10 10 177 https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Bacchus_and_Ariadne/ANGLIG_10313768527.jpg 2904ebd3de40a04a03c1b47dd4df8e2e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bacchus and Ariadne Description An account of the resource Depicted here we see the Roman god of wine and fertility, Bacchus, jump from his chariot to meet with the Cretan princess, Ariadne, with whom he has fallen in love. Titian highlights these two figures, using a lighter shade for their skin compared with the rest of the figures in the image. We also see great articulation in the clothing of the figures. Directing the eyes of the viewer to the main subject matter, there are multiple diagonal lines pointing towards Ariadne, who looks out onto the sea as her lover--Theseus--leaves her stranded and sails away, an interpretation that many have come to agree with after Venetian historian Carlo Ridolfi suggested it in 1648 [1]. The faces, as well as the body positions, point downward and to the left. Even Bacchus, with his rich maroon scarf, looks down upon Ariadne with desire. In addition to directing attention, this line also separates major elements of the composition. In terms of color, both in the foreground and the background, this diagonal line separates the rustic browns, greens, and gold from the rich blues, whites, and maroon. It is also important to note the use of a rare and highly expensive color: ultramarine blue. The use of such a color speaks not only to the importance of the painting but also to the importance of the commissioner--Alfonso d’Este, Duke of Ferrara. In addition to color, the line also separates the geography of the image. Once again, the blues of the sky and the sea are separated from the greenery of the mainland. Intended for decor in the castle of Alfonso d’Este, this painting was a part of a series of paintings that depicted scenes from the tales of Ovid and other classical subject matters [2]. As a result, many interpretations of this one art piece can be generated. Contrary to the belief that this is the first meeting between Bacchus and Ariadne, for example, there have been interpretations that argue that this is the last meeting between the two, with evidence drawn from Ovid’s Fasti [3]. Often, the preferences and attributes of the donor were embedded into an art piece in Renaissance Venice, as many other artists at the time did. Titian is no exception, although he worked primarily with royalty. As mentioned before, the use of expensive and rare pigment--the ultramarine blue--not only shows Titian’s ability but also shows the power and wealth of his commissioner, Alfonso d’Este. In addition, the presence of exotic animals speaks to the wealth of Alfonso d’Este: according to records, d’Este had a hobby of ‘collecting’ exotic pets for his court. Thus, through the stylistic and compositional elements, Titian is able to showcase the wealth of Alfonso d’Este, the Duke of Ferrara. [1] Graves H. Thompson, "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 5, 2020. <a href="http://www.jstor.org/stable/3292884">http://www.jstor.org/stable/3292884</a>. [2] Cecil Gould, "Titian." Grove Art Online. 2003; Accessed 4 Oct. 2020. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242</a>. [3] Angus Easson, "The Source of Titian's Bacchus and Ariadne." Journal of the Warburg and Courtauld Institutes 32 (1969): 396-97. Accessed October 5, 2020. doi:10.2307/750625. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived I) Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. <a href="https://library.artstor.org/asset/ANGLIG_10313768527">https://library.artstor.org/asset/ANGLIG_10313768527</a>. II) Journal Article 1: Gould, Cecil. "Titian." Grove Art Online. 2003; Accessed 4 Oct. 2020. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242</a>. III) Journal Article 2: Easson, Angus. "The Source of Titian's Bacchus and Ariadne." Journal of the Warburg and Courtauld Institutes 32 (1969): 396-97. Accessed October 5, 2020. doi:10.2307/750625. IV) Journal Article 3: Thompson, Graves H. "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 5, 2020. <a href="http://www.jstor.org/stable/3292884">http://www.jstor.org/stable/3292884</a>. V) Book: Phillips, Claude. “Bacchus and Ariadne.” Essay. In The Earlier Work of Titian, edited by Jonathan Ingram, Wilelmina Mallière, and Project Gutenberg Online Distributed Proofreading Team. Seeley & Co., Ltd., 1897. <a href="https://www.gutenberg.org/files/12626/12626-h/12626-h.htm#Bacchus_and_Ariadne">https://www.gutenberg.org/files/12626/12626-h/12626-h.htm#Bacchus_and_Ariadne</a>. VI) Museum: Titian. “Titian: Bacchus and Ariadne: NG35: National Gallery, London,” 2020. <a href="https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne">https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne</a>. Publisher An entity responsible for making the resource available Court of Ferrara Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. <a href="https://library.artstor.org/asset/ANGLIG_10313768527">https://library.artstor.org/asset/ANGLIG_10313768527</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1520-1523 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource ©The National Gallery, London Format The file format, physical medium, or dimensions of the resource Oil on canvas, 176.5 x 191 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery, London https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Bacchus_and_Ariadne/ANGLIG_10313768527.jpg 