11 10 177 https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Portrait_of_Caterina_Cornaro_as_Saint_Catherine_of_Alexandria/Portrait_of_Caterina_Coronaro_1542_uffizi_florence_Titian.jpg 0aa3f839a53697e3d9579293390e3da5 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 Portrait of Caterina Cornaro as Saint Catherine of Alexandria Subject The topic of the resource Caterina Cornaro, Queen of Cyprus Creator An entity primarily responsible for making the resource Titian (Workshop) Source A related resource from which the described resource is derived <ul> <li>Agostino, Grazia et. al. Tiziano nelle Gallerie fiorentine. Florence: Centro Di, 1978. </li> <li>Ciatti, Marco and Magnolia Scudieri, ed. Firenze: Arte del Rinascimento e restauro. Tokyo: NHK Enterprises, 1991.</li> <li>Hurlburt, Holly. Daughter of Venice: Caterina Cornaro, Queen of Cyprus and Woman of the Renaissance. New Haven: Yale University Press, 2015.</li> </ul> Image Source: Le Gallerie degli Uffizi, Florence, Italy http://www.polomuseale.firenze.it/inv1890/scheda.asp?position=1&ninv=909&suffisso= Publisher An entity responsible for making the resource available Le Gallerie degli Uffizi, Florence, Italy Date A point or period of time associated with an event in the lifecycle of the resource c. late 16th C. 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 canvas, 102.5 x 72.0 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 Le Gallerie degli Uffizi, Florence, Italy Description An account of the resource Standing tall and regal in a three-quarter pose, Caterina gazes sideways at the viewer with composure, her lips pursed and hands clasped together in front of her. Her lavishly-robed figure fills the frame, positioned against a sober black background and three-quarter view typical of state portraits of the time. The fabrics of her costume include shining satins and silks embroidered with gold, dotted with lines of pearls that echo the larger pearls in her crown and headdress. This costume communicates not only her wealth, power, and nobility, but also her access to luxury goods beyond those produced in Venice. Her crown and headdress are not Italianate, but rather allude to her dual identity as Venetian by birth and Queen of Cyprus by marriage. The wooden wheel behind her with iron spikes is symbolic of Saint Catherine of Alexandria, a princess and a scholar who was martyred by the spiked wheel. The association with this saint communicates Caterina’s knowledge, queenly standing, and Christian virtue (compare to <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/25">Cameria as Saint Catherine</a>). https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_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 The Feast in the House of Levi Creator An entity primarily responsible for making the resource Paolo Veronese 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 Jared Kreis Format The file format, physical medium, or dimensions of the resource Oil on canvas, 560 x 1309 cm Type The nature or genre of the resource Painting Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. http://www.artres.com/c/htm/Home.aspx http://www.scalarchives.com Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. 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) Description An account of the resource Paolo Veronese was a renaissance painter known primarily for his paintings relating to religion and mythology. His personality itself was very mysterious and little was known about him, due to few documentations of letters and personal life. [1] Nonetheless, he created many beautiful works of art. Perhaps his most unique is the The Feast in the House of Levi. This painting contains many aspects of typical feast paintings. It has a large, crowded banquet table with many guests, colors of numerous shades, which both highlight the indulgent nature of the figures during the feast. Furthermore, the painting incorporates typical architecture with the display of the white arches as well as a few Venetian buildings in the background of the paintings. Addtionally, Jesus Christ is a center focal point, which further demonstrates the importance of religion. He is shown surrounded by his saints, which demonstrates the social gathering that the feast provided. Another interesting aspect of this painting is the title itself. Scholars believed that this was more of a feast, rather than your typical Last Supper painting. Veronese inscribed the balustrade of the painting with the rubric "Fecit D. Covi Magnum Levi/Luca Cap. V." The text - "And Levi made him a great feast in his own house" - provided a title, The Feast in the House of Levi. [2] This ties in with the visual analysis because due to the contents of the painting, Veronese had to appear in court. The main