11 10 177 https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Sisyphus/Sisyphus.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 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 Jacey Curd Rights Information about rights held in and over the resource The granted permission for the image rights of the artwork belong to the Image Bank of the Museo del Prado. “Sisyphus - The Collection.” The Collection - Museo Nacional del Prado. Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/sisyphus/bb56eb47-052f-4e15-8e46-75a3f18b13ad. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 237 by 216 cm Type The nature or genre of the resource Oil on Canvas Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo del Prado, Madrid, Spain Description An account of the resource Sisyphus is a painting that depicts an old Greek myth. It was painted by Titian, who completed numerous commissions for mythological paintings including Bacchus and Ariadne, Diana and Actaeon, and the work discussed here, Sisyphus [1]. The myth of Sisyphus has varied some over time [2], but late legends say that Sisyphus was punished in the afterlife for chaining Death, so no one would die, and subsequently cheating death a second time by asking his wife to not bury him properly so that he could escape the underworld. After he died the second time, he was punished by Hades, god of the Underworld, to roll a boulder up a hill for all time [3]. This is the scene that is included in every version of the myth and is the one Titian chose to depict. This painting is very dark, which is quite appropriate given Sisyphus is supposed to be in the Underworld. The brighter part of the painting shows his body, hunched over and straining to hold the rock. His face is barely visible at all. I think this depiction, where the focus of the painting is on the strain of the body as Sisyphus pushes the boulder up the mountain, best shows the story of him being tortured with this endless job. The viewer’s focus is drawn to his muscles, much like Sisyphus’s would be as he kept pushing up the hill. The use of color in this painting is very impressive given the limited number of colors used. Though there are no vibrant reds or blues, Titian still utilizes deep and varied colors in this work. In particular, it is color which allows Sisyphus’s muscles to protrude from his legs and arms, and his ribs to show. These elements, as well as the shadow of the boulder over his face, are what best show the torture Sisyphus is facing in this myth. [1] “Sisyphus, 1548 by Titian.” Titian, Paintings, Quotes, and Biography, 2011. https://www.titian.org/sisyphus.jsp. [2] The Editors of Encyclopedia Britannica. “Sisyphus.” Encyclopædia Britannica. Encyclopædia Britannica, inc., July 10, 2020. https://www.britannica.com/topic/Sisyphus. [3] Brooks, Kyle E. "Conclusion: Our Pedagogical Task." Journal of Feminist Studies in Religion 36, no. 1 (2020): 189-91. Accessed October 21, 2020. doi:10.2979/jfemistudreli.36.1.22. Publisher An entity responsible for making the resource available Commissioned by Mary of Hungary, Source A related resource from which the described resource is derived “Sisyphus, 1548 by Titian.” Titian, Paintings, Quotes, and Biography, 2011. https://www.titian.org/sisyphus.jsp. The Editors of Encyclopedia Britannica. “Sisyphus.” Encyclopædia Britannica. Encyclopædia Britannica, inc., July 10, 2020. https://www.britannica.com/topic/Sisyphus. Brooks, Kyle E. "Conclusion: Our Pedagogical Task." Journal of Feminist Studies in Religion 36, no. 1 (2020): 189-91. Accessed October 21, 2020. doi:10.2979/jfemistudreli.36.1.22. “Sisyphus - The Collection.” The Collection - Museo Nacional del Prado. Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/sisyphus/bb56eb47-052f-4e15-8e46-75a3f18b13ad. https://venice.dahvc.org/fall-2020/files/original/Tityus/Tityus.jpg 734c861431c42187136e31e7ade4a9f4 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 Tityus Subject The topic of the resource A vulture eternally pecks at the regenerating liver of the giant Tityus. Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Image Source: Museo Nacional del Prado, April, 2015. https://www.museodelprado.es/en/the-collection/art-work/tityus/68555098-f6fd-453f-ab0a-859385ce3b3a. Date A point or period of time associated with an event in the lifecycle of the resource 1565 Format The file format, physical medium, or dimensions of the resource Oil on canvas, 253.0 x 217.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Nacional del Prado, Madrid, Spain Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource Public Domain. Image Source: Museo Nacional del Prado, April, 2015. https://www.museodelprado.es/en/the-collection/art-work/tityus/68555098-f6fd-453f-ab0a-859385ce3b3a. Description An account of the resource Tityus, sometimes spelled Tityos, is a giant from ancient Greek mythology and the illegitimate son of Zeus and Elara. After attempting to rape Leto, he is killed by the gods Artemis and Apollo and sent to eternal damnation in the depths of the Greek underworld Tartarus. Here, his punishment is to be strapped to a rock, where his liver serves as food for two ravenous vultures. At the end of each day, it regrows to start the process over again [1]. In Titian’s Tityus, the giant dominates the frame. The artist notably shows off his ability to construct a contorted figure while still displaying excruciating pain in its features. Surrounding Tityus are a combination of symbols from both the ancient Greek underworld and the Christian hell, such as the serpent to his right––a prototypical representation of Satan––as well as the fiery river Phlegethon that runs behind