10 10 177 https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Doge_Leonardo_Loredan/doge.jpg dc5f2c6da6826f7c156f8f71dbdf2676 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 Doge Leonardo Loredan Description An account of the resource This art piece was painted by Giovanni Bellini. Bellini was raised in an artist family and later became one of the most well-known Venetian artists. This painting was through the medium of oil painting instead of egg tempera, which he pioneered in the Netherland. [1] This new technique allowed him to take advantage of oil paint's slow drying property to create more subtle details and soft color transition with blending colors directly on canvas or wood. The paint is a portrait of Doge Leonardo Loredan. Doge Leonardo Loredan was the ruler of Venice when Venice was almost the richest city in the world. He was elected in 1501 until he passed away in 1521. [2] This painting has presented to the viewer how focused both on the Doge’s character through his facial expression and his wealthiness from his robe and his dogal cap. When the viewer looks at Doge’s face, they will notice that his olive-colored eyes do not directly look at the viewer. Bellini painted his gaze this way, maybe because the Doge is so solemn that no one can directly look at him in the eyes. Unlike other portrait painting during the Renaissance period, Bellini has painted almost every wrinkle and facial features of Doge’s appearance. The wrinkles on his skin could convey a sense of his experience being a ruler, and the glare from his eyes has expressed his sincerity. Also, at the same time, those vivid factors have contributed to the feel of realities rather than imaginations. When viewers examine at the magnificent golden robe, it set off a strong contrast with the background. The robe is sewed with gold threads in a unique pattern with the light reflection. The painting stroke adopted by Bellini delivers the exceptional quality of the texture to further show his wealthiness and created an accurate representational art. [1] Humfrey, Peter, Ursula Lehmann-Brockhaus, Lucinda Hawkins, and Ulrike Bauer-Eberhardt. "Bellini family." Grove Art Online. 2003; https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000007643. [2] National Gallery of UK. “Doge Leonardo Loredan by Giovanni Bellini”n.d. Accessed October 5, 2020. 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 Humfrey, Peter, Ursula Lehmann-Brockhaus, Lucinda Hawkins, and Ulrike Bauer-Eberhardt. "Bellini family." Grove Art Online. 2003; https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000007643. National Gallery of UK. “Doge Leonardo Loredan by Giovanni Bellini”n.d. Accessed October 5, 2020. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. Garten, Jessica. “The World of Doge Lorenzo Loredan (1436−1521) behind His Portrait.” Armstrong State. Accessed October 5, 2020. Universityn.d. https://www.armstrong.edu/history-journal/history-journal-the-world-of-doge-lorenzo-loredan-14361521-behind-his-portr. Kaplan, Paul H. D. "Loredan, Leonardo, Doge of Venice." Grove Art Online. 2003; https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000051919. Bätschmann, Oskar. Giovanni Bellini. Online, ebook: London : Reaktion Books, Limited April 2008 Chicago : Chicago Distribution Center [Distributor], 2008. Publisher An entity responsible for making the resource available The National Gallery of UK https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan 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 Emily Song Rights Information about rights held in and over the resource 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, 61.4 × 44.5 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 National Gallery, London, United Kingdom https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/The_Family_of_Darius_before_Alexander/Family_of_Darius_Before_Alexander.png 62ed484794d257beb578206a4f6e370c 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 Family of Darius before Alexander Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Greaves, Leonard. "The Family of Darius by Paolo Veronese." Journal of the Royal Society of Arts. 94, no. 4725 (1946): 605-06. Accessed October 6, 2020. http://www.jstor.org/stable/41362458. Richter, Jean Paul. "The Family of Darius by Paolo Veronese." The Burlington Magazine for Connoisseurs 62, no. 361 (1933): 181-83. http://www.jstor.org/stable/865338. Veronese. Princeton: Bates and Guild Company, 1904. Image Source: Artstor, accessed October 5, 2020. https://library.artstor.org/asset/ANGLIG_10313766769. Publisher An entity responsible for making the resource available Image Source: Artstor, accessed October 5, 2020. https://library.artstor.org/asset/ANGLIG_10313766769. Date A point or period of time associated with an event in the lifecycle of the resource c. 1565-1567 Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource <div class="value">Public Domain. Image Source: Artstor, accessed October 5, 2020. https://library.artstor.org/asset/ANGLIG_10313766769.