concern of the court was the inclusion of fools, dwarfs and German soldiers, who had nothing to do with the biblical story of the Last Supper. [3] Court justices were worried that heretics could use this painting as fuel for their battle against the Holy Roman empire. [1] (Book) 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. [2] D'ARGAVILLE, BRIAN T. "Inquisition and Metamorphosis: Paolo Veronese and the "Ultima Cena" of 1573." RACAR: Revue D'art Canadienne / Canadian Art Review 16, no. 1 (1989): 43-99. Accessed September 30, 2020. http://www.jstor.org/stable/42630415. [3] Grasman, Edward. "On Closer Inspection - The Interrogation of Paolo Veronese." Artibus Et Historiae 30, no. 59 (2009): 125-34. Accessed September 30, 2020. http://www.jstor.org/stable/40343668. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Feast_in_the_House_of_Levi/Feast_in_the_House_of_Levi_image.jpg b1630324eaef6391f8b91ef39a3e7162 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 Description An account of the resource Feast in the House of Levi was a replacement for the painting of an earlier work by Titian destroyed by the fire in 1571. [1] Originally Caliari had this painting name Lord's Last Supper and intended to be a monumental artwork for a religious commitment. However, he was forced to rename this painting to Feast in the House of Levi due to the investigation from Roman Catholic Inquisitions that they feel it is not appropriate to include dwarfs, drunken Germans, and such aristocratic cloth in a holy painting. [2] He was originally ordered to change the painting's details, but he changes the name instead. This painting was one of the most controversial Paolo Caliari's painting. When the viewer first looks at this artwork, the massive three arches draw most of the attention. Those arches give us a scope of the magnificent buildings of Venice cityscape. Those arches were probably inspired by the Italian buildings of that time. [3] The details he emphasizes above the arches are incredible. The sunlight bounces off the golden engravings gives a vivid texture feel. When viewer shifts their attention to the center of the painting, they will see Jesus in the middle of the table with subtle light coming from his shimmering Biblical robe that contrasts with the background as a way to present his holy figure. The painter was trying to convey a sense of the dynamic in this painter through each character's animation. Every living creature in this art is in the middle of some actions, from talking to eating to walking around, allowing the viewer to feel the liveliness in this painting. [1] Krén, Emil, and Daniel Marx. “Feast in the House of Levi” n.d. Accessed September 30, 2020.https://www.wga.hu/html_m/v/veronese/06/8levi.html [2] Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online. 2003; Accessed 30 Sep. 2020. https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. [3] Ginnybergs. “What’s in a Painting? Taking a Closer Look at Paolo Veronese’s Masterpiece: Feast in the House of Levi (c. 1573),” 2017. May 22. Accessed September 30, 2020. https://rhapsodyinwords.com/2017/05/22/whats-in-a-painting-taking-a-closer-look-at-paolo-veroneses-masterpiece-feast-in-the-house-of-levi-c-1573/. Creator An entity primarily responsible for making the resource Paolo Caliari Source A related resource from which the described resource is derived Krén, Emil , and Daniel Marx. “Feast in the House of Levi” n.d. Accessed September 30, 2020. https://www.wga.hu/html_m/v/veronese/06/8levi.html. Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online. 2003; https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. MacFall, Haldane. Feast in the House of Levi, 1911. http://www.law.harvard.edu/faculty/martin/art_law/feast_in_the_house_of_levi.htm. Paolo Veronese. 1571-73. GINNYBURGES. “What’s in a Painting? Taking a Closer Look at Paolo Veronese’s Masterpiece: Feast in the House of Levi (c. 1573),” 2017. May 22. Accessed September 30, 2020. https://rhapsodyinwords.com/2017/05/22/whats-in-a-painting-taking-a-closer-look-at-paolo-veroneses-masterpiece-feast-in-the-house-of-levi-c-1573/. EN. of Art Education “The Feast in the House of Levi (1573).” Feast in the House of Levi, Paolo Veronese: Analysis. Accessed September 30, 2020. http://www.visual-arts-cork.com/famous-paintings/feast-in-the-house-of-levi.htm. Publisher An entity responsible for making the resource available © Web Gallery of Art Krén, Emil , and Daniel Marx. “Feast in the House of Levi”n.d. Accessed September 30, 2020. https://www.wga.hu/html_m/v/veronese/06/8levi.html. Date A point or period of time associated with an event in the lifecycle of the resource 1528-1588 Contributor An entity responsible for making contributions to the resource Emily Song Format The file