2904ebd3de40a04a03c1b47dd4df8e2e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bacchus and Ariadne Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library.artstor.org/asset/ANGLIG_10313768527 Nichols, Tom. Titian: And the End of the Venetian Renaissance. United Kingdom: Reaktion Books, 2013 Marx, Daniel, and Emil Kren. 2020. "Bacchus And Ariadne By TIZIANO Vecellio". Wga.Hu. <a href="https://www.wga.hu/html_m/t/tiziano/08a/1ferra2.html">https://www.wga.hu/html_m/t/tiziano/08a/1ferra2.html</a>. Holberton, Paul. "Battista Guarino's Catullus and Titian's 'Bacchus and Ariadne'." The Burlington Magazine 128, no. 998 (1986): 347-44. Accessed October 6, 2020. http://www.jstor.org/stable/882494. Publisher An entity responsible for making the resource available Artstor, https://library.artstor.org/#/asset/ANGLIG_10313768527;prevRouteTS=1601911921956. Date A point or period of time associated with an event in the lifecycle of the resource 1520-23 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource ©The National Gallery, London Format The file format, physical medium, or dimensions of the resource Oil on canvas, 176.5 x 191 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, United Kingdom Description An account of the resource In this painting, we see Bacchus, the god of wine, leaping from his chariot towards Ariadne, who has been abandoned by her lover, to protect her from his revelers close behind. Titian highlights the central tension between Bacchus and Ariadne in multiple ways. First, he places Bacchus in the center of the image, so the viewer feels compelled to follow his gaze and stance to Ariadne on the left. Second, the two are the only figures on the left side of the painting as compared to the right, which is packed with his followers, making it easier for the audience to focus on the left side. Also, the pair’s light skin tones contrast with the heavily pigmented blue sky, which really makes the pair pop in the painting, rather than on the right where the many figures are darker toned and placed against a brown and green nature background. In addition, the sky behind them is much less textured than the two’s extremely lifelike garments, which creates yet another contrast that places the viewer’s eye on them. Finally, the shading on the left side of the painting is much lighter than on the right, giving the beholder the idea that the sun is shining on them and casting the revelers in the shadows. The sun’s focus on the couple makes the viewer want to focus on them as well. Now, the question becomes why would Titian want to focus on the couple? This work was completed for Alfonso D’Este, Duke of Ferrera, so Titian created many aspects of the painting with him in mind. D’Este was famed for his fine wines, so he would have seen himself in the god of wine, Bacchus. In addition, the Duke of Ferrera was a renowned collector of exotic animals, so Tom Nichols believes that the inclusion of the leopards dragging Bacchus’s carriage is a reference to D’Este’s menagerie, making him further identify with Bacchus [1]. Therefore, the painting needs to portray Bacchus, and by association D’Este, in a good light as a protector of women, which necessitates the focus being on the two central figures and their actions. Titian also attempts to please D’Este in his painting style as well. The duke originally commissioned Raphael to paint a narrative painting of Bacchus; however, Raphael passed away before having completed it. Therefore, Titian uses many Raphaelesque elements, such as the contrapposto stance of Ariadne and the packed composition of Bacchus’s entourage, to make them seem more numerous than they are [2]. In addition, Paul Holberton believes that the work reproduced Battista Guarino’s Cattalus. This work was dedicated to Alfonso D’Este, Battista’s former pupil, and the cum priviligeo, and therefore the dedication, was dated to around the time that Titian started the painting. This evidence makes it seem likely that Titian used this source in order to further appeal to D’Este as it had significance to him [3]. [1] Tom Nichols, Titian: And the End of the Venetian Renaissance (United Kingdom: Reaktion Books, 2013), 54. [2]Daniel Marx and Emil Kren, "Bacchus And Ariadne By Tiziano Vecellio,” in Web Gallery of Art (2020), <a href="https://www.wga.hu/html_m/t/tiziano/08a/1ferra2.html">https://www.wga.hu/html_m/t/tiziano/08a/1ferra2.html</a>. [3] Paul Holberton. "Battista Guarino's Catullus and Titian's 'Bacchus and Ariadne'" in The Burlington Magazine 128, no. 998 (United Kingdom: The Burlington Magazine Publications 1986), 347-44. https://venice.dahvc.org/fall-2020/files/original/October_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_7_National_Gallery_of_Art_London_[Visual_Analysis]/A_Sparrowhawk/download.jpg 5722a60318e77dcac7135dc7c0ceebc1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Sparrowhawk Creator An entity primarily responsible for making the resource Jacopo de' Barbari Date A point or period of time associated with an event in the lifecycle of the resource 1510s Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource Photograph: ©The National Gallery, London National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996 Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource Oil on Oak, 17.8 cm x 10.8 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery (Layard Bequest 1916), London, England Publisher An entity responsible for making the resource available Image Source: Jacopo de' Barbari, active 1500; died 1516?. 