him. Most of the painting employs muted grayscale tones, granting a degree of solemnity and seriousness to the subject. This dullness, however, is interrupted by the striking red gash that the birds have carved into Tityus’ side. The color directs the viewer’s gaze to this focal point in lieu of light, which often serves the same purpose but is played down to further the suffering that the giant experiences. This work by Titian was part of a four-painting cycle called the “Furias,” commissioned by Mary of Hungary and featuring the three other pieces Tantalus, Sisyphus and Ixion [2]. Hung in the Great Hall of the palace, its foreboding message (evident by the focus on the wound) offered a stark warning to all who resisted the dominion of the ever-powerful Hapsburg family in Europe [3]. Any threat to the “old guard” would be met with equal severity to that of the subjects of Titian’s paintings, and all presented before the queen––whether subjects, advisors, or emissaries––would have a difficult time forgetting that in the presence of such a large piece. [1] Jane Ellen Harrison, Prolegomena to the Study of Greek Religion (Princeton: Princeton University Press, 1991), 336. [2] Pedro Beroqui, Tiziano in the Museo del Prado (Madrid: Boletín de la Sociedad española de excursiones, 1926), 34, 246. [3] Miguel Falomirl, “The 'Furias': From Titian to Ribera,” Museo del Prado, last modified 2014, https://www.museodelprado.es/en/whats-on/exhibition/the-furias-from-titian-to-ribera/5421b042-69b8-4345-8e6f-11ea4ced0823. Source A related resource from which the described resource is derived Beroqui, Pedro. Tiziano in the Museo del Prado. Madrid: Boletín de la Sociedad española de excursiones, 1926. Falomir, Miguel. "The 'Furias': From Titian to Ribera." Museo del Prado. Last modified 2014. https://www.museodelprado.es/en/whats-on/exhibition/the-furias-from-titian-to-ribera/5421b042-69b8-4345-8e6f-11ea4ced0823. Harrison, Jane Ellen. Prolegomena to the Study of Greek Religion. Princeton: Princeton University Press, 1991. Image Source: Museo Nacional del Prado, April, 2015. https://www.museodelprado.es/en/the-collection/art-work/tityus/68555098-f6fd-453f-ab0a-859385ce3b3a. https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Sisyphus/sisyphus.jpg 6d132cff97755cc82ee360c90c53d3d1 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 Description An account of the resource Commissioned by Mary of Hungary for the Binche Palace and painted by Titian c. 1548, Sisyphus documents the story of the King of Corinth, Sisyphus. Sisyphus was condemned to push a boulder to the top of a hill in the Underworld repeatedly, for the rest of eternity as his punishment for many indiscretions during his lifetime [1]. Titian was well-versed in creating mythological narratives and added extraordinary detail to his human figures, which can be seen in this painting [2]. In Sisyphus, Titian shows an interest in the male human form and anatomy, as well as landscape details. Clearly focused on the figure of Sisyphus in the center of the painting, Titian uses lighting to highlight the figure as a whole, but also each individual muscle that is flexed as he struggles with pushing the boulder up the steep hill. Sisyphus wears only a small white cloth around his waist that appears to be slipping, but both hands are firmly above his head to prevent the boulder from falling and likely crushing him. His head is turned towards the viewer, but does not engage with the viewer through eye contact – rather, he is positioned to be looking behind him, with his eyes nearly closed in a defeated manner. The only white light in the painting surrounds Sisyphus, but contrasting religious paintings in which light denotes a holy or pure subject, Titian seems to only indicate that Sisyphus is forced to clear a path through the dark scenery, further reinforcing the strenuous conditions that he lives in. Sisyphus is surrounded by dark smoke that Titian blurs the edges to create a remarkably realistic effect. Titian paints fire and flames directly in front of the figure but uses depth to ensure that it appears in the background. On the bottom left, Sisyphus is followed by hellish creatures that seemingly blend into the smoke, creating the illusion of uncertainty in what lies in the darkness, as well as adding to the overall sense of torture that Sisyphus is facing. By meticulously capturing these details, Titian allows for the viewer to both understand how grueling his punishment is, and the hell he has been banished to. The story of Sisyphus has also been used to serve as a reminder of what happens when one repeatedly chooses to ignore right from wrong in the eyes of the gods – and Titian's painting reinforces this sentiment by documenting the moral so vividly [3]. Mary of Hungary may have wanted to include this painting in her collection to make clear both to herself and her visitors the ethics she hoped to embody. [1] Authors of Encylopedia Britannica, "Sisyphus" Encylopedia Britannica [2] Loh, Maria, “Abracadabra.” In Titian's Touch: Art, Magic, and Philosophy, 56–59. [3] Authors of Encylopedia Britannica. “The Myth of Sisyphus.” Encyclopædia Britannica Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Authors of Encylopedia Britannica. “Sisyphus.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 2017. https://www.britannica.com/topic/Sisyphus. Loh, Maria H. “Abracadabra.” In Titian's Touch: Art, Magic, and Philosophy, 56–59. London, UK: Reaktion Books, 2019. Authors of Encylopedia Britannica. “The Myth of Sisyphus.