format, physical medium, or dimensions of the resource Oil on canvas, 555 x 1280 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 https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/AHSC_ORPHANS_1071313534.jpg a5948c94158ace18aa3fcb807dff2dba 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 The Tempest Description An account of the resource The Tempest was an important work in Renaissance landscape painting, and one of the 5 surviving works by Giorgione. The painting depicts a storm moving towards two main figures, with a child in the arms of the woman. The male figure looks at the woman, who gazes straight-on to the viewer. The colors of the painting are vivid, but not vibrant, creating the sense that the storm is about to overtake the figures. The woman is nude, but has a white blanket draped over her shoulders and a couple of branches that shade but do not cover her legs. While the woman and her child appear nude, the man is dressed nicely with a lance, causing many historians to make guesses that he is some sort of soldier or knight. The plane where the family is placed is the brightest area, while the background becomes progressively darker, giving the appearance of the storm being behind them while they remain in the sun but it remains quickly approaching. The family seems to be in a beautiful and lush area, with a river surrounded by trees. There are many different interpretations of this work, and historians have not agreed on any single one. Some believe the two people are Adam and Eve, with the lush green around them being the garden and the approaching storm being their eventual demise. Many other biblical stories have also been proposed as potential scenes. Others belive that the painting is a version of the German story Golden Legend, and still others argue that there is no evidence to prove that Giorgione may have just painted a gypsy couple without a deeper meaning, which would have been very unorthodox for the time. Creator An entity primarily responsible for making the resource Giorgione Source A related resource from which the described resource is derived Bosch, Lynette M. F. "GIORGIONE'S "TEMPEST" REVISITED." Source: Notes in the History of Art 10, no. 2 (1991): 7-15. Accessed September 30, 2020. http://www.jstor.org/stable/23202635. Kilpatrick, Ross S. "Hagar and the Angel in Giorgione's "Tempest"." Artibus Et Historiae 18, no. 36 (1997): 81-86. Accessed September 30, 2020. doi:10.2307/1483600. Wethey, Harold E. “Giorgione” April 18, 2019. https://www.britannica.com/biography/Giorgione. Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. <div> <div class="gtx-trans-icon"></div> </div> Publisher An entity responsible for making the resource available Commissioner: Gabriele Vendramin Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. <div> <div class="gtx-trans-icon"></div> </div> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1510 Contributor An entity responsible for making contributions to the resource Julia Curd Rights Information about rights held in and over the resource Data From: Art Images for College Teaching Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource 31 x 29 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 Galleria dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/The_Tempest/AHSC_ORPHANS_1071313534.jpg a5948c94158ace18aa3fcb807dff2dba 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 Tempest Description An account of the resource The Tempest was an important work in Renaissance landscape painting, and one of the 5 surviving works by Giorgione. The painting depicts a storm moving towards two main figures, with a child in the arms of the woman. The male figure looks at the woman, who gazes straight-on to the viewer. The colors of the painting are vivid, but not vibrant, creating the sense that the storm is about to overtake the figures. The woman is nude, but has a white blanket draped over her shoulders and a couple of branches that shade but do not cover her legs. While the woman and her child appear nude, the man is dressed nicely with a lance, causing many historians to make guesses that he is some sort of soldier or knight. The plane where the family is placed is the brightest area, while the background becomes progressively darker, giving the appearance of the storm being behind them while they remain in the sun but it remains quickly approaching. The family seems to be in a beautiful and lush area, with a river surrounded by trees. There are many different interpretations of this work, and historians have not agreed on any single one. Some believe the two people are Adam and Eve, with the lush green around them being the garden and the approaching storm being their eventual demise. Many other biblical stories have also been