1510s. A Sparrowhawk. Place: The National Gallery, London, Layard Bequest, 1916. https://library.artstor.org/asset/ANGLIG_10313768031. Description An account of the resource Jacopo de’ Barbari was a Venetian painter, famous for having his own unique style. De’Barbari was a printmaker and even engraved wood to portray some of his pieces, which have been known to be highly influential [1]. He is probably most remembered for his View of Venice, a woodcut that represents a bird’s eye view of the city of Venice in which Barbari used creativity, intellect, and imagination to construct [2]. De’Barbari’s painting A Sparrowhawk represents an exquisite image of a tranquil bird sitting on a wooden bar in its home. A sparrowhawk is a bird of prey that was a major aspect of the world of gentlemen at that time. These birds were considered prized possessions in the home and were very well-trained for their owners [3]. De’Barbari incorporated lots of detail into this small canvas to describe the well-being and life of this bird. Using natural light, hyperrealism is created in the painting, which can be seen through the strong shadow casted by the sparrowhawk. Calculated and beautiful strokes of dark brown are used to detail the feathers of the sparrowhawk. The texture of the painting can be viewed as very soft to show the serene nature of the bird in the paiting. De’Barbari incorporates many elements to depict how this bird was a treasure in the house and would stay protected in the household. A small bell lies above the bird’s left foot to alert the handler to its whereabouts and the bird is attached to a bar, so it cannot fly away. Venetians valued these sparrowhawks because they represented the “hunt” as they were birds of prey, so they wanted them to stay in the house and protect the members of the household [3]. Interestingly, De’Barbari adds his own style to this painting by showing the bird in the moment [2]. The bird’s bright eye, painted with yellow color hues, is wide open, displaying that something has caught its attention. It shows how keenly alert this bird is to the world, another reason that it brings so much value. The sparrowhawk’s stature adds to the serious nature of the painting, where the bird has just witnessed some type of severe event. Just as something outside of the painting catches the bird’s attention, De’Barbari makes this painting catch the attention of all of its viewers with his exquisite detail. [1] Blumberg, Naomi, “Jacopo De’ Barbari,” Encyclopedia Britannica, 2 [2] Baker, Henry, “Description of the View of Venice,” Getty Portal, 5 [3] Tikkanen, Amy, “Sparrowhawk Bird Facts: Accipiter Nisus.” Wildlife Guide, 1, 2 Source A related resource from which the described resource is derived Jacopo de' Barbari, active 1500; died 1516?. 1510s. A Sparrowhawk. Place: The National Gallery, London, Layard Bequest, 1916. Accessed October 5, 2020. https://library.artstor.org/asset/ANGLIG_10313768031. Blumberg, Naomi. “Jacopo De' Barbari.” Encyclopædia Britannica. Encyclopædia Britannica, inc., January 1, 2020. Accessed October 5, 2020. https://www.britannica.com/biography/Jacopo-de-Barbari. Barker, Henry. “Description of the View of Venice.” portal.getty.edu, 1820. Accessed October 5, 2020. http://portal.getty.edu/books/gri_9923113030001551. Tikkanen, Amy. “Sparrowhawk Bird Facts: Accipiter Nisus.” The RSPB, 2017. Accessed October 5, 2020. https://www.rspb.org.uk/birds-and-wildlife/wildlife-guides/bird-a-z/sparrowhawk/. Millon, Alexandre, Jan Tøttrup Nielsen, Vincent Bretagnolle, and Anders Pape Møller. "Predator-Prey Relationships in a Changing Environment: The Case of the Sparrowhawk and Its Avian Prey Community in a Rural Area." Journal of Animal Ecology 78, no. 5 (2009): 1086-095. Accessed October 5, 2020. http://www.jstor.org/stable/40405844. https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Doge_Leonardo_Loredan/ANGLIG_10313768375.jpg 75ba2ed716df6100b3d5444ee37419c9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="https://library.artstor.org/#/asset/ANGLIG_10313768375">Doge Leonardo Loredan</a> Description An account of the resource The portrait of Doge Leonardo Loredan is one of Giovanni Bellini's most famous paintings, and it is currently in the National Gallery in London, United Kingdom. Doge Leonardo Loredan ruled Venice from 1501 to 1521, and Bellini completed the painting around the time of his inauguration. This painting is also one of Bellini's most admired paintings and one of the best-preserved out of all of his known artworks [3]. Doge Leonardo Loredan was a contentious chief magistrate, but he was also very dominant towards his people. Bellini wanted to capture that mentality in this portrait, and he painted Loredan as a very powerful, meaningful doge. Loredan is dressed in a corno ducale, the official hat, worn over a linen cap, and his formal silk robe with baroque buttons. This painting was inspired both by the Netherlandish Renaissance and the noble portrait busts of Ancient Rome. [1] It expresses the extravagant and aristocratic nature of Venetian artwork. Behind Loredan is a blue background, which contains ultramarine, ultimately showing the direct subject as Loredan. Ultramarine is one of the most costly blue pigments with white mixed in it. [4] This painting appears to be life-like, showing Loredan's wrinkles and his exact facial structure, which viewers might not always get to see up close in artworks. His pale blue eyes express his intelligence because of the intensity of his gaze. He is looking to the right, but the left