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 2019. https://www.britannica.com/topic/The-Myth-of-Sisyphus. Titian. “Sisyphus, 1548 - 1549 - Titian.” www.wikiart.org, January 1, 1970. Accessed October 20, 2020. https://www.wikiart.org/en/titian/sisyphus-1549. <div class="element"> <div class="field two columns alpha"></div> </div> Publisher An entity responsible for making the resource available Commissioned by Mary of Hungary Date A point or period of time associated with an event in the lifecycle of the resource c. 1548 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Rights Information about rights held in and over the resource WikiArt, Public Domain Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 237cm x 216cm Type The nature or genre of the resource Oil on canvas painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Nacional Del Prado, Madrid, Spain https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Saint_Margaret_and_the_Dragon/LESSING_ART_10310120561.jpg 0cfee459e881957fa609af4eafbe916c 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 Saint Margaret and the Dragon Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Artstor, Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. https://library.artstor.org/asset/LESSING_ART_10310120561. Date A point or period of time associated with an event in the lifecycle of the resource 1540-1550 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas; 242 x 182 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, Madrid, Spain Description An account of the resource In this painting, we see Saint Margaret, an Antioch virgin, emerging from a dragon’s severed body with a cross in hand. Titian makes Margaret the central figure in the painting in multiple ways. First, he makes her skin and clothing have much brighter colors, which contrasts heavily with the dark background. Second, he places Margaret in the center of the image, so the viewer feels compelled to look at her. In addition, Margaret’s dress and face is much more textured than her background, which creates yet another contrast that places the viewer’s eye on her. Finally, the light shines directly onto her, making the dragon and her background seem less important to the viewer. Now, the question becomes why would Titian want to focus on Saint Margaret? This work belonged to Mary of Hungary, who was a queen consort and governor of the Netherlands; thus, she was a strong, powerful woman. Titian wanted Mary to see herself in Saint Margaret; therefore, by making her the main character and figure in the painting, he gave Margaret a sense of agency. In addition, Titian gave agency to Margaret through the version of her encounter with the dragon that she chose to depict. In the commonly accepted tale, Margaret fends off the dragon by waving the cross, making it seem as though God saved her rather than herself. However, Titian uses the more legendary version, in which Margaret was swallowed by the dragon, and when she made the sign of the cross the dragon burst [1]. In addition, Maria Loh believes that Titian’s attention to detail is also indicative of Margaret’s autonomy during this event. Rather than giving Margaret a blank expression, he gives her one that expresses her emotion, as she looks down at what she has done to this dragon. In addition, Titian does not shy away from the violence of the scene, adding the manic brushstrokes of the waves and the city in the background and the skull, tying the picture to reality and making it seem more active [2]. This more active depiction combined with the artistic focus on her made Mary of Hungary resonate with the image more, tying into the Renaissance idea of connecting with religion on an individual level. However, Titian’s use of this less historically accurate description and his showcase of Margaret’s knee was frowned upon by the Council of Trent. Thus, Titian had to use techniques to make the painting seem more similar to those of his accepted contemporaries and predecessors. First, he drew inspiration from Raphael’s depiction of the scene, using Margaret’s contrapposto stance and the rock in the background to draw parallels between the two, making his painting seem like it had a historical basis [3]. Second, he also used the herringbone twill canvas, which was not only more complex but also more frequently used by his rivals, Tintoretto and Veronese, which also created connections between this work and the accepted work of his rivals [4]. [1] Miguel Falomir Faus, "Saint Margaret - The Collection - Museo Nacional Del Prado," in Museodelprado.Es (2003), https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8. [2] Maria H. Loh, Titian's Touch: Art, Magic and Philosophy (United Kingdom: Reaktion Books, 2019), 71. [3] Miguel Falomir Faus, "Saint Margaret - The Collection - Museo Nacional Del Prado," in Museodelprado.Es (2003), <a href="https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8">https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8</a>. [4] Nicholas Penny, Jill Dunkerton, Marika Spring, Rachel Billinge, Helen Howard, Gabriella Macaro, Rachel Morrison, David Peggie, Ashok Roy, Lesley Stevenson, Nelly Von Aderkas, and Jacqueline Ridge, "Titian's Painting Technique from 1540," in National Gallery Technical Bulletin 36 (United Kingdom: National Gallery London, 2015), 1-136. Source A related resource from which the described resource is derived Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. https://library.artstor.org/asset/LESSING_ART_10310120561. Falomir Faus, Miguel. 