13 10 177 https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Portrait_of_a_Lady_[Veronica_Gambara]/Correggio_Ritratto_di_dama_c.1517-1518.jpg f189480425b862107305359be7565fdd 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 a Lady (Veronica Gambara) Subject The topic of the resource Portrait of the Venetian Poet Veronica Gambara Creator An entity primarily responsible for making the resource Antonio da Correggio Publisher An entity responsible for making the resource available The Hermitage Museum, Saint Petersburg, Russia Date A point or period of time associated with an event in the lifecycle of the resource ca. 1517 - 1520 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Oil on canvas, 102.0 x 86.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Hermitage Museum, Saint Petersburg, Russia Description An account of the resource In a pastoral setting of a symbolic laurel and a changeable blue sky, the poet is placed in the imaginary domain of her works. With a half-smile, she turns toward the viewer from her three-quarter pose, apparently seated on the grass or perhaps a log out of view. With dramatically bloused white sleeves and a contrasting black velvet overdress that exposes a smooth expanse of her shoulders, the lady is fashionable, attractive, and modest with no hint of décolletage. Her braided hairnet secured with a jewel marks her as a woman of means, noble bearing, and is perhaps an allusion to her great intellect – other women with exceptional knowledge and creative talent were sometimes depicted with wild hair or turbans to express their genius. It has been suggested that the sitter is Veronica Gambara, who was widowed in 1518. Details suggesting marital loss include the black overdress, the inscription on the silver chalice alluding to sorrow and memory, and the ivy, symbolic of fidelity and undying love [1]. Upon her husband's death, Gambara became the ruler of the court of Correggio, where she developed a thriving literary salon and produced poetry of her own. [1] “Portrait of a Lady,” Hermitage Art Museum, accessed October 2, 2020. <a href="https://www.arthermitage.org/Correggio/Portrait-of-a-Lady.html">https://www.arthermitage.org/Correggio/Portrait-of-a-Lady.html</a> Source A related resource from which the described resource is derived <ul> <li>Adani, Giuseppe. Correggio pittore universale. Cinisello Balsamo: Silvano, 2007.</li> <li>Hermitage Art Museum. “Portrait of a Lady.” Accessed October 2, 2020. <a href="https://www.arthermitage.org/Correggio/Portrait-of-a-Lady.html">https://www.arthermitage.org/Correggio/Portrait-of-a-Lady.html</a></li> <li>Lucco, Mauro. Mantegna a Mantova 1460-1506. Milan: Skira, 2006. Image Source: Hermitage Art Museum</li> </ul> https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/The_Conversion_of_Saint_Paul/jacopo-tintoretto-the-conversion-of-saint-paul-ca-1545.jpg 24a6862f5851d33d66b805be42ba870d 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 23: National Gallery of Art (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC 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 Conversion of Saint Paul Creator An entity primarily responsible for making the resource Jacopo Tintoretto Publisher An entity responsible for making the resource available Courtesy National Gallery of Art, Washington Image Source: NGA Online Editions, September 2020. https://www.nga.gov/collection/art-object-page.46142.html Date A point or period of time associated with an event in the lifecycle of the resource 1590-1595 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Public Domain. Image Source: NGA Online Editions, September 2020. https://www.nga.gov/collection/art-object-page.46142.html Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 152.4 × 236.2 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 Courtesy National Gallery of Art, Washington, USA Description An account of the resource Jacopo Tintoretto is an important leading figure of the Venetian School and the Mannerist style. He studied at Italian painter Titian's studio and had greatly influenced by Titan's use of color.[1] The painting embodied his expressive dramatic depiction of stories and his distinctive narrative techniques. The scene takes place among the scenic mountains, surrounded by blue and dark green hills and skies crossing the canvas in the background. A huge mess and chaos strike the viewer's eyes. The artist recorded a scene where soldiers fell from a horse and trampled under a horse's hoof. Those soldiers in the crowd wearing shiny silver helmets and pink armor are scattered over the canvas, adding to the cruelty and drama of the scene.[2] The concept of this equestrian part also refers to Titan’s war scene shown in the Dual Palace and the painter Pordenone’s artistic ideas.[3] The water in the scene on the right is full of people struggling and fleeing. The white waves with the edge of foams and the victims' distorted facial expressions reflected the severity of this mythological disaster. In the distant view, the bodies of people fell from the mountain, some were still clung to the backs of horses, some were almost naked with their limbs stretched out, while others were scattered on the ground. At the front of the picture is the protagonist Saul. He lies down with his arms open and looks at the upper left corner of the picture with a surprised expression. Jesus appears in the sky and clouds. The position of his protagonist is clearly depicted with the artist's delicate composition skills. To his left and right are people and horses fleeing and stretching in opposite directions. His head and facial expressions are in the most conspicuous position, dividing the picture into two, showing that he is the main cause of all chaos and the focus of the furious god’s eyes. This painting records an important moment in the myth. Saul, an opponent of Christianity, received approval and led a team to Damascus to find and massacre all Christians. On the way to perform this task, Jesus suddenly appeared and stopped them. Their team was disrupted by the dazzling light and loud voices. Jesus angrily asked Saul why he was dedicated to persecuting him and confirmed his identity. [4] The artist's creative style is freely used in this work. For example, his paintings depict explosive scenes such as shouting and drowning. The audience was shocked by the emotional madness and chaos in the painting. The characters in the picture are full of power, with dynamic energy that is almost superhuman, like other sculptures in the Renaissance era that portray the unfettered movement. [5] The overall tone of the picture is roughly yellow, gray, and brown, but the cranberry red color used on Jesus and the soldiers brings up the focus and conflict of the picture. As reflected in his bright color scheme and exaggerated and bold brushwork, his unprecedented style forms the unique theatricality of the outcome.[6] [1]“The Conversion of Saint Paul - The Collection.” The Collection - Museo Nacional del Prado, January 1, 1595. https://www.museodelprado.es/en/the-collection/art-work/the-conversion-of-saint-paul/a47d0215-543a-4a8f-8d30-d1c5d843a611. [2]“The Conversion of St. Paul--Transcripts.”, A Long Look, September 12, 2020. https://alonglook-slowart.com/transcripts/. [3]Nichols, Tom. Tintoretto: Tradition and Identity. Reaktion Books, 2015,page 3 [4] Bible Gateway. “Bible Gateway Passage: Acts 9 - New Revised Standard Version.” Accessed September 26, 2020. https://www.biblegateway.com/passage/?search=Acts%209&version=NRSV. [5] Goldberg, Jonathan. “Conversions: Around Tintoretto.” The Seeds of Things, 2009, page 18 [6] Bangkok Post Public Company. “Tintoretto’s Bold Innovations Highlighted in US Show.” Accessed September 23, 2020. https://www.bangkokpost.com/world/1650276/tintorettos-bold-innovations-highlighted-in-us-show. Source A related resource from which the described resource is derived Bangkok Post Public Company. “Tintoretto’s Bold Innovations Highlighted in US Show.” Accessed September 23, 2020. https://www.bangkokpost.com/world/1650276/tintorettos-bold-innovations-highlighted-in-us-show. Bible Gateway. “Bible Gateway Passage: Acts 9 - New Revised Standard Version.” Accessed September 26, 2020. https://www.biblegateway.com/passage/?search=Acts%209&version=NRSV. Goldberg, Jonathan. “Conversions: Around Tintoretto.” The Seeds of Things, 2009, page 18 Nichols, Tom. Tintoretto: Tradition and Identity. Reaktion Books, 2015,page 3 “Jacopo