eye faces the audience more than the right eye. His nose is well defined, casting a shadow on the left side of his nose. He has an earnest face, which extends the sort of gravitas seen in Roman Emperors. [1] It is almost as if he is about to break his pose, going into a one-sided smile or a smirk. He appears to be well lit, having light cover the majority of his face. His face's left side has some shade because of the light angle coming from the right side. Bellini pays much attention to what Loredan was wearing. The silk robe has a beautiful design to it that shows his royalty and wealth. The silk robe and the corno ducale correspond with the white, blue, and green patterns. The corno ducale also appears to have a gold headband that wraps around the official hat. Bellini painted the gold buttons with such devotion, making the silk robe more valuable. Bellini portrays him with a fair amount of life still in him, and the angle of sunlight Bellini uses hints the time of day to be late afternoon or early evening. Across the bottom of the painting, a brown table like structure has a signature in the middle of it. The words represented at the bottom of the portrait are "Ioannes Bellinvs." When zoomed in, the signature has three folds that show four squares. There is some damage to the signature and some differentiation on some of the letters. The signature casts a shadow on the white cartellino with the black letters with even space between each letter. [2] It looks like Bellini added it at the last minute, and his imprint on the table is called a false modesty, which is how Bellini showed his skill at painting a range of materials, reinforcing their different textures by painting the one on top of the other [4]. [1] “Portrait of Doge Leonardo Loredan (1502).” Portrait of Doge Leonardo Loredan, Giovanni Bellini: Analysis, 2020. http://www.visual-arts-cork.com/famous-paintings/doge-leonardo-loredan.htm. [2] Pincus, Debra. "Giovanni Bellini's Humanist Signature: Pietro Bembo, Aldus Manutius and Humanism in Early Sixteenth-Century Venice." Artibus Et Historiae 29, no. 58 (2008): Page 93. Accessed October 5, 2020. http://www.jstor.org/stable/40343651. [3] “The Sainsbury Wing at London’s National Gallery.” 1995. Cortlandt Forum 8 (5): 176. https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9508290503&site=ehost-live&scope=site. [4] “Giovanni Bellini: Doge Leonardo Loredan: NG189: National Gallery, London.” The National Gallery, 2016. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Image Source: Giovanni Bellini, active about 1459; died 1516. 1501-2. Doge Leonardo Loredan. Place: The National Gallery, London, Bought, 1844. <a href="https://library.artstor.org/asset/ANGLIG_10313768375.">https://library.artstor.org/asset/ANGLIG_10313768375. </a> “Giovanni Bellini: Doge Leonardo Loredan: NG189: National Gallery, London.” The National Gallery, 2016. <a href="https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan.">https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan.</a> Heath, Elizabeth. "Octavia Hill: The Reluctant Sitter." In Octavia Hill, Social Activism and the Remaking of British Society, edited by Baigent Elizabeth and Cowell Ben, 119-38. London: University of London Press, 2016. Accessed October 7, 2020. doi:<a href="https://www.jstor.org/stable/j.ctv4w3whm.13">10.2307/j.ctv4w3whm.13</a>. “Portrait of Doge Leonardo Loredan (1502).” Portrait of Doge Leonardo Loredan, Giovanni Bellini: Analysis, 2020. <a href="http://www.visual-arts-cork.com/famous-paintings/doge-leonardo-loredan.htm.">http://www.visual-arts-cork.com/famous-paintings/doge-leonardo-loredan.htm.</a> Pincus, Debra. "Giovanni Bellini's Humanist Signature: Pietro Bembo, Aldus Manutius and Humanism in Early Sixteenth-Century Venice." Artibus Et Historiae 29, no. 58 (2008): 89-119. Accessed October 5, 2020. <a href="http://www.jstor.org/stable/40343651.">http://www.jstor.org/stable/40343651.</a> “Portrait of Doge Leonardo Loredan.” Portrait of Doge Leonardo Loredan by Giovanni Bellini, 2020. <a href="http://www.giovannibellini.org/portrait-of-doge-leonardo-loredan/.">http://www.giovannibellini.org/portrait-of-doge-leonardo-loredan/.</a> “The Sainsbury Wing at London’s National Gallery.” 1995. Cortlandt Forum 8 (5): 176. <a href="https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9508290503&site=ehost-live&scope=site.">https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9508290503&site=ehost-live&scope=site.</a> Publisher An entity responsible for making the resource available The National Gallery of UK <a href="https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan">https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan</a> Image File : Giovanni Bellini, active about 1459; died 1516. 1501-2. Doge Leonardo Loredan. Place: The National Gallery, London, Bought, 1844. <a href="https://library.artstor.org/asset/ANGLIG_10313768375.">https://library.artstor.org/asset/ANGLIG_10313768375.</a> Date A point or period of time associated with an event in the lifecycle of the resource 1501-1502 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Photograph: ©The National Gallery, London Giovanni Bellini, active about 1459; died 1516. 1501-2. Doge Leonardo Loredan. Place: The National Gallery, London, Bought, 1844. <a href="https://library.artstor.org/asset/ANGLIG_10313768375">https://library.artstor.org/asset/ANGLIG_10313768375.