proposed as potential scenes. Others belive that the painting is a version of the German story Golden Legend, and still others argue that there is no evidence to prove that Giorgione may have just painted a gypsy couple without a deeper meaning, which would have been very unorthodox for the time. Creator An entity primarily responsible for making the resource Giorgione Source A related resource from which the described resource is derived Bosch, Lynette M. F. "GIORGIONE'S "TEMPEST" REVISITED." Source: Notes in the History of Art 10, no. 2 (1991): 7-15. Accessed September 30, 2020. http://www.jstor.org/stable/23202635. Kilpatrick, Ross S. "Hagar and the Angel in Giorgione's "Tempest"." Artibus Et Historiae 18, no. 36 (1997): 81-86. Accessed September 30, 2020. doi:10.2307/1483600. Wethey, Harold E. “Giorgione” April 18, 2019. https://www.britannica.com/biography/Giorgione. Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. <div> <div class="gtx-trans-icon"></div> </div> Publisher An entity responsible for making the resource available Commissioner: Gabriele Vendramin Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. <div> <div class="gtx-trans-icon"></div> </div> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1510 Contributor An entity responsible for making contributions to the resource Julia Curd Rights Information about rights held in and over the resource Data From: Art Images for College Teaching Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource 31 x 29 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 Galleria dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Venice_Receiving_Homage_from_Hercules_and_Ceres/Venice_Receiving_Homage_from_Ceres_and_Hercules.jpg a65216a2ad9364ad66f74efd91f8a61f 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 Venice Receiving Homage from Hercules and Ceres Description An account of the resource In this painting, we see a multitude of figures, some of which are in the nude whereas others are defined by idealized drapery. Immediately, the first aspect noticed is the shape of the canvas: a rectangular center with 4 semicircular lobes extending from the main canvas, almost like a puzzle piece surrounded in a quatrefoil. This shape plays an important part in the function and the interpretation of the piece, which will be discussed later. Following the shape, the next aspects drawing attention are the features of the female figure of Venice, Hercules (left), and Ceres (right), as well their spatial relationship with each other. Drawn to the bright color of her clothing, in addition to the diagonal lines created by the bodies of Hercules and Ceres, the viewer’s eyes are first drawn to Lady Venice--identified by the lion of St. Mark at her feet. Bright colors of pink and gold illuminate her lower half, while her upper body recedes into the shade, giving the piece a sense of depth. This sense of depth is strengthened by the contrast in lighting in the scene: the foreground is illuminated by what appears to be sunlight whereas the background is much darker yet still contains bright hues of blue. In addition to her meticulous drapery, Lady Venice wears a pearl necklace in front of an open blue sky, a characteristic of classical Greco-Roman traditions that Veronese appropriates in his artwork [1]. Beneath her, the muscular Hercules bows his head, almost subserviently; meanwhile, the goddess of fertility, Ceres, looks up to Lady Venice in awe--thus creating a triangular shape, with Venice at its peak. This sense of geometry is repeated once again in the shape of the canvas. Within each semicircular lobe lies a body part of each figure: Hercules has his arm holding a club in the left lobe, Ceres has her arm extended in the right lobe, a child (presumably a child of Ceres) stands with its legs in the bottom lobe, and the head of Lady Venus lies in the upper lobe. Not only does this create another shape, a diamond, where Venice is at the upper peak but it also creates a sense of unity within the image--almost as if a body has been made from the individual parts of the figures. Through this, Veronese makes a statement: with the strength of Hercules (muscular arm), the eloquence of Ceres (arm), the wisdom and leadership of Venice (head), and the fertility associated with Ceres (baby legs), the myth of Venice is very much a reality. This geometric aspect is one that Veronese focused on, as seen in other pieces of his such as The Conversion of Mary Magdalene [2]. This painting was originally created for the ceiling of the Magistrato delle Biade in the Doge’s Palace, the administrative center in charge of the storage and sale of grain. Thus, the subject matter becomes even more relevant, and more importantly, specific. The lobes would allow for interconnectivity with