2003. "Saint Margaret - The Collection - Museo Nacional Del Prado". Museodelprado.Es. https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8. Penny, Nicholas, Jill Dunkerton, Marika Spring, Rachel Billinge, Helen Howard, Gabriella Macaro, Rachel Morrison, David Peggie, Ashok Roy, Lesley Stevenson, Nelly Von Aderkas, and Jacqueline Ridge . "Titian's Painting Technique from 1540." National Gallery Technical Bulletin 36 (2015): 1-136. Accessed October 20, 2020. http://www.jstor.org/stable/44678399. Loh, Maria H.. Titian's Touch: Art, Magic and Philosophy. United Kingdom: Reaktion Books, 2019. https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/The_Bacchanal_of_the_Andrians/ARTSTOR_103_41822000638443.jpg 390b4b5131082eaa538e92a68cd26ab7 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 Subject The topic of the resource A celebration of drunkenness Description An account of the resource Titian was commissioned to create this painting for Alfonso d’Este. This painting demonstrates the joy brought to the people from wine. Clearly, a wine glass is being held in the center of the painting to demonstrate the immense focus Titian places on alcohol. The painting also highlights the different stages of drunkenness because you can see people who are passed out, but also those who are still conscious. Another thing that I thought was quite interesting was the vast ages of those who are participating. In the foreground you can see a young child drinking among the men and women. The story behind this painting is that the islanders are awaiting the return of Bacchus and apparently there was a river of wine that ran through the island. This explains the reason for celebration and explains why alcohol is seen as a positive in this scenario.This painting contrasts the typical didactic and moralizing nature of other drunken paintings due to the fact that this painting seems to encourage the wine drinking. [1] It demonstrates the celebratory nature and points out the traits of human desire. The vivid and varying colors used by Titian also seem to represent the joyous and happy nature in the scene. The colors contribute to the fun and carefree vibe presented in this work. [3] Titian was know to carefully balance each color with those alongside it to create a harmonious overall impression, which in this case gives a sense of calmness among the chaos. It was believed the wine had strong effects, with the power to make men dominant, rich, and extraordinarily handsome. [2] This gave wine an important role in Venetian society, and this scene is no exception. [1] Fehl, P. (1996). Touchstones of Art and Art Criticism: Rubens and the Work of Franciscus Junius. [2] Reid, Heather L. "PHILOSTRATUS'S "GYMNASTICUS": THE ETHICS OF AN ATHLETIC AESTHETIC." [3] Zuffi, Stefano. Titian. Milan: Arnoldo mondadori arte, 1991. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Fehl, Philipp P. "Touchstones of Art and Art Criticism: Rubens and the Work of Franciscus Junius." Journal of Aesthetic Education 30, no. 2 (1996): 5-24. Accessed October 20, 2020. doi:10.2307/3333189. Reid, Heather L. "PHILOSTRATUS'S "GYMNASTICUS": THE ETHICS OF AN ATHLETIC AESTHETIC." Memoirs of the American Academy in Rome 61 (2016): 77-90. Accessed October 20, 2020. http://www.jstor.org/stable/44988074. <div> </div> <div>Titian. 1518. Bacchanal. painting. Place: Museo del Prado. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195607.</div> Zuffi, Stefano. Titian. Milan: Arnoldo mondadori arte, 1991. <div></div> Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Titian. 1518. Bacchanal. painting. Place: Museo del Prado. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195607. Date A point or period of time associated with an event in the lifecycle of the resource 1523-1525 Contributor An entity responsible for making contributions to the resource Jared Kreis Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource 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 Nacional del Prado, Madrid, Spain https://venice.dahvc.org/fall-2020/files/original/The_Worship_of_Venus/Worship_of_Venus_Titian._1516-1518.png c07f3617a64f7b50fc67f2ae8a0357ef 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/. Contributor An entity responsible for making contributions to the resource Olivia Migli Title A name given to the resource The Worship of Venus Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Commissioned by Alfonso I d'Este, Duke of Ferrara Image Source: 1518-19.. Canvas (5' 7 3/4" x 5' 9").. Place: Madrid: Mus. Nacional del Prado; No. 419.. https://library.artstor.org/asset/AWSS35953_35953_31697962. Date A point or period of time associated with an event in the lifecycle of the resource 1518-1519 Format The file format, physical medium, or dimensions of the resource Oil on canvas, 172cm x 175cm 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, Madrid, Spain Source A related resource from which the described resource is derived FEHL, PHILIPP. "The Worship of Bacchus and Venus in Bellini's and Titian's Bacchanals for Alfonso D'Este." Studies in the History of Art 6 (1974): 37-95. Accessed October 20, 2020. http://www.jstor.org/stable/42618080. “The Worship of Venus - The Collection.” Accessed October 20, 2020. https://www.museodelprado.es/en/the-collection/art-work/the-worship-of-venus/42b30ed4-0e79-4f2b-aa62-091a27f895b3. The Worship of Venus, 1516 by Titian. Accessed October 20, 2020. https://www.titian.org/the-worship-of-venus.jsp. 1518-19.. Canvas (5' 7 3/4" x 5' 9").. Place: Madrid: Mus. Nacional del Prado; No. 419.. https://library.artstor.org/asset/AWSS35953_35953_31697962. Description An account of the resource Titian, a highly revered artist of the Venetian Renaissance, was commissioned by Alfonso I d’Este the Duke of Ferrara to work on a series of paintings for the Alabaster Chamber. The collection had a Dionysian theme and included The Worship of Venus, Bacchanalia, and