</div> Format The file format, physical medium, or dimensions of the resource Oil on canvas, 236.2 x 474.9 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 Subject The topic of the resource The family of Darius III of Persia kneels before a forgiving Alexander the Great after being defeated in battle. Description An account of the resource Paolo Veronese’s The Family of Darius before Alexander depicts the family of Darius III pleading for mercy to Alexander. Mistakenly, the king of Persia’s mother addresses not the Greek king but his closest advisor––Hephaestion [1]. Rather than treat them hostilely because of the dishonor shown to him, Alexander shows restraint and thus acts justly. This message resonates strongly with Venetians at the time, who are then engaged in their own conflict with Turkey. As Venice often stresses its connections with Rome and by extension Greece, Veronese underscores the importance of mercy and fairness to the Republic [2]. The painting capitalizes on chaos to bring out its central meaning. Figures are strewn throughout the work, many of whom are unnecessary bystanders having nothing to do with the actions conspiring around Alexander. Included in this we see a dog ready to attack but held at ease by a guard as well as rearing horses in the background. Yet Veronese is able to cut through this turmoil using the natural, calming figure of Alexander in contrapposto. We are further alerted to his domineering presence by his brilliant red-colored robe, which contrasts with the bright purples, whites, and golds that surround him. Furthermore, Veronese directs our gaze towards the general by placing him at the intersection of the natural light source overhead in the painting and the diagonal line running across the painting separating Alexander, his men, and Darius’ family from the background. The work holds more than just one purpose. Not only does it show off the power of Venice and its commissioning family––the Pisanis––in relation to the might of Greece, it allows Veronese to flex his personal abilities as a painter [3]. He is able to show off his mastery of the use of color, texture, and naturalism in his figures on a massive scale (originally intended for the family’s estate). It therefore serves as a calling card to potential patrons and commissioners that pass through the wealthy household. [1] Jean Paul Richter, "The Family of Darius by Paolo Veronese," The Burlington Magazine for Connoisseurs 62, no. 361 (1933): 181. [2] Leonard Greaves, "Paolo Veronese––The Family of Darius before Alexander," Journal of the Royal Society of Arts. 94, no. 4725 (1946): 605. [3] Veronese, Princeton: Bates and Guild Company, 1904, 35. https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Portrait_of_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 Portrait of Doge Leonardo Loredan Creator An entity primarily responsible for making the resource Giovanni Bellini Contributor An entity responsible for making contributions to the resource Jared Kreis Format The file format, physical medium, or dimensions of the resource Oil on poplar, 61.4 × 44.5 cm Type The nature or genre of the resource Painting Description An account of the resource This artwork was done by renowned Venetian artist Giovanni Bellini. Bellini's masterpieces marked a shift in Venetian artwork, as he was one of the first painters to create a dynamic between the painting and the viewer. His expert use of landscapes to was one of many reasons why he was commissioned to do so many altarpieces. [1] This specific painting depicts Doge Leonardo Loredan, who was the 75th doge of Venice from 1501 until his death in 1521. This painting was made near the end of Bellini's career, which is when many artists of the time tend to become slightly more irrelevant, however Bellini just seemed to get better. This is evident in the mystical portrait he creates. [2] We can see the Doge wearing the typical ducal crown. Additionally, Bellini highlights the wrinkles on Leonardo's forehead and cheeks because age during the this time period represented wisdom. The portrait intended to represent the style of the busts from Ancient Rome. Furthermore, the plain blue background contributes to the mysticality of the work, but also provides a subtle landscape design that does not distract the viewer from the main focus, which is the Doge. Finally, the Doge is portrayed wearing lavish clothing, with lots of gold. This white and gold represents the purity and power of the Doge, which demonstrates the confidence the people had in their Doge. Overall, the painting exemplifies the aristocratic nature of the Venetian people and society. The final visual detail that has significance in this painting is the neat signature of Bellini. The care and bravura with which the signature is handled suggests it as a signature done by the master himself. The letters are perfectly space, and there are many defining features. The "A" stradles the crease, the second "L" in Bellini is slightly raised, and the there is a triangular point at the end of his name. This attention for detail represents the strive for perfection that Bellini had in his work. [3] [1] Christiansen, Keith. "Bellini and the Meditational "poesia"." Artibus Et Historiae 34, no. 67 (2013): 9-20. Accessed October 7, 2020. http://www.jstor.org/stable/23510240. [2] Brown, David Alan. Giovanni Bellini: the Last Works. Milano: Skira, 2020. [3] 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 6, 2020. http://www.jstor.org/stable/40343651. Source A related resource from which the described resource is derived Image: Giovanni Bellini, active about 1459; died 1516. 