other art pieces in the ceiling, allowing an overall fluid composition. Most likely commissioned by patricians associated with this office, Paolo Veronese brings in classical traditions for his work, likely influenced by the translated works of Greek philosophers Plutarch and Xenophon (available to Veronese by humanist Marcantonio Gandino) [3]. Thus, Veronese strengthens the myth of Venice while also connecting the art piece to the function of the room in which it was meant to be displayed. [1] Britannica Educational Publishing Staff, 2009, The 100 Most Influential Painters and Sculptors of the Renaissance : 100 Most Influential Painters and Sculptors of the Renaissance. Chicago, IL: Rosen Publishing Group, Accessed September 29, 2020, ProQuest Ebook Central. [2] Nicholas Penny, 2014, "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae (70): 211-219,249-251. <a href="https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1646984251?accountid=10598">https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1646984251?accountid=10598</a>. [3] John Garton, “Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus,” Renaissance Quarterly 65, no. 3 (Fall 2012): 753–808, doi:10.1086/668301. Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived I. Journal article 1: Penny, Nicholas. 2014. "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae (70): 211-219,249-251. <a href="https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1646984251?accountid=10598">https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1646984251?accountid=10598</a>. <ul> <li>Used to see what formal characteristics are baseline for Veronese artworks</li> </ul> II. Journal article 2: Garton, John. “Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus.” Renaissance Quarterly 65, no. 3 (Fall 2012): 753–808. doi:10.1086/668301. <ul> <li>Used to see influences on Veronese’s artworks</li> </ul> III. Book: Britannica Educational Publishing Staff. 2009. The 100 Most Influential Painters and Sculptors of the Renaissance : 100 Most Influential Painters and Sculptors of the Renaissance. Chicago, IL: Rosen Publishing Group. Accessed September 29, 2020. ProQuest Ebook Central. <ul> <li>Used to explore Veronese’s development as an artist, specifically what characteristics he adapted from classical studies</li> </ul> IV. Image citation: GALLERIE DELL'ACCADEMIA DI VENEZIA. Venice Receiving Homage from Hercules and Ceres. 2020. Gallerie Accademia, Venezia. http://www.gallerieaccademia.it/en/venice-receiving-homage-hercules-and-ceres. V. Museum: “Venice Receiving Homage from Hercules and Ceres.” Gallerie dell'Accademia di Venezia, 2020. <a href="http://www.gallerieaccademia.it/en/venice-receiving-homage-hercules-and-ceres">http://www.gallerieaccademia.it/en/venice-receiving-homage-hercules-and-ceres</a>. VI. Extra: Savage, David. “Veronese.” Cavallini to Veronese - Italian Renaissance Art, 2012. https://www.cavallinitoveronese.co.uk/general/view_artist/81. Publisher An entity responsible for making the resource available Commissioned by high authorities for the Magistrato delle Biade in the Doge’s Palace (responsible for storage and sale of grain). Image Source: GALLERIE DELL'ACCADEMIA DI VENEZIA. Venice Receiving Homage from Hercules and Ceres. 2020. Gallerie Accademia, Venezia. http://www.gallerieaccademia.it/en/venice-receiving-homage-hercules-and-ceres. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1575 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource © 2020 GALLERIE DELL'ACCADEMIA DI VENEZIA, OFFICIAL SITE, ALL RIGHTS RESERVED Format The file format, physical medium, or dimensions of the resource Canvas, 308x327cm 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 Accademia, Venezia https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Last_Supper/Last_Supper.jpg 5b9c2dda197d18a451128118cb1b1186 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 <a href="https://library.artstor.org/#/asset/24600752">The Last Supper</a> Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource 365 cm × 568 cm oil on canvas Type The nature or genre of the resource painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Basilica di San Giorgio Maggiore, Venice Creator An entity primarily responsible for making the resource Jacopo Tintoretto Date A point or period of time associated with an event in the lifecycle of the resource 1592-94 Description An account of the resource The Last Supper is an oil on canvas painting Jacopo Tintoretto painted. This Italian Renaissance artist painted this between the years 1592-1594. The scene portrays a frontal view with multiple people sitting parallel from each other. The painting currently resides at the Basilica di San Giorgio Maggiore, Venice inside of the sanctuary on the right wall. The