</a> This image is licensed for non-commercial use under a Creative Commons agreement by the National Gallery of UK. Format The file format, physical medium, or dimensions of the resource Oil on poplar; 61.6 x 45.1 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery, London, United Kingdom https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/The_Adoration_of_the_Kings/n-0268-00-000062-hd.jpg 9cac01d8e9e45c7ec6aa60c1e5ba8978 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Adoration of the Kings Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived <ul> <li>Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online, (October 2011). <a href="https://doi.org/10.1093/gao/9781884446054.article.T089003">https://doi.org/10.1093/gao/9781884446054.article.T089003</a></li> <li>The National Gallery, London.“Paolo Veronese.” accessed October 5, 2020. https://www.nationalgallery.org.uk/artists/paolo-veronese.</li> <li>Brook, Irene. "Veronese," Renaissance Studies 30, no. 3 (2015): 457. </li> <li>Cocke, Richard. Veronese. London: Chaucer Press, 2005.</li> <li>Salomon, Xavier. Veronese. London: National Gallery Company, 2014.</li> </ul> Publisher An entity responsible for making the resource available Church of San Silvestro Date A point or period of time associated with an event in the lifecycle of the resource 1573 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource ©The National Gallery, London National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996 Format The file format, physical medium, or dimensions of the resource Oil on canvas, 355.6 x 320.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery, London, United Kingdom Description An account of the resource Paolo Veronese, or Paolo Caliari, painted the Adoration of the Kings, a piece that is also known as The Adoration of the Magi, in the early 1570s for the Scuola de San Giuseppe for the Church of San Silvestro [1]. In this piece, Veronese’s distinct style, which had been influenced by his contemporaries, Titian and Tintoretto, [2] of creating a distinctly fluid and harmonious style while utilizing exquisite detailing and vivid coloring can be seen in his depiction of the birth of Jesus. [3] In this particular biblical scene, the three kings, or the three magi, have come to visit the Virgin Mary and the child Jesus to pay their respects to these important, divine figures. Though there is an abundance of color and detail in this piece, the viewer cannot help but be drawn to the figure of the Virgin Mary. Veronese utilizes line in conjunction with color to create an emphasis on the Virgin. From the top left corner diagonally to the Virgin, a bright, golden light emanates from the heavens to illuminate the Virgin’s face. This detail works in hand with the contrast of light and dark in this piece to emphasize the Virgin. Particularly, there is a brightness and illumination on the Virgin and Child Jesus when compared to the surrounding figures, such as the three kings and the other individuals around her. These factors combine to create an emphasis on the Virgin Mary and Jesus and place them as the key and central figures of this piece. Further contributing to the importance of the central figures in this scene, is the positioning of the Virgin Mary and the child Jesus she holds in her arms. She is placed above the visiting magicians in a manner that elevates her above them both in a physical manner and in a divine manner. Her elevation above them bolsters the portrayal of her divinity and marks her as a conduit of God’s protection and connection to the natural and profane world. This allusion paired with her gaze, down towards the three kings, can extend to show her as a divine figure looking down towards the visiting kings in approval. Beyond the individual details surrounding the Virgin Mary and child, there is an abundance of detail and color in the piece as a whole. The patterning on the clothes of the magi and the grandiose roman arches in concord with the deep blue of the sky and the shining greens and reds of the fabric coalesce to signify to viewers, both of the time and contemporary, of the importance of the scene. Veronese has created a fitting piece for such a central biblical event. His manipulation of light, color, line, and position not only create an emphasis on the Virgin Mary and child as important figures but does so in a manner that celebrates their divinity and emphasizes their divine connection to the natural world of Venice. [1] Irene Brook, "Veronese," Renaissance Studies 30, no. 3 (2015): 457. [2] “Paolo Veronese,” The National Gallery, accessed October 5, 2020, <a href="https://www.nationalgallery.org.uk/artists/paolo-veronese">https://www.nationalgallery.org.uk/artists/paolo-veronese</a>. [3] Diana, Gisolfi, "Veronese [Caliari], Paolo" Grove Art Online, (October 2011): 1. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Portrait_of_a_Young_Man_[or_Portrait_of_a_Gentleman_in_His_Study]/unnamed.jpg f4b315597253fa099e3e2d7649d31ae6 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 September 30: Gallerie dell'Accademia (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 Gallerie dell'Accademia, Venice, 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 Portrait of a Young Man (or Portrait of a Gentleman in His Study) Description An account of the resource Although the name and identity information of the young man in the portrait is not recorded, the objects placed around the characters provide clues to the audience to trace and decipher his secrets. Just like the painter's consistent style, Lotto provided use symbolization of icons to refer to the young man's life and character, like a biography without words quietly telling the story. The lute, horn, and a dead bird behind the character record the character’s hunting interests, previous adventures, and achievements; the petals, ring, and letters on the table suggest a tragic or hindered intimate relationship; the fragility of the withered petals and the cold-blooded characteristics of the lizard symbolizes death and rebirth of, possibly, disease or love, which may also be the cause of the man’s’ mournfulness. However, these symbolize that the young man abandoned the secular quotidian and distraction and turned to his career and responsibility (alluded by the book in his hands). The bright green of the tablecloth echoes the vibrancy of the fine window scenery, indicating a man's vigor and liveness in his youth and heralding his career in the future. [1] Viewers are able to attain more information through the artist meticulously depiction of the rich texture details of objects. For example, the original thick, hard leather cover of the book that the young man holds had become soft and wrinkled. The darker color blocks on the book cover at the edge recorded the history that the book had been stored and touched for ages. In the pages of the book, the rough and slightly bulged surface of the paper showed that these pages had been repeatedly browsed and written. These texture details increased the authenticity of the picture and revealed more information about the identity of the character. The sinuous folds of aquamarine blue drapery, neatly falling tassels and smooth, reflective surfaces all show that the fabrics are fine silk products. Together with the luster of the gold necklace and ring on the table, the light reflected by the black dress of the sitter, it reveals the wealthy economic conditions and possible merchant occupation of the young man in the painting. The man's eyes did not form any contact with the audiences nor gazing directly at the book, but slightly looked down at a distant place, showing he's in contemplation and not to be disturbed. The expression in his eyes was gentle and natural which reflects the calmness and solitude in his personality. The corners of his mouth did not lift up with joy nor did they appear in a natural shape in absolute relaxation. Instead, there was a trace of tension and a sense of control, which furthered his expression to seem melancholy and slightly sorrowful. Through the muscles of his cheeks and eyebrows, it was even more obvious that he was suppressing this somber feeling and a slight sense of tension. Lorenzo Lotto (c.1480-1556) is a distinctive Venetian school artist that’s famous for the creation of some of the most engaging, puzzling, and moving high Renaissance works. The portraits by Lotto are especially attractive and influential due to the in-depth depiction of psychological emotions and traits. Lotte is under the influences of a wide range of artists, such as Giovanni Bellini, Raphael, and Titian but also developed his own stylistic individuality. [2] Neither the sponsor nor the purpose of this portrait has been recorded in history. But we can speculate that it’s commissioned by the young man in the portrait or his family members. This is likely to be one of the painters' non-noble patrons. Although his identity is unknown, according to the mercantile ledger read by men, analyzed by historian scholars, the art patron is a successful and wealthy merchant class that emerged in the 16th century. [3] The purpose of this portrait is more personal. It commemorates the young merchant’s youth and successfully outlasts the commissioner himself to narrate the time. [1] Oettinger, April. "The Lizard in the Study: Landscape and "Otium" in Lorenzo Lotto's "Portrait of a Young Man" (c. 1530)." Artibus Et Historiae 33, no. 65 (2012): 115-25. Accessed September 29, 2020. http://www.jstor.org/stable/23509714. [2] Humfrey, P., D.A. Brown, L. Lotto, M. Lucco, Accademia Carrara, Galeries nationales du Grand Palais (France), and National Gallery of Art. Lorenzo Lotto. Yale University Press, 1997. 1-2 [3] “Portrait of a Young Man, or Portrait of a Gentleman in His Study.” Accessed September 29, 2020. http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study. Creator An entity primarily responsible for making the resource Lorenzo Lotto Source A related resource from which the described resource is derived Humfrey, P., D.A. Brown, L. Lotto, M. Lucco, Accademia Carrara, Galeries nationales du Grand Palais (France), and National Gallery of Art. Lorenzo Lotto. Yale University Press, 1997. 1-2 Oettinger, April. "The Lizard in the Study: Landscape and "Otium" in Lorenzo Lotto's "Portrait of a Young Man" (c. 1530)." Artibus Et Historiae 33, no. 65 (2012): 115-25. Accessed September 29, 2020. http://www.jstor.org/stable/23509714. “Portrait of a Young Man, or Portrait of a Gentleman in His Study.” Accessed September 29, 2020. http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study. Image Source: GALLERIE DELL'ACCADEMIA DI VENEZIA. Portrait of a Young Man. 2020. Gallerie Accademia, Venezia. Accessed September 30, 2020 <a href="http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study">http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study</a> Publisher An entity responsible for making the resource available Image Source: GALLERIE DELL'ACCADEMIA DI VENEZIA. Portrait of a Young Man. 2020. Gallerie Accademia, Venezia. Accessed September 30, 2020 <a