Venus is smiling, and Mars has a straight face. Mars is wearing his war uniform, referring to his status as the god of war in ancient mythology. He is not wearing a helmet, but his armor is decorated in gold with lion faces in the design. He also has a lavender cape that he is holding with his left hand. He is shown with brown curly hair and a full beard, comforting his wife. Venus, the goddess of love, is painted with her blonde hair pinned up, pearls around her neck, and one bracelet on either wrist. She has a blue and gold strap wrapped around her upper right side of her body. It has the same gold lions as Mars’s armor. Venus is nude with the right breast covered by her right hand, her left breast covered by Mars’s head, and her lower body is covered by the other side of Mars’s cape, which is a deep blue color. There appears to be a drop of milk coming from Venus’s breast, which may be an allusion to chastity transformed by love into charity. [2] They appear to be up against the side of a piece of architecture. There is a beautiful landscape with trees and leaves of various colors. You see leaves with green, yellow and brown. The brightness of this painting is very bright, and there is not much shade. Behind the happy family appears another Cupid guarding Mars’s horse with his sword, symbolizing restrained passion [3]. The peaceful horse is portraying the opposite of Mars because Mars is considered an angry god. In the painting, it appears that Mars can be intimate and loving towards his wife. The sky is ombré colored with blue hues of azurite and smalt with various clouds throughout the painted sky [4]. [1] Mars and Venus United by Love,” Metropolitan Museum of Art, accessed November 8, 2020, <a href="https://www.metmuseum.org/art/collection/search/437891.">https://www.metmuseum.org/art/collection/search/437891.</a> [2] Bayer, Andrea. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." The Metropolitan Museum of Art Bulletin 63, no. 1 (2005): 20. [3] Krén, Emil, and Daniel Marx. “Mars and Venus United by Love,” accessed November 8, 2020, <a href="https://www.wga.hu/html_m/v/veronese/10/1allego2.html.%C2%A0">https://www.wga.hu/html_m/v/veronese/10/1allego2.html. </a> [4] Salmon, Xavier F. "Veronese's Skies in S. Sebastiano." The Burlington Magazine 154, no. 1315 (2012): 712. Publisher An entity responsible for making the resource available Emperor Maximilian II Image Source: Paolo Veronese (Paolo Caliari) (Italian, Verona 1528-1588 Venice). 1570s. "Mars and Venus United by Love." Painting, Paintings. Place: <a href="https://www.metmuseum.org/">The Metropolitan Museum of Art</a>. <a href="https://library.artstor.org/asset/SS7731421_7731421_11764786.">https://library.artstor.org/asset/SS7731421_7731421_11764786.</a> https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Mars_and_Venus_United_by_Love/DP167124.jpg c6bbf7af79b0dcac8f470e6380a91be8 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 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA 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 Mars and Venus United by Love Creator An entity primarily responsible for making the resource Paolo Veronese (1528 - 1588) Publisher An entity responsible for making the resource available Emperor Maximilian II Public Domain. Image Soruce: Veronese, Paolo. Mars and Venus United by Love. Metropolitan Museum of Art. Accessed November 4, 2020. https://www.metmuseum.org/art/collection/search/437891. Date A point or period of time associated with an event in the lifecycle of the resource 1570s Contributor An entity responsible for making contributions to the resource Carmel Falek Rights Information about rights held in and over the resource Public Domain. Image Source: Veronese, Paolo. Mars and Venus United by Love. Metropolitan Museum of Art. Accessed November 4, 2020. https://www.metmuseum.org/art/collection/search/437891. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 205.7 cm x 161.0 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 Metropolitan Museum of Art, New York City, New York Description An account of the resource Paolo Veronese was most likely commissioned by Emperor Maximilian II to create a painting of the Roman mythological gods Venus and Mars [1]. Born in Verona (where his name stems from) to a family of artists, Veronese studied the works of those before him, like Raphael and Michelangelo. During the time he painted Mars and Venus United by Love, he also created other works centered on Roman mythology, such as The Choice of Hercules, diving into the theme of Christian morality [2]. In the painting, Veronese details the union of the Roman gods Mars and Venus. Cupid, their child, binds them together with a love knot, representing the joyous and happy matrimony. Mars is depicted in his battle uniform, alluding to his role as the god of war in ancient mythology. Venus has her arm around Mars, showing affection and compassion towards her loved one, and is adorned with pearls around her neck and hair. Milk is flowing from her breasts, representing nurture and care, important aspects of love [3]. In the background, Veronese details a dark and cloudy sky with trees covering the view. Mars’s warhorse is in the back restrained and at ease with the baby cherub holding a sword. The calm horse contrasts the typical depiction of Mars as an angry god, showcasing how he can be intimate and caring for the woman he loves. Veronese incorporates classical architecture with a rusticated building and sculpture in the background, and his last name carved on the bottom, signifying that the painting is his creation. He composes this artwork by separating the main characters from the background, in order to clearly narrate this story of the ideal matrimony for the viewer. Veronese utilizes light colors when depicting Venus, highlighting her purity as an ideal wife. She is the source of brightness in the painting. Mars’s battle uniform is gold, a color of power and riches, and covered by a silk pink cloth with detailed shadows and folding. The color of the sky in the background is intricate in itself, with Veronese utilizing various shades of blue and teal, creating an almost ombré effect [4]. Paolo Veronese in his allegorical painting Mars and Venus United by Love illustrates the ideal relationship, ultimately showcasing his views on Christian morality. He highlights the key aspects of any holy matrimony, such as unity, intimacy, love, and affection. His purpose is to display to the viewer what it means to be in a healthy and loving partnership through the allegory of Mars and Venus. [1] “Mars and Venus United by Love,” Metropolitan Museum of Art, accessed November 5, 2020, https://www.metmuseum.org/art/collection/search/437891. [2] “Paolo Veronese,” Encyclopedia Britannica, accessed November 5, 2020, https://www.britannica.com/biography/Paolo-Veronese [3] Patricia Simons, "The Incubus and Italian Renaissance Art," Source: Notes in the History of Art 34, no. 1 (2014): 8 [4] Xavier F. Salomon, "Veronese's Skies in S. Sebastiano," The Burlington Magazine 154, no. 1315 (2012): 712 Source A related resource from which the described resource is derived Crastre, Francois, and Frederic Taber Cooper. Veronese. New York, NY: Frederick A. Stokes Company, 1912. “Mars and Venus United by Love.” Metropolitan Museum of Art. Accessed November 5, 2020. https://www.metmuseum.org/art/collection/search/437891. “Paolo Veronese.” The Editors of Encyclopaedia Britannica. Accessed November 5, 2020. https://www.britannica.com/biography/Paolo-Veronese. Rosand, David. "The Passion of Adonis." Arion: A Journal of Humanities and the Classics 21, no. 3 (2014): 5-27. Salomon, Xavier F. "Veronese's Skies in S. Sebastiano." The Burlington Magazine 154, no. 1315 (2012): 711-12. Simons, Patricia. "The Incubus and Italian Renaissance Art" Source: Notes in the History of Art 34, no. 1 (2014): 1-8. Image Source: Veronese, Paolo. Mars and Venus United by Love. Metropolitan Museum of Art. Accessed November 4, 2020. https://www.metmuseum.org/art/collection/search/437891.