dimensions of this painting are 365 cm x 568 cm. Tintoretto created The Last Supper during the last stages of his career but is also considered one of his prime work of art. In the Last Supper, a lot of secondary characters occupy the center of the painting. The painting is very dim around the edges but close to the middle of the painting is self-illumination lighting this area up. The area that is lit shows off Christ, while some other characters have a small illumination around them. Near the ceiling, you can see angel-like figures flying around. Across the room are very dramatic characters doing different tasks. The room this is taking place in looks very tight but extremely decorative with the multiple patterns o the floor and wall designs. To the far right of this painting, you see a big table of food that’s being served by a woman and a man. Underneath the man is a lady on her knees washing the dirty dishes. Picturing myself in the room I can hear this scene being very loud and rejoiceful. The supernatural elements into the presentation of this piece ultimately pull it together. Source A related resource from which the described resource is derived Pallucchini, Rodolfo. Tintoretto. 27 May 2020, <a href="www.britannica.com/biography/Tintoretto">www.britannica.com/biography/Tintoretto</a>. Zirpolo, Lilian H. “Last Supper, San Giorgio Maggiore, Venice.” Academic Dictionaries and Encyclopedias, <a href="renaissance_art.enacademic.com/374/Last_Supper,_San_Giorgio_Maggiore,_Venice">renaissance_art.enacademic.com/374/Last_Supper,_San_Giorgio_Maggiore,_Venice</a>. Workshop of Jacopo Tintoretto (Italian, 1518-1594). 1580s. Baptism of Christ. Painting. Place: <a href="http://www.clevelandart.org/">The Cleveland Museum of Art</a>, Cleveland, Ohio, USA, Collection: <a href="https://library.artstor.org/asset/24600752">https://library.artstor.org/asset/24600752</a>. Rights Information about rights held in and over the resource Pallucchini, Rodolfo. Tintoretto. 27 May 2020, www.britannica.com/biography/Tintoretto. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Moderata_Fonte/Meritodelledonne007.jpg 6feebc123a3826cc412489d5c1c247b2 https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Moderata_Fonte/Meritodelledonne001.jpg d602732ddf4275dd9d3dc6b9c5799b8e https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Moderata_Fonte/Moderata_Fonte.png a37688c3a4ab46ad14de744ee8089e16 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 Moderata Fonte Subject The topic of the resource Portrait of Moderata Fonte (Modesta Dal Pozzo) printed in her book Il merito delle donne (1600) Creator An entity primarily responsible for making the resource Artist Unknown; printed by Domenico Imberti Source A related resource from which the described resource is derived <ul> <li>Deslauriers, Marguerite. "Patriarchal Power as Unjust: Tyranny in Seventeenth-Century Venice." British Journal for the History of Philosophy 27, no. 4 (2019): 718-737.</li> <li>Fonte, Moderata. Il merito delle donne. Venice, 1600.</li> <li>King, Margaret. Women of the Renaissance. Chicago: University of Chicago, 1991.</li> </ul> Image Source: Fonte, Moderata. Il merito delle donne. Venice: Domenico Imberti, 1600. Publisher An entity responsible for making the resource available Domenico Imberti Date A point or period of time associated with an event in the lifecycle of the resource 1600 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 Print, various dimensions Type The nature or genre of the resource Print Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Venice, Italy Description An account of the resource “I await fame and glory in life, and then in death” [1]. Like Tullia d’Aragona’s dialogue, Moderata Fonte’s Il merito delle donne (1600) is a commentary on the dialogues of philosophers and humanists, which were almost exclusively composed of male voices in early modern Italy. In a Venetian garden, virgins, matrons, and crones discuss the soul, knowledge, and virtues; they form a perfect female society in which women gain strength from one another and live autonomously [2]. While Fonte lauds the city of Venice, there is critique embedded in this praise: the political apparatus of Venice was an object of admiration to statesmen throughout Europe, but it remained oppressive to women [3]. The quote above foreshadows the author’s fate: Fonte died in childbirth one day after finishing her book. Eight years after her death, two of her children submitted her book for publication, which means that the author’s portrait is a posthumous portrait. Perhaps for this reason, her portrait is less individualized than the portraits of <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/28">d’Aragona</a> and <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/27">Franco</a>. She