href="http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study">http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study</a> Date A point or period of time associated with an event in the lifecycle of the resource c. 1527 Contributor An entity responsible for making contributions to the resource Liuren Yin Format The file format, physical medium, or dimensions of the resource Oil on canvas, 97 x 110 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 Gallerie dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Feast_in_the_House_of_Levi/SCALA_ARCHIVES_1031314658.jpg aad48f70cc315741065ae87065540948 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 September 30: Gallerie dell'Accademia (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 Gallerie dell'Accademia, Venice, 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 Feast in the House of Levi Subject The topic of the resource This depiction of the Last Supper was commissioned by the refectory of the Basilica di Santa Giovanni e Paolo in 1571. After Veronese had finished the very large painting, the commissioners were not happy with it due to the figures that were put in the painting that were never mentioned in the Bible.[1]. Veronese claimed that he was merely exercising his artistic license, which poets and writers do all the time. [2] The church then interrogated the artist about it because since the Protestant Reformation was going on at that time, this depiction of this holy scene could have shown irreverence. The painting's name was the switched to Feast in the House of Levi to appease the commissioners. The new subject of the painting is from the gospel of Luke, chapter 5, in which was a large feast with multitudes of guests is prepared by Levi all for Jesus. [3] [1]Garton, John. "Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus." Renaissance Quarterly 65, no. 3 (2012): 753-808. [2] Potter, Polyxeni. "Nature hath fram'd strange fellows in her time." Emerging Infectious Diseases 13, no. 9 (2007): 1443+. Gale In Context: Science [3] SALOMON, XAVIER F. The Burlington Magazine 154, no. 1313 (2012): 581-83. Description An account of the resource The large white archways and Corinthian style marble pillars immediately give Veronese's painting a classical architectual syle and a sense of grandeur. The archways are large and ornate and give views into the large banquet taking place. The space between the pillars and tops of the arches is filled by impressions of golden angels with flowing cloaks that seem to be reclining on the archways. The two large pillars in this piece match up with the frame to create a sense of uniformity and further implore three dimensionalities of the painting. Through the arches lies a dulled white city silhouetted by a grey, stormy sky. The city is intricately detailed with columns, arches and façades making up the grand buildings. People can be seen in the buildings standing on balconies and at windows who seem to be peering towards the large gathering. Inside the actual feast lies a wide variety of colors, people, and animals. At the center of the table is Jesus seated with a faint golden halo surrounding his head. Servants can be seen serving food and drink to Levi's guests. Around the table the audience can see a variety of animals from two dogs near the focal point of the painting to the bird in the hands of a midget. Veronese packed this painting with interesting characters like midgets, children, venetian soldiers, and even Muslims when none of them were present in the biblical version of the last supper. All of the characters' clothing is intricately detailed to make it look like it is flowing naturally and given unique texturization. Veronese created his own modernized and altered version of the last supper painting, which was very quickly rejected by the church and therefore had to be renamed. Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived 1. Potter, Polyxeni. "Nature hath fram'd strange fellows in her time." Emerging Infectious Diseases 13, no. 9 (2007): 1443+. Gale In Context: Science (accessed September 30, 2020). https://link.gale.com/apps/doc/A168510907/SCIC?u=duke_perkins&sid=SCIC&xid=77ef8249. 2. d Accessed September 30, 2020. http://www.jstor.org/stable/41812750. 3. Garton, John. "Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus." Renaissance Quarterly 65, no. 3 (2012): 753-808. Accessed September 30, 2020. doi:10.1086/668301. 4. Paolo Veronese. 1571-73. Feast in the House of Levi. painting. Place: Gallerie dell'Accademia di Venezia. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314658. Publisher An entity responsible for making the resource available Refectory of the Basilica di Santa Giovanni e Paolo Date A point or period of time associated with an event in the lifecycle of the resource 1571-1573 Contributor An entity responsible for making contributions to the resource Darien Sansosti 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 556 x 1280 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 Gallerie dell'Accademia di Venezia Venice, Italy https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Judith/giovanni-cariani-judith-c-1510-15.jpg 98959da2d041a056063c03e03d72bb35 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 Dana's Collection 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 Judith Subject The topic of the resource Judith and her maidservant hold the severed head of the Assyrian general Holofernes Creator An entity primarily responsible for making the resource Giovanni Cariani Source A related resource from which the described resource is derived <ul> <li>Brine, Kevin, Elena Ciletti and Henrike Lahnemann, eds. The Sword of Judith: Judith Studies Across the Disciplines. Cambridge: Open Book Publishers, 2010.