1501-2. Doge Leonardo Loredan. Place: The National Gallery, London, Bought, 1844. https://library.artstor.org/asset/ANGLIG_10313768375. Scholary Article 1: 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 6, 2020. http://www.jstor.org/stable/40343651. Scholary Article 2: Christiansen, Keith. "Bellini and the Meditational "poesia"." Artibus Et Historiae 34, no. 67 (2013): 9-20. Accessed October 7, 2020. http://www.jstor.org/stable/23510240. Book: Brown, David Alan. Giovanni Bellini: the Last Works. Milano: Skira, 2020. Publisher An entity responsible for making the resource available National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996 Date A point or period of time associated with an event in the lifecycle of the resource 1501 - 1502 Rights Information about rights held in and over the resource Photograph: ©The National Gallery, London 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, England https://venice.dahvc.org/fall-2020/files/original/Diana_and_Actaeon/paint.jpg 59a5fb39dc808d1d321678c8212903cf 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 Diana and Actaeon Creator An entity primarily responsible for making the resource Titian Date A point or period of time associated with an event in the lifecycle of the resource 1556-1559 Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource 185 cm x 202 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 National Gallery, London Description An account of the resource The painting of Diana and Acteon is considered to be one of Titian's greatest works that he’s produced. After initially viewing the painting, Actaeon dropped his bow in shock with arrows strapped on his back. I infer that this led to the Death of Actaeon and the skull stag symbolizes the death which awaits him. The scene painted illustrates the moment Actaeon walks in on the goddess Diana. The nymphs around her are bathing her and are visually shocked by Actaeon's presence. Diana has a crown on with a moon on top of it. The moon is very important because Diana is the goddess of the Moon. There is a nymph drying her feet off while there is a black woman behind her that appears to be a maid. She is sitting on top of a red cloth very disturbed. At her feet, a dog is in a very aggressive position that a guard dog would be in if an intruder were to break in. Clothing is kept to a minimum adding to the bathroom scene. The painting has bounced around between the National Gallery in London and the National Gallery in Scotland. The rotation takes place every five years and currently resides at the London’s National Gallery of Art. They acquired it from the Bridgewater Collection for approximately 70.6 million dollars. This painting was commissioned by King Phillip II of Spain and was one of seven mythological paintings. Source A related resource from which the described resource is derived “A Discussion of Diana and Actaeon by Titian.” TripImprover, www.tripimprover.com/blog/diana-and-actaeon-by-titian. Titian. “Titian: Diana and Actaeon: NG6611: National Gallery, London.” The National Gallery, 1 Sept. 1556, www.nationalgallery.org.uk/paintings/titian-diana-and-actaeon Rights Information about rights held in and over the resource Titian. “Titian: Diana and Actaeon: NG6611: National Gallery, London.” The National Gallery, 1 Sept. 1556, www.nationalgallery.org.uk/paintings/titian-diana-and-actaeon. https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Bacchus_and_Ariadne/bacchus_and_ariadne.jpg 9eabf64416e03057ac021ea03fbe8bf3 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 The painting Bacchus and Ariadne, created by Titian between 1520 and 1523, is a depiction of the Myth of Ariadne. Specifically, it depicts the version in the 64th poem of Catullus [2]. In the myth Ariadne, daugther of the King of Crete, helps the hero Theseus through the labyrinth of the minotaur [1]. Theseus promises to take Ariadne back to the city of Athens with him, but instead abandons the princess on the island of Naxos, the setting of this painting. She is searching for Theseus when the god Bacchus comes to the island, the moment of the myth captured by Titian in this painting [2]. Ariadne stands on the left side of the painting, relatively alone. Her gaze looks towards Bacchus, but her body is turned towards the sea, with her right arm reaching out. This gives her the appearance of looking for Theseus, perhaps just having seen his ship sailing for Athens. Bacchus returns her gaze, and is jumping out of his chariot towards her. Bacchus' chariot is pulled by two cheetahs, which are nimble and exotic animals. Some scholars have debated on why this choice may be significant [3], but in Tresidder's analysis of the painting and history he concludes that cheetahs were likely the most common type of big cat in 16th century Italy [3], and complimented the flightiness of Bacchus well. They could also be included due to the Duke of Ferrera's love of exotic animals. Behind the god there are several other mythological creatures, including several satyrs, who are often depicted in scenes with Bacchus [2]. Titian uses colors that are very bright and strong including many bright blues and pinks. Ariadne is surrounded mostly in blue, with a small piece of red fabric over her shoulder, while Bacchus is mostly nude with a piece of pink fabric moving around him. There is a lot of movement in this work, both in the fabric and the positioning of the figures. The movement of the figures behind Bacchus draws the viewer's eye to the leaping Bacchus. Additionally, the use of light in the painting places emphasis on Ariadne and Bacchus, as they appear much brighter than the other figures, shadowed by the trees. These elements both draw the eye to the couple and show their immediate connection as they see each other. [1] Daviau, Donald G., and George J. Buelow. "The Ariadne Myths." In The "Ariadne Auf Naxos" of Hugo Von Hofmannsthal and Richard Strauss, 87-99. University of North Carolina Press, 1975. Accessed October 7, 2020. doi:10.5149/9781469657363_daviau.9. [2] Thompson, Graves H. "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 7, 2020. http://www.jstor.org/stable/3292884. [3] Tresidder, Warren. "The Cheetahs in Titian's 'Bacchus and Ariadne'." The Burlington Magazine 123, no. 941 (1981): 481-85. Accessed October 7, 2020. http://www.jstor.org/stable/880424. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library-artstor-org.proxy.lib.duke.edu/asset/ANGLIG_10313768527. Daviau, Donald G., and George J. Buelow. "The Ariadne Myths." In The "Ariadne Auf Naxos" of Hugo Von Hofmannsthal and Richard Strauss, 87-99. University of North Carolina Press, 1975. Accessed October 7, 2020. doi:10.5149/9781469657363_daviau.9. Thompson, Graves H. "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 7, 2020. http://www.jstor.org/stable/3292884. Tresidder, Warren. "The Cheetahs in Titian's 'Bacchus and Ariadne'." The Burlington Magazine 123, no. 941 (1981): 481-85. Accessed October 7, 2020. http://www.jstor.org/stable/880424. Huffman, Kristen. “A Virtual Tour: National Gallery of Art London.” Duke University. Lecture presented at the Duke University, September 2020. Publisher An entity responsible for making the resource available Patron: Duke Alfonso I d'Este of Ferrara Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library-artstor-org.proxy.lib.duke.edu/asset/ANGLIG_10313768527. 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 Jacey Curd Rights Information about rights held in and over the resource National Gallery, London National Gallery Picture Library Format The file format, physical medium, or dimensions of the resource 176.5 x 191 cm, Oil on Canvas 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 The National Gallery, London https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/St._Jerome_In_His_Study/ARTSTOR_103_41822000462703.jpg a0e88f54cab06d7951aa3fa5512e14b5 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 St. Jerome In His Study Subject The topic of the resource Antonello da Messina's St.Jerome in his study differs from his previous depictions of the saint. St.Jerome is shown as an middle aged man in this painting with distinct facial features. Jerome was a monk and a scholar who compiled the Latin vulgate translation of the Bible. [1] He was a penitent hermit who lived out his life distanced from the rest of society. Countless portrayals of the saint either depict him doing some scholarly activity or standing in front of a cruxifix stiking his breast with a stone. [2]. This painting was commissioned during the Catholic counter-reformation to paint Catholic ideologies and views in a warm light. Description An account of the resource One of the first thing that sticks out at the viewer when looking at Messina's painting is the architecture that he frames the picture in. A yellow or tan limestone arch that is in the Venetian architectural style stands in front of the audience to create a sense of grandeur. The clean curves and edges of the arch are designed carefully maintain a visually appealing aestethic. A peacock, a pigeon, and a golden bowl lie on a step that is part of the arch just, below the view into St. Jerome's study. Both birds have a symbolic meaning to them. The peacock represents the idea of immortality, while the pigeon represents the Catholic Church. These ideas challenge the protestant reformation while also complementing each other since the Catholic Church believes in eternal life after death. As we glimpse inside of the arch, St. Jerome sits at his study, a wooden step-like structure, reading a book. He sits in a very scholarly position, donning red cardinal robes that were awarded to him posthumously[3]. The robes show the hyperrealism that the artist was going for by flowing in the most natural way possible. The books that surround the saint on the shelves only reinforce that he was a scholarly man. To the left of the saint's feet you can see a cat along with two potted plants. On the right is a small chest with a doge's hat resting on top of it. Slightly behind the chest is a lion walking away from the viewer down a hallways of arcades. This lion is in fact St.Jerome, and the robes on the chest are the ones that he has shed as he has become a lion. Above the Saint Jerome are arches of the gothic style that serve to show the status and wealth of not only the saint, but of the church. Through the windows in the back of the image we are given a view of the natural world. On the two windows on the lower floor there are rolling hills of lush green and countless bushes and trees. Outside the windows on the upper level of the building, birds can be seen flying around freely. The floor of this painting is one of the most important aspects to the perspective of the viewer. The design of these tiles makes the image seem to be three dimensional with long hallways and spanning arches. The fact that his work is a painting allows for the effect that we are glimpsing into a window by allowing the artist to carefully create shadows that reinforce the image's three-dimensionality. It also allows the painter to create more constrast between the more muted colors of shadows and the archway and vibrant tones of the books and saint's robes. [1] ANTONELLO DA MESSINA (active 1456—died 1479), Saint Jerome in his Study." In The National Gallery Companion Guide, by Erika Langmuir. 