Bacchus and Ariadne [1]. Titian based much of his painting on Philostratus, a Greek sophist in his Imagines I, IV [2]. Titian’s impressive use of color is utilized in this painting as he uses a bright, vivid palette in both the background and the multitude of figures depicted. The painting includes a crowd of cupids, the sheer quantity of them seems to be directly inspired by Philostratus’ description as he narrates the scene such as, “Look at the cupids gathering apples. Don’t be surprised at how many there are. They are the children of the Nymphs and govern all mortals, and there are many of them because there are many things beloved by man [3].” The theme of love, represented by Venus, being the source of nature’s bountiful blessings is seen as the cupids joyfully collect golden apples and frolick about at the feet of Venus’ statue. The playful, jovial action of each cupid is meaningful and helps to depict the mood of celebration of both nature’s fertility, in the golden apples, and the worship of Venus, seen by the cylindrical podium on which her statue stands. The two ladies are said to be nymphs, the mothers of the cupids, who are painted in on the far right. The nymph below the other is in a stretched kneel and is holding out and gazing into a mirror, a symbol of Venus, that she holds out as an offering. The landscape offsets the composition making it much more Venetian in style as composition was a commonly played with element and evolved greatly in this time period. The landscape is that of a soft, green meadow under a beautiful blue sky with an apple tree framing the left side. The emphasis on the natural elements in this painting adds to the theme of natures plentifulness thanks to the blessings of Venus. [1] “The Worship of Venus, 1516 by Titian,” The Worship of Venus, 1516 by Titian, accessed October 20, 2020, <a href="https://www.titian.org/the-worship-of-venus.jsp">https://www.titian.org/the-worship-of-venus.jsp</a>. [2] Phillip Fehl, “The Worship of Bacchus and Venus in Bellini's and Titian's Bacchanals for Alfonso D'Este,” JSTOR (Studies in the History of Art 6, 1974), https://www.jstor.org/stable/42618080, 61-63. [3] “The Worship of Venus - The Collection,” accessed October 20, 2020, https://www.museodelprado.es/en/the-collection/art-work/the-worship-of-venus/42b30ed4-0e79-4f2b-aa62-091a27f895b3. Rights Information about rights held in and over the resource Contact information: Allison Tuzo, Online Editor, ARAS, 28 East 39th Street, New York NY 10016; Tel No: 646-536-2632; Fax No: 212-682-2024; email: info@aras.org https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Virgin_and_Child_with_Saints_Dorothy_and_George/65257805-c6ba-4727-bdb1-cb97a47da0fd.jpg 349cf0fb2f377b34c6ead34b9f76d487 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 Virgin and Child with Saints Dorothy and George Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Phillip II Date A point or period of time associated with an event in the lifecycle of the resource 1515 - 1518 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource University of California, San Diego Format The file format, physical medium, or dimensions of the resource Oil on panel, 83 x 130 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, Madrid, Spain Description An account of the resource Titian, or Tiziano Vecellio, first gained popularity for his religious pieces and for applying the colorito technique and providing innovative twists to classical interpretations of biblical stories, such as in The Virgin and Child with Saints Dorothy and George, [1-3] which he painted for King Phillip II. [2-1] In this piece, Titian provides an inventive depiction of the traditional interpretation of the sacra conversazione, or the depiction of the Virgin Mary in conversation with various saints by arranging his figures in a manner that differs from the expected axial layout. [3-2] He used a manipulation of light, position, and setting to provide an unprecedented and inventive interpretation of this classical religious portrayal. Immediately upon viewing this piece, four individuals can be identified—The Virgin Mary, the child Jesus, St. Dorothy, and St. George. The Virgin Mary holds the child Jesus and is clothed in a rich red dress and vivid, deep blue shawl as St. Dorothy and St. George approach her from the viewer’s left side. All the figures are situated in front of a green double curtain that exposes a section of the brilliant and clouded sky. Immediately, the viewer can recognize the centrality of and emphasis on the Virgin in this piece as she is elevated above all the others. Due to the positioning of the other figures, including the Child Jesus, their eyes and, thus, their gazes are pointed towards the Virgin Mary, which establishes her as the key figure of this piece and leads the viewer to immediately look upon her as well. Furthermore, the positioning of the two saints under the sky gives a sense of movement to this piece that conveys the notion that the saints have entered this sacred space that is occupied by the Virgin and Child Jesus. [2] This idea is further bolstered by Titian’s manipulation of light. As the three figures turn to gaze at the Virgin Mary, their faces are cast in shadows. However, the Virgin’s face is not cast in shadow; in fact, her face possesses an illumination and brightness that highlights her divinity as if she is the source of God’s light in this scene. She is further illuminated and accentuated through the coloring and detailing of her clothes. Of all the figures, her clothes are the brightest, richest, and most vibrant of all the figures, which further conveys the idea that the Virgin