</li> <li>Foratti, Aldo. "L'arte di Giovanni Cariani." L'Arte 13, no. 3 (1910): 177.</li> <li>Pallucchini, Rodolfo. Giovanni Cariani. Bergamo: Credito Bergamasco, 1983.</li> </ul> Image Source: Francesca and Massimo Valsecchi private collection Date A point or period of time associated with an event in the lifecycle of the resource c. 1510-15 Contributor An entity responsible for making contributions to the resource Dana Hogan Format The file format, physical medium, or dimensions of the resource Oil on panel, 69.0 x 56.5 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 Francesca and Massimo Valsecchi private collection Description An account of the resource Compared to <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/23%20">Giorgione’s Judith</a>, Cariani’s Judith is dark and sensual, beautiful but clearly dangerous. Centrally positioned, Judith emerges from an ominous background filled with storm clouds, her left breast exposed and framed by dark green drapery slung over her shoulder and a pink and gold sash knotted under her bustline (compare to Veronica Franco). She clutches her dagger at her waist, the blade turned up menacingly toward the viewer. Holofernes’s head is marginalized, blending into the black and brown tones of her maidservant’s figure. The maidservant gapes at Judith with missing teeth, her face weathered and almost dehumanized with beady eyes that are half the size of Judith’s. While the violent action toward Holofernes is minimized, the two women pose a threat to the viewer, their faces hardened and partly shrouded as they turn toward each other, colluding in their in their unnatural attack. Though Judith's brave act saved her community, her action was somewhat contradictory to normative gender behavior in the Italian Renaissance. To mitigate this threat, some men sought to present Judith as dangerous, fearing that contemporary women would be inspired to take public action through her example. Rights Information about rights held in and over the resource Public Domain https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Self-portrait_of_Marietta_Robusti/Autoritratto_dela_tintoretta_alla_spinetta.jpg b6d0e34ca884f08d59163f0820fb1de1 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 Dana's Collection 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 Self-portrait of Marietta Robusti Subject The topic of the resource Marietta Robusti, daughter of Tintoretto, at the spinet Creator An entity primarily responsible for making the resource Marietta Robusti Source A related resource from which the described resource is derived <ul> <li>Cole, Michael W. Sofonisba’s Lesson: A Renaissance Artist and Her Work. Princeton: Princeton University Press, 2019.</li> <li>Cowen, Tyler. “Why Women Succeed, and Fail, in the Arts.” Journal of Cultural Economics 20, no. 2 (1996): 93-113.</li> <li>Woods-Marsden, Joanna. Renaissance Self-Portraiture: The Visual Construction of Identity and the Social Status of the Artist. New Haven: Yale University Press, 1998.</li> </ul> Image Source: Le Gallerie degli Uffizi Publisher An entity responsible for making the resource available Le Gallerie degli Uffizi Date A point or period of time associated with an event in the lifecycle of the resource c. 1590s Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Oil on canvas, 93.5 x 91.5 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 Le Gallerie degli Uffizi, Florence, Italy Description An account of the resource In this portrait – believed to be a self-portrait of Marietta Robusti – the sitter gazes outward at the audience with a slight smile. Turned in a three-quarter pose toward the spinet, her left hand floats above the keys as if surprised by the viewer while practicing her music. The book of music in her right hand is a testament to her learning in learning; notably, this self-portrait does not refer to her other artistic skill with a paintbrush. Robusti’s pale skin, rosy cheeks, and blonde hair are accentuated by her flat, black background, emphasizing physical qualities that were desirable in Venetian women at that time. Her white dress is demure, refined but unadorned. Together with her pearl necklace, her costume creates the image of a modest and respectable young woman, a type that was commonly used for betrothal portraits to advertise the sitter’s suitability as a potential bride. This portrait may be compared to another self-portrait by the Bolognese painter Lavinia Fontana, who depicted herself as a noblewoman at the harpsichord for the express purpose of introducing herself to her future husband’s family. Michael Cole has also seen Robusti's self-portrait as a response to the self-portraiture of Sofonisba Anguissola [1]. Although Robusti's skill with a brush was well-known and secured her invitations from Philip II of Spain and Maximilian of Austria, her father refused these invitations on her behalf and instead arranged for her to marry a man of his choosing and remain in his household [2]. This portrait, while displaying her artistic skill, focuses on her identity as a marriageable young woman. [1] Michael Cole, Sofonisba’s Lesson: A Renaissance Artist and Her Work (Princeton: Princeton University Press, 2019), 153. [2] Tyler Cowen, “Why Women Succeed, and Fail, in the Arts,” Journal of Cultural Economics 20, no. 2 (1996): 106.