2nd ed. The National Gallery, 2016. [2] Jolly, Penny Howell. "Antonello Da Messina's 'St Jerome in His Study': A Disguised Portrait?" The Burlington Magazine 124, no. 946 (1982): 27-29. [3]Kim, Young Richard. ""Jerome and Paulinian, Brothers"." Vigiliae Christianae 67, no. 5 (2013): 517-30. Creator An entity primarily responsible for making the resource Antonello da Messina Source A related resource from which the described resource is derived "ANTONELLO DA MESSINA (active 1456—died 1479), Saint Jerome in his Study." In The National Gallery Companion Guide, by Erika Langmuir. 2nd ed. The National Gallery, 2016. http://proxy.lib.duke.edu/login?url=https://search.credoreference.com/content/entry/ngcg/antonello_da_messina_active_1456_died_1479_saint_jerome_in_his_study/0?institutionId=2558 Jolly, Penny Howell. "Antonello Da Messina's 'St Jerome in His Study': A Disguised Portrait?" The Burlington Magazine 124, no. 946 (1982): 27-29. Accessed October 7, 2020. http://www.jstor.org/stable/880603. Kim, Young Richard. ""Jerome and Paulinian, Brothers"." Vigiliae Christianae 67, no. 5 (2013): 517-30. Accessed October 7, 2020. http://www.jstor.org/stable/42003525. Antonello, da Messina, 1430?-1479. St. Jerome in his study. https://library.artstor.org/asset/ARTSTOR_103_41822000462703. Publisher An entity responsible for making the resource available Antonio Pasqualino Date A point or period of time associated with an event in the lifecycle of the resource 1475 Contributor An entity responsible for making contributions to the resource Darien Sansosti Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource 46 x 36 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 of London; London, England https://venice.dahvc.org/fall-2020/files/original/Portrait_of_Doge_Leonardo_Loredan/Portrait_of_Doge_Leonardo_Loredan.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 Portrait of Doge Leonardo Loredan Description An account of the resource Giovanni Bellini is a pivotal exponent in the development of Italian Renaissance art who popularised portrait arts in Venice. His work shows the majestic, vibrant, and aristocratic essence of Venetian arts. The artist broke out of the long shadow cast by his accomplished father Jacopo Bellini (1400-1470) and developed his distinct and independent style and technique.[1] The subject of this portrait is identifiable as doge Leonardo Loredan, the powerful elected leader of the Venetian Republic who ruled the country from 1501 to 1521. [2] Bellini’s technique of oil paint enables the portrait to reach impressive naturalism. The depiction of each element of the doge and his clothes are full of rich details on the texture, such as the bright white of the sheen on his robe, and the gold color of the damask thread on his silk jacket. These create connotations to his fortune and social status. The expression in his eyes delivers his thoughtfulness and intelligence. As what’s reflected in the doge’s restraining smile and creases on his face, the artist managed to find the balance between the portrayal of the doge’s authority and his humanity. [3] This painting shows Bellini’s excellent use of light. By observing the light reflecting on the Doge’s face, we can deduce the position of the sun and the time from the angle and color of the light source. The time might be around the sunset, from the late afternoon to evening when the position of the sun is relatively low. This very moment of the day forms a connection with Loredan’s aging face and creases of his skin, as it might refer to the symbolic relationship of the length of the daytime and the normal cycle of life. [2] On the white cartellino below the painting, Bellinis’ signature IOANNES BELLINVS appears in black letters on the white cartellino below the painting, a very crumpled sheet of paper seems to have been briefly tacked on to the parapet. The cartellino is in the center and has four folds. The style of Calligraphy has a variation between the thickness of the lines. For example, the second “L” is thicker on the top and slightly higher than average. The unique characteristics of this signature indicate that this is work is painted by the artist. [4] [1] Bätschmann Oskar. Giovanni Bellini. London: Reaktion, 2008, 13-15 [2] “Portrait of Doge Leonardo Loredan, Giovanni Bellini: Analysis.” Accessed October 7, 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>. [3] Sotheby’s Institute of Art. “Bellini, a Doge and How to Use Visual Clues to Explore a Painting | News.” Accessed October 7, 2020. <a href="https://www.sothebysinstitute.com/how-to-use-visual-clues-to-explore-a-painting">https://www.sothebysinstitute.com/how-to-use-visual-clues-to-explore-a-painting</a>. [4] 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 7, 2020. http://www.jstor.org/stable/40343651. Creator An entity primarily responsible for making the resource Giovanni Bellini Publisher An entity responsible for making the resource available The National Gallery of UK https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan 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 Liuren Yin Rights Information about rights held in and over the resource Photograph: ©The National Gallery, London Giovanni Bellini, Format The file format, physical medium, or dimensions of the resource Oil on poplar, 61.4 × 44.5 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 National Gallery, London, England Source A related resource from which the described resource is derived Bätschmann Oskar. Giovanni Bellini. London: Reaktion, 2008, 13-15 “Portrait of Doge Leonardo Loredan, Giovanni Bellini: Analysis.” Accessed October 7, 2020. http://www.visual-arts-cork.com/famous-paintings/doge-leonardo-loredan.htm. 