Mary is the key focus of this piece. The centrality and importance placed on the Virgin Mary in this piece is a reflection of the Virgin Mary’s importance to the Venetian people. Through his innovative interpretation, Titian emphasizes the Virgin’s divinity and reminds viewers of her divine connection to God. Viewers of this piece, at the time, would have seen the exaggerated importance as a reminder of her integral role in the city’s divine connection to God. She was their protector and a divine figure that they valued greatly as seen by the grandeur of this piece and the care with which Titian has depicted her. [1] Cecil Gould, “Titian”, Grove Art Online, (2003): 2. [2] Frederick Ilchman, Titian, Tintoretto, and Veronese: Rivals in Renaissance Venice, (MFA Publications: 2009), 23. [3] “The Virgin and Child with Saints Dorothy and George”, Museo del Prado, accessed October 15, 2020, https://www.museodelprado.es/en/the-collection/art-work/the-virgin-and-child-with-saints-dorothy-and/cb4b0922-04a4-4318-91ed-bbc4c7b60d78?searchid=838189fd-7f34-bc81-ba0c-6861e9fbabb4. Source A related resource from which the described resource is derived <ul> <li>Humfrey, Peter. Titian. London: Phaidon, 2007.</li> <li>Zuffi, Stefano. Titian. Milan: Arnoldo Mondadori Arte, 1991.</li> <li>Museo del Prado. “The Virgin and Child with Saints Dorothy and George”, Last modified August 10, 2020. Museo del Prado, accessed October 15, 2020, https://www.museodelprado.es/en/the-collection/art-work/the-virgin-and-child-with-saints-dorothy-and/cb4b0922-04a4-4318-91ed-bbc4c7b60d78?searchid=838189fd-7f34-bc81-ba0c-6861e9fbabb4. </li> <li>Gould, Cecil. "Titian." Grove Art Online. (2003).</li> <li>Ilchman, Frederick. Titian, Tintoretto, and Veronese: Rivals in Renaissance Venice. MFA Publications, 2009.</li> </ul> https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Christ_Carrying_the_Cross/AWSS35953_35953_31697326.jpg 16b571a4c1578d660507f889f64535ef 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 Christ Carrying the Cross Description An account of the resource Titian’s Christ Carrying the Cross was not a one off subject matter or commission. Several decades prior Titian had created a version of Christ Carrying the Cross depicting Christ tied at the neck by the rope of an executioner [1]. This work was placed in the Scuola di San Rocco, and served as a template for his later version [1]. The mid 17th century rendition of the work, of which this item is the focus, was commissioned by Francesco Zuccato. He was an important Venetian mosaicist and a family-friend of Titian [2]. Zuccato’s father was Titian’s first teacher when he had moved to Venice at a young age [2]. The commission is denoted by Zuccato's physical traits appearing in the rendering of Simon within the painting. The image retains a fairly concise and concentrated narrative. The oil on canvas is dominated by two central figures, one of which is Christ and the other is Simon the Cyrene. Simon was enlisted to help Christ carry his cross, as he was failing to do so in a timely manner because of physical exhaustion. Simon has his head rested on one of the wooden beams of the cross, his face darkened but looking intently towards Christ’s bleeding face below. Their positions in carrying the cross practically overlap their bodies, establishing a connection between the two. Christ has tears dripping down his face, blood in the whites of his eyes, and a rope tied around his neck (but only partially visible). These elements emotively illustrate the amount of pain and suffering Christ is experiencing as he marches closer to this death. Furthermore, the painting is filled with different (and progressively darker) shades of brown to demonstrate a gloomy mood [3]. Instead of looking forward, Christ appears to be gazing at the viewer of the painting, a mechanism for instilling relatability and transporting the viewer to the scene. The painting is complete by its uncommon use of framing [3]. Only a fragment of the cross is visible, more than half of Christ's body remains outside of the image, and Simon’s head does not fit fully into the frame. These elements function as a device to heighten the perspective of the viewer and draw them into the scene rather than treating them as outliers or observing from a distance. [1] Tom Nichols, Essay, In Titian and the End of the Venetian Renaissance, (London, NC: Reaktion Books, 2013), 61-62. [2] “Christ Carrying the Cross,” The Collection - Museo Nacional del Prado, Museo Nacional del Prado, accessed October 21, 2020, https://www.museodelprado.es/en/the-collection/art-work/christ-carrying-the-cross/657fa964-0040-48df-971e-88f0de5c6714. [3] “Christ Carrying the Cross, 1508 by Titian,” Titian. Titian.org, 2011, https://www.titian.org/christ-carrying-the-cross.jsp. Creator An entity primarily responsible for making the resource Titian (Tiziano Vecellio) Source A related resource from which the described resource is derived “Christ Carrying the Cross.” The Collection - Museo Nacional del Prado. Museo Nacional del Prado. Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/christ-carrying-the-cross/657fa964-0040-48df-971e-88f0de5c6714. “Christ Carrying the Cross, 1508 by Titian.” Titian. Titian.org, 2011. https://www.titian.org/christ-carrying-the-cross.jsp. Nichols, Tom. Essay. In Titian and the End of the Venetian Renaissance, 61–62. London, NC: Reaktion Books, 2013. Image Source: “Canvas.” Artstor. ITHAKA. Accessed October 21, 2020. https://library.artstor.org/asset/AWSS35953_35953_31697326. Publisher An entity responsible for making the resource available Comissioned by Francesco Zuccato. Archive for Research on Archetypal Symbolism Image Source: “Canvas.” Artstor. ITHAKA. Accessed October 21, 2020. https://library.artstor.org/asset/AWSS35953_35953_31697326. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1565 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource Contact information: Allison Tuzo, Online Editor, ARAS, 28 East 39th Street, New York NY 10016; Tel No: 646-536-2632; Fax No: 212-682-2024; email: info@aras.org Image Source: “Canvas.” Artstor. ITHAKA. Accessed October 21, 2020. https://library.artstor.org/asset/AWSS35953_35953_31697326. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 67.0 x 77.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo del Prado, Madrid, Spain https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Saint_Margaret_and_the_Dragon/LESSING_ART_10310120561.jpg 0cfee459e881957fa609af4eafbe916c 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 <a href="https://library.artstor.org/#/asset/LESSING_ART_10310120561">Saint Margaret and the Dragon</a> Description An account of the resource Titian created Saint Margaret and the Dragon in ca. 1565 and it is currently in the Museo del Prado in Madrid, Spain. Philip II owned two paintings of this saint: one remains of the Escorial, which came in 1574, and the version in the Museo del Prado has better quality and most likely belonged to Mary of Hungary [1]. Saint Margaret and the Dragon is one of Titian's later masterpieces as he has adapted to the religious-themed Renaissance. Saint Margaret appears in the center of the painting with her left leg in front of the other. It appears as if she is floating in the middle of the painting as well. Titian's painting reminds me of the portrait effect on an iPhone camera because Saint Margaret is clearly present in the center of the artwork and the background around her is blurry. Margaret is wearing an olive green dress over a white shirt with a pinkish scarf around her neck. She is looking down at her right, holding out a cross with her left hand, protecting herself from the black dragon that appears on the right side of the painting. Margaret is a conjurer of beasts because the dragon vaporizes as the cross appears, causing the dragon to explode. The original story portrays that Margaret has been swallowed by the devil, which is in the shape of a dragon, but after she makes the sign of the cross, the creature explodes into many pieces, freeing her and not harming her [2]. Despite the Council of Trent's ban on the representation of such unhistorical events, Titian placed pictorial tradition over ecclesiastical admonitions. There was more of a sense of context because she is inhabiting the wilderness and the visual background is a reference to Venice prior, a city like St. Christopher. The background of this painting presents a burning city, ultimately Venice burning up. When you zoom in on this painting, you see the fires across the skyline with various buildings and boats in the water. This landscape provides an illusionistic interplay with Venice's view burning in the background and the moon shining over the lagoon. Titian used fire frequently in his paintings even if the fire was not literally described in the painting, such as an explosive force [3]. This painting provides both the fire in the background, depicting Venice prior, and the story of Saint Margaret has the devil explode into several pieces due to the cross she was holding. The distinct blue sky is somewhat present in the background but mostly covered by the smoke from the city below. You also can view the rocky cave on the right side of the painting that holds the dragon and a skull in the lower-left corner. [1] “Saint Margaret - The Collection.” The Collection - Museo Nacional del Prado, 2015. <a href="https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.">https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.</a> [2] Kordecki, Lesley. "Margaret and the Dragon: Lydgate's Adoption of the Apocryphal." Preternature: Critical and Historical Studies on the Preternatural 9, no. 1 (2020): 53-75. [3] Hills, Paul. "Titian's Fire: Pyrotechnics and Representations in Sixteenth-Century Venice." Oxford Art Journal 30, no. 2 (2007): 187-204. (187) Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Hills, Paul. "Titian's Fire: Pyrotechnics and Representations in Sixteenth-Century Venice." Oxford Art Journal 30, no. 2 (2007) Kordecki, Lesley. "Margaret and the Dragon: Lydgate's Adoption of the Apocryphal." Preternature: Critical and Historical Studies on the Preternatural 9, no. 1 (2020) “Saint Margaret - The Collection.” The Collection - Museo Nacional del Prado, 2015. <a href="https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.">https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.</a> Image Rights: Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. <a href="https://library.artstor.org/#/asset/LESSING_ART_10310120561">https://library.artstor.org/asset/LESSING_ART_10310120561.</a> Publisher An entity responsible for making the resource available Royal Collection (Royal Palace of El Buen Retiro, Madrid, "pinturas recogidas de las Casas Arzobispales", 1747, no. 59; New Royal Palace, Madrid, "paso de tribuna y trascuartos", 1772, no. 59; Royal Palace, Madrid, "pieza azul", 1814-1818?). Image Rights: Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. <a href="https://library.artstor.org/asset/LESSING_ART_10310120561.">https://library.artstor.org/asset/LESSING_ART_10310120561.</a> Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1565 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y. Image Rights: Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. <a href="https://library.artstor.org/asset/LESSING_ART_10310120561.">https://library.artstor.org/asset/LESSING_ART_10310120561.