wears a fashionable Venetian costume with a starched lace collar and a horned hairstyle that was at one time synonymous with courtesans, though noblewomen also wore it. The intricacy of the lace detailing on her gown and her pearl necklace communicate her status as a reputable lady, yet there is little that is distinct about her appearance. This woodcut print can be understood as a generic image type rather than an individualized portrait of a historic woman. One detail that distinguishes this woman from similar images is the crown of laurel leaves signifying her achievement in letters, an honorific which nearly blends in with her curls, fading from view. Notably absent are the traditional literary attributes of books, letters, or a pen. The image of the author becomes first and foremost the image of anonymized female respectability. [1] Moderata Fonte, Il merito delle donne (Venice, 1600), 4. [2] Margaret King, Women of the Renaissance (Chicago: University of Chicago, 1991), 228. [3] King, Women of the Renaissance, 231. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/1200px-Giorgione_019.jpg 8deeb98345289dc633b8a90737cde659 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 The Tempest Creator An entity primarily responsible for making the resource Giorgione (Giorgio da Castelfranco) Publisher An entity responsible for making the resource available Commissioned by Gabrielle Vendramin (in 1504) Date A point or period of time associated with an event in the lifecycle of the resource 1510 Contributor An entity responsible for making contributions to the resource Raj Kumar 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 Oil on Canvas, 78.7 cm x 73.7 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Description An account of the resource Giorgione was and Italian painter during the High Renaissance and achieved effect and distinctiveness in his paintings through color and mood. He was known as one of the most mysterious artists for always creating uncertainty in the meaning of his paintings [1]. His use of color, mood, and mystery were embodied in his landscape painting The Tempest, which is one of the first paintings in which landscape plays such a big role [1]. The Tempest is a painting of two, unrelated halves (foreground and background). In the forefront, three figures are clearly depicted. On the right, a woman, draped in a bright white robe with most of her body exposed, is seen suckling her baby. On the left, a manly figure is dressed very formal and fancy holding a staff, which may indicate he is a soldier. Many have identified this male figure, who is admiring the woman, as a member of a club of unmarried men called The Campagnia dell Calza [2]. Unlike other Venetian paintings, the painter does not put great emphasis on the figures (even though they are clearly present) like placing extra light on them or using lighter colors to depict them. The colors used to illustrate the individuals are similar to their surroundings making them blend into this landscape, which adds to their mystery. The representation of the figures has long been debated as some people believe it is a Gypsy and a solider, while others believe that the figure represent Adam and Eve [3]. Moving on, the background of the painting is indicative of some type of storm approaching. The dark clouds and the subtle flash of lighting create a gloomy mood. Many details are encompassed in the background including a stream widening to a river, several buildings, and even a temple, which all contribute to this countryside and urban landscape. The use of dark blue and green color hues foreshadows an impending doom coming into this well-constructed Venetian city and upon the figures [2]. The strategic use of strokes when painting the trees and other parts of nature creates a rough-feeling texture in the painting that contributes to the gloomy mood. While this painting has been left to interpretation to historians and viewers, I believe that it represents a nostalgic view of Venetian society as a serene republic even though it was under siege from foreign armies at the time (War of Cambria). [1] Harold E. Wethey, “Giorgione,” Encyclopedia Britannica, 2, 3 [2] Micahel L Shackman, “The Tempest,” Visual Arts Cork [3] Rudolf Schier, "Giorgione's Tempesta," Renaissance Studies 22 (2008), 478, 479 Source A related resource from which the described resource is derived Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. Accessed September 29, 2020 https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Schier, Rudolf. "Giorgione's "Tempesta": A Virgilian Pastoral." Renaissance Studies 22, no. 4 (2008): 476-506. Accessed September 29, 2020. http://www.jstor.org/stable/24417578. Wethey, Harold E. “Giorgione.” Encyclopædia Britannica. Encyclopædia Britannica, inc., April 18, 2019. Accessed September 29, 2020 https://www.britannica.com/biography/Giorgione. Shackman, Michael L. “The Tempest (1508).” The Tempest, Giorgione: Analysis, Meaning. Accessed September 29, 2020. http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm. Winkelmes, Mary-Ann. Speculum 74 (Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto), no. 3 (1999): 822-24. Accessed September 29, 2020. doi:10.2307/2886844. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Scenes_from_the_Life_of_Saint_Ursula_Martyrdom_of_the_Pilgrims_and_the_Funeral_of_Saint_Ursula/80martyr.jpg e7f733c9594368b4c75521218b508c98 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 Scenes from the Life of Saint Ursula: Martyrdom of the Pilgrims and the Funeral of Saint Ursula Description An account of the resource The Martyrdom of the Pilgrims and the Funeral of Saint Ursula was a single painting in a cycle created by the Vittore Carpaccio for the Scuole Piccola [1] and commissioned by the Loredan family [2]. The cycle narrates the life, marriage, and martyrdom of St. Ursula, with this specific piece focusing on her martyrdom. It depicts how she refused to marry the Hun prince and accepted her fate of death in order to remain dutiful to her fiancé as well as to her Christian ideals. [3] This piece is divided into two sections with the left-most section focusing on St. Ursula’s martyrdom and the right-most section telling the story of her funeral. The two parts of this piece are divided by a large pole that is depicted with the Loredan family’s coat of arms. In the left section of the painting, the immediate chaos of this piece can be observed. The chaotic nature of this piece is created by the tight spatial organization that Carpaccio has created with both the fighting army as well as the group of virgins that stand near St. Ursula. This feature along with Carpaccio’s manipulation of form, by making St. Ursula’s figure appear larger than the figures that surround her, places St. Ursula in the role of an active figure in this piece. Though she may be serenely accepting her fate, Carpaccio has shown her as a figure that has actively chosen to protect her Christian ideals, even if the result of that decision is her untimely demise. On the right-most side of the piece, Carpaccio uses another form of spatial organization to highlight St. Ursula. Specifically, the way St. Ursula is depicted on the bier makes her appear more elevated than those around her. By physically and spatially placing her above the rest of the scene, Carpaccio is emphasizing her connection to God. He furthers this connection to God by manipulating light. Again, compared to the other figures in this scene, St. Ursula has been depicted more brightly and vividly. This shows that her active choice to live with God led to her martyrdom and, thus, closer to God. In this piece, Carpaccio has utilized numerous stylistic elements to not only emphasize St. Ursula as an important divine figure but also capture the essence of her active choice to protect Christianity by accepting her death. By choosing to live by her Christian ideals, she marks her as a model and example of Christian piety. [1] Benezit Dictionary of Artists, “Carpaccio, Vittore.” Benezit Dictionary of Artists, (2011). [2] "Martyrdom of the Pilgrims (Saint Ursula and the Eleven Thousand Virgins) and Funeral of Saint Ursula,” Gallerie Accademia, accessed September 29, 2020, http://www.gallerieaccademia.it/en/martyrdom-pilgrims-saint-ursula-and-eleven-thousand-virgins-and-funeral-saint-ursula. [3] Elizabeth Rodini. "The Politics of Marriage in Carpaccio's St. Ursula Cycle," Early Modern Women 8, (Fall 2013): 85-117. Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived <ul> <li>Rodini, Elizabeth. “The Politics of Marriage in Carpaccio’s St. Ursula Cycle.” Early Modern Women 8, (Fall 2013): 85-117. http://www.jstor.org/stable/23617847.</li> <li>Benezit Dictionary of Artists. “Carpaccio, Vittore.” Benezit Dictionary of Artists, (2011). doi:10.1093/benz/9780199773787.article.b00032555.</li> <li>Gallerie Accademia. "Martyrdom of the Pilgrims (Saint Ursula and the Eleven Thousand Virgins) and Funeral of Saint Ursula,” Gallerie Accademia. Accessed September 29, 2020. http://www.gallerieaccademia.it/en/martyrdom-pilgrims-saint-ursula-and-eleven-thousand-virgins-and-funeral-saint-ursula. </li> </ul> Publisher An entity responsible for making the resource available Scuole piccola Date A point or period of time associated with an event in the lifecycle of the resource 1493 Contributor An entity responsible for making contributions to the resource Riya Mohan 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, 271 x 560 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