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 7, 2020. http://www.jstor.org/stable/40343651. Sotheby’s Institute of Art. “Bellini, a Doge and How to Use Visual Clues to Explore a Painting | News.” Accessed October 7, 2020. https://www.sothebysinstitute.com/how-to-use-visual-clues-to-explore-a-painting. Image Source: Giovanni Bellini, active about 1459; died 1516. 1501-2. Doge Leonardo Loredan. Place: The National Gallery, London, Bought, 1844. https://library.artstor.org/asset/ANGLIG_10313768375. https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Bacchanal_of_the_Andrians/The_Andrians.jpg 1dbbc74f952ef240ea52a2cb33118659 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October 14: Prado Museum (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Nacional del Prado, Madrid, Spain Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bacchanal of the Andrians Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Bertos, Rigas N. "A Short Note on the "Bacchanal of the Andrians"." Mitteilungen Des Kunsthistorischen Institutes in Florenz 20, no. 3 (1976): 407-10. Accessed October 19, 2020. http://www.jstor.org/stable/27652414. Bertos, Rigas N. "Some Remarks on Titian and Bellini at Ferrara." RACAR: Revue D'art Canadienne / Canadian Art Review 2, no. 2 (1975): 49-54. Accessed October 19, 2020. <a href="http://www.jstor.org/stable/42630093">http://www.jstor.org/stable/42630093</a>. “The Andrians - The Collection.” Museo del Prado. Museo del Prado. Accessed October 19, 2020. https://www.museodelprado.es/en/the-collection/art-work/the-andrians/c5309744-5826-48ac-890e-038336907c52. "Bacchanal Of The Andrians By Tiziano Vecellio". 2020. Wga.Hu. https://www.wga.hu/html_m/t/tiziano/08a/1ferra3.html. Image source: “The Andrians - The Collection.” Museo del Prado. Museo del Prado. Accessed October 19, 2020. https://www.museodelprado.es/en/the-collection/art-work/the-andrians/c5309744-5826-48ac-890e-038336907c52. Publisher An entity responsible for making the resource available Image source: “The Andrians - The Collection.” Museo del Prado. Museo del Prado. Accessed October 19, 2020. https://www.museodelprado.es/en/the-collection/art-work/the-andrians/c5309744-5826-48ac-890e-038336907c52. Date A point or period of time associated with an event in the lifecycle of the resource 1523-26 Contributor An entity responsible for making contributions to the resource Rafael Salazar-Paranhos Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 175 x 193 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prado Museum, Madrid, Spain Description An account of the resource The painting Bacchanal of the Andrians by Titian was made from 1523 to 1526 and is located in the Prado Museum in Madrid, Spain. This painting was one of the pieces of art Titian made for the Duke of Ferrara, Alfonso d’Este. This portrait has many similarities to that of Bacchus and Ariadne, another painting by Titian, located in the National Gallery in London. To start, this is once again a large portrait for the Duke of Ferrara that shows Titian’s ability to masterfully use colors and shadows in order to highlight his subjects. While in Bacchus and Ariadne Titian focuses on the story of love and affection, in this case pleasure is what is highlighted. The masterful use of light and color is able to focus on specific areas of the island of Andros, and bring attention to the symbol of wine once again. [1] Titian utilized the chapter Andrians from the text "Eicones" by Pholostrato as inspiration for this painting, showing his true commitment to his work. [2] When d’Este learned that the island was blessed with the presence of a river of wine, he believed it would be a fitting depiction in his castle. [3] To start, towards the center, there are multiple people drinking wine. There is a clear bottle highlighted in the center of the portrait, continuing once again the theme of wine that was present with Bacchus, in Bacchus and Ariadne. Towards the left, behind the trees, a man is seen drinking straight from the bottle, while another carries a wine container above his head. Titian highlights the male body towards the left with a naked man serving wine, and on the right side the painter highlights a nude woman. Here, he emphasizes the ideas of vulnerability, sensuality, and sexual availability for the audience. [4] The girl seems to be lost in the moment and looks to be enjoying herself. Titian makes sure to highlight this part of the portrait as light flashes upon her body. Most importantly however, could be the man lying on the hill towards to top right of the painting. He seems to be relaxed and on the outside of the main image. While there has been some discussion about his meaning, it was discovered that the old man was actually a personification of the wine river in Philostratos’s text. [2] This once again emphasizes the importance of wine for the Duke of Ferrara, but more importantly it represents the thoughtfulness behind Titian’s work and his ability to provide subtle details that suit his commissioners. In Bacchanal of the Andrians, Titian once again is able to show his skill with colors and light as a painter. Furthermore, he is able to personalize his depiction to his commissioner, d’Este, while also adapting a written story from the past into a visual depiction in the present. [1] Rigas N. Bertos, "Some Remarks on Titian and Bellini at Ferrara." RACAR: Revue D'art Canadienne / Canadian Art Review 2 (1975): 49-54. [2] Rigas N. Bertos "A Short Note on the "Bacchanal of the Andrians," Mitteilungen Des Kunsthistorischen Institutes in Florenz 20, no. 3 (1976): 407-10. [3] "Bacchanal Of The Andrians By Tiziano Vecellio," Wga.Hu, 2020. [4] “The Andrians - The Collection.” Museo del Prado. 