</a> Format The file format, physical medium, or dimensions of the resource Oil on canvas; 209 x 183 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, Madrid, Spain https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Venus_and_Adonis/Venus_and_Adonis.jpg 79b950101a8714cc4c6df9dae4751314 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 Venus and Adonis 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 1554 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Copyright ©Museo Nacional del Prado The granted permission for the images rights of the artworks belonged to the Image Bank of the Museo del Prado is destined to be used in projects based on the study of History of Art. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 186 cm x 207 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 scene of Venus and Adonis comes from the literary work The Metamorphosis by Ovid. After being mistakenly hit by an arrow from Cupid, Venus, the goddess of love, became the lover of the mortal young hunter Adonis. Venus had a foreboding that Adonis would be in danger while hunting, and tried to prevent him from going to the hunt one day. But Adonis, who didn't believe it, stubbornly hunted alone and was attacked by irritated wild boars that Adonis failed to kill. Venus heard his cry in the sky above her chariot, but could not save him. When she descended to the woods to find him, Adonis was already dead. The paradoxical structure of this myth depicts the ambiguous boundaries between divinity and mankind, as expressed in Titian's art. [1] Titian chose a moment full of love and loss in the middle of the entire plot, in which the goddess Venus’ futile efforts were too feeble to save him. Titian skillfully constructed a scene that contains all the key components of the narrative. There's the sign of a very powerful beam of white light in the background scenery that presumably points to the location where Adonis dies, describing the future. [1] The light over the head of Adonis represents Venus falling down from the heavens to return to his wounded mortal lover. Titian was very strong at creating portraits, especially as many of his artistic commissioners for his portraits came from among aristocrats and most entitled rulers in foreign countries. He was good at creating subtle eye expressions that communicate certain sensations with the audience. The exquisite drawing skills are also reflected in the intimate eye contact of the two figures in this painting. Venus's eyes and eyebrows, looking up, convey a mixed emotion of pleading, fear, and helplessness, meeting the tender gaze in Adonis' reaction. The limbs of the two characters stretch out exaggeratedly. Venus’ calves, the tilt of his waist, and Adonis’ upwardly raising and naturally pendent arms form a nearly clockwise cycle, which is imaginable for the audience to feel their movement for the very next second. Venus was shown to be off-balanced in both literal and metaphorical ways. This unbalanced, off-centered posture, like a moment in a comedy or ballet, arouses the audience's emotions and attention more powerfully. In terms of color, the scheme becomes quieter and contains less contrast, but the compensation is injected by the stronger energy produced by the light in this painting.[2] It was part of a collection of mythical works commissioned by King Philip II of Spain entitled poesie(poems). Venus and Adonis were designed to be seen alongside Danaë, the first of the poems that are now lost. This Venus and Adonis marked the start of Philip's preeminent relationship that allowed him almost absolute freedom to paint a variety of images of what-ever topic he desired for the next few years for the emperor. In a letter to Philip, Titian clarified that the two works would provide opposing front and hind views of a nude Venus, thereby enabling painting to compete with the form of sculpture. [3] [1] Aneta Georgievska-Shine . "Titian and the Paradoxes of Love and Art in "Venus and Adonis"." Artibus Et Historiae 33, no. 65 (2012): 97-99 [2] “Venus and Adonis - The Collection - Museo Nacional Del Prado.” Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/venus-and-adonis/bc9c1e08-2dd7-44d5-b926-71cd3e5c3adb. [3] Nicholas Penny, National Gallery Catalogues (new series): The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, (National Gallery Publications Ltd 2008), 203, 284 Source A related resource from which the described resource is derived Georgievska-Shine, Aneta. ‘Titian and the Paradoxes of Love and Art in “Venus and Adonis”.’ Artibus Et Historiae 33, No. 65 (2012): 97-113. Accessed October 20, 2020. Http://Www.Jstor.Org/Stable/23509713. Museo Nacional Del Prado, “Venus and Adonis - The Collection - Museo Nacional Del Prado.” Accessed October 21, 2020. Https://Www.Museodelprado.Es/En/the-Collection/Art-Work/Venus-and-Adonis/Bc9c1e08-2dd7-44d5-B926-71cd3e5c3adb. Penny, Nicholas, National Gallery Catalogues (New Series): The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, 2008, National Gallery Publications Ltd, ISBN 1857099133, Image Source: Museo Nacional Del Prado, “Venus and Adonis - The Collection - Museo Nacional Del Prado.” Accessed October 21, 2020. Https://Www.Museodelprado.Es/En/the-Collection/Art-Work/Venus-and-Adonis/Bc9c1e08-2dd7-44d5-B926-71cd3e5c3adb.,” Publisher An entity responsible for making the resource available Commissioned by King Philip II of Spain “Venus and Adonis - The Collection - Museo Nacional Del Prado.” Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/venus-and-adonis/bc9c1e08-2dd7-44d5-b926-71cd3e5c3adb.