2020 https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Sisyphus/ae527919-6535-4541-bc70-72ac377829b8.jpg c9cdbb9dac43946268034a599ceb27a6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October 14: Prado Museum (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Nacional del Prado, Madrid, Spain Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sisyphus Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Image Source: Titian. “Sisyphus, 1548 - 1549 - Titian.” www.wikiart.org, January 1, 1970. Accessed October 20, 2020. https://www.wikiart.org/en/titian/sisyphus-1549. Date A point or period of time associated with an event in the lifecycle of the resource 1548-1549 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource Public Domain on Wikiart Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 237 cm x 216 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Nacional Del Prado, Madrid, Spain Description An account of the resource Titian, one of the most important members of the 16th century Venetian school, was an Italian painter during the Renaissance [1]. Titian was famous for his drastic use of color, where he used calculated brushwork and subtle tone to spread his artistic message. Titian said that his finest works were mythologic narratives, which he compared to visual poetry [1]. Titian’s painting Sisyphus is a prime example of one of these mythologic narratives. Sisyphus is a Greek mythological figure who was the king of Corinth and was known for being avaricious and deceitful. For this reason, he was punished by Zeus and had an eternal punishment of rolling an incredibly heavy boulder continuously up a mountain in Hades [2]. It is this myth that Titian is portraying on his magnificent campus. In this painting, Titian focuses on the anatomy of Sisyphus and the environment that he has to live in due to his punishment. The brushstrokes carefully highlight the tone in Sisyphus’s muscles showing how tired his body is as it has to endure a constant fight with a boulder. The subtle lines that emphasize Sisyphus’s rib cage and other muscles like his biceps hint that he is being starved and put in terrible circumstances [3]. The snarling demon figures and bright flames in the bottom left of the canvas place Sisyphus in a hell-like environment. The use of dark color hues throughout the background show that Sisyphus is in a deep abyss that houses him as a prisoner (it is said that Sisyphus was sent to Tartarus). While Titian emphasizes the muscularity and body of Sisyphus in his painting, he takes a different approach when it comes to portraying Sisyphus’s face. At first glance, Sisyphus’s face may not even be noticeable, but it is being pushed down by the heavy boulder on his back. The lack of color around Sisyphus’s face demonstrate how Sisyphus is a shell of his former self and is now basically a machine constantly enduring suffering. The lack of emphasis on Sisyphus’s face creates this lasting effect that he is defeated and conquered [3]. The Myth of Sisyphus teaches us to never try to escape from failures or we will have a persistent struggle against life [2]. In this painting, Titian demonstrates this constant struggle and the toll it takes on one’s life through his portrayal of The Myth of Sisyphus. [1] Wethey, Harold, “Titian,” Encyclopedia Britannica, 1, 2 [2] Brooks, Kyle, “Conclusion: Our Pedagogical Task,” Journal of Feminist Studies in Religion 36, 189-191 [3] Mcgill, Jai, “Sisyphus, 1548 by Titian,” Titian.org, 1 Source A related resource from which the described resource is derived Wethey, Harold. “Titian.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 23, 2020. Accessed October 20, 2020. https://www.britannica.com/biography/Titian. Nichols, Tom. "The Master as Monument: Titian and His Images." Artibus Et Historiae 34, no. 67 (2013): 219-38. Accessed October 20, 2020. http://www.jstor.org/stable/23510252. Brooks, Kyle E. "Conclusion: Our Pedagogical Task." Journal of Feminist Studies in Religion 36, no. 1 (2020): 189-91. Accessed October 20, 2020. doi:10.2979/jfemistudreli.36.1.22. Mcgill, Jai. Sisyphus, 1548 by Titian. Titian.org, January 14, 2011. Accessed October 20, 2020. https://www.titian.org/sisyphus.jsp. Titian. “Sisyphus, 1548 - 1549 - Titian.” www.wikiart.org, January 1, 1970. Accessed October 20, 2020. https://www.wikiart.org/en/titian/sisyphus-1549. https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/The_Bacchanal_of_The_Andrians/Titian_Bacchanal.jpg 2151483347ba244b7426c30999748483 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October 14: Prado Museum (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Nacional del Prado, Madrid, Spain Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Bacchanal of The Andrians Description An account of the resource Here we see a group of followers of Bacchus enjoying themselves, drinking from the wine of the new river--a gift from Bacchus. Much like other pieces of his, Titian creates a sense of depth through the landscape; the trees and the green of the grass in the foreground recede into the hill on the right, creating a bright contrast against the darker, more calm hues of blue in the sky. Supplementing the receding diagonal created by the landscape, the composition also creates other diagonal lines through the movement of the figures in the foreground, as well as the highlighting of the sky and the female figure in the bottom right. Figures reaching for wine or leaning in a certain direction indicate a dynamic aspect within the composition. For example, the female figure in the bottom right lays on her back, leaning her head in the direction of the general diagonal. These diagonals bring attention to the maenad on the right, dressed in a bright white in contrast to the dull brown and black of the other figures in the foreground. We also see the use of aquamarine--a rare pigment which displays immense wealth--in the sea and the sky. Female worshippers of Bacchus, maenads were known for their extreme strength and immortality when under the influence. When considering the use of aquamarine, as well as the context of the power of the commissioner, Alfonso d’Este, the inclusion of this figure becomes a bit clearer. Including such a figure in a piece that would have been found in the Camerini d’Alabastro¹ not only showed the wealth of the Duke, but also portrayed a statement which implies immortality of lineage, power, and authority in the court of Ferrara. In addition, Titian also displayed Alfonso’s proclivity for music, something seen in other works that were part of the same set such as The Feast of the Gods.² In this case, Titian includes a sheet of paper with musical notes at the feet of the two women and in front of the urinating infant. In addition to making a statement for the commissioner, Titian also displayed a novel expression of art, something characteristic of his time period. Titian brought the drunkenness of the figures and applied it to the art piece in such a manner that the viewer may feel included. For example, the man holding the pitcher of wine holds the pitcher at a slight angle, probably due to inebriation. However, the wine stays level with the piece, making viewers question whether the landscape is tilted or the piece itself. As seen in that time period, other artists became aware of Titian’s new expressions in this genre of art, giving rise to images that have a striking resemblance to this piece such as Nicolas Poussin’s depiction of the same subject matter.³ <ol> <li style="font-weight:400;">C Hope, “Camerini d’Alabastro of Alfonso d’Este.” Burlington Magazine 113 (November): 641, <a href="https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=513389474&site=ehost-live&scope=site">https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=513389474&site=ehost-live&scope=site</a></li> <li style="font-weight:400;">Tim Shephard, "Alfonso and the Eloquence of Bacchus." In Echoing Helicon: Music, Art and Identity in the Este Studio (New York: Oxford University Press, 2014)</li> <li style="font-weight:400;">Richard T. Neer, “Poussin, Titian and Tradition: The Birth of Bacchus and the Genealogy of Images.” Word & Image 18, no. 3 (July 2002): 267–81, <a href="https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=504993412&site=ehost-live&scope=site">https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=504993412&site=ehost-live&scope=site</a></li> </ol> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived <ul> <li>Journal Article 1: Neer, Richard T. “Poussin, Titian and Tradition: The Birth of Bacchus and the Genealogy of Images.” Word & Image 18, no. 3 (July 2002): 267–81. <a href="https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=504993412&site=ehost-live&scope=site">https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=504993412&site=ehost-live&scope=site</a>.</li> </ul> <ul> <li>Journal Article 2: Hope, C. 1971. “Camerini d’Alabastro of Alfonso d’Este.” Burlington Magazine 113 (November): 641. <a href="https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=513389474&site=ehost-live&scope=site">https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=513389474&site=ehost-live&scope=site</a>.</li> </ul> <ul> <li>Book: Shephard, Tim. "Alfonso and the Eloquence of Bacchus." In Echoing Helicon: Music, Art and Identity in the Este Studioli, 1440-1530. New York: Oxford University Press, 2014. Oxford Scholarship Online, 2014. doi: 10.1093/acprof:oso/9780199936137.003.0005.</li> </ul> <ul> <li>Image Source: Titian. 1518. Bacchanal. painting. Place: Museo del Prado. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195607.</li> </ul> <ul> <li>Museum: “The Andrians - The Collection.” The Collection - Museo Nacional del Prado, 2019. <a href="https://www.museodelprado.es/en/the-collection/art-work/the-andrians/c5309744-5826-48ac-890e-038336907c52">https://www.museodelprado.es/en/the-collection/art-work/the-andrians/c5309744-5826-48ac-890e-038336907c52</a>.</li> </ul> Publisher An entity responsible for making the resource available Alfonso d'Este Date A point or period of time associated with an event in the lifecycle of the resource 1518 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Image Source: Titian. 1518. Bacchanal. painting. Place: Museo del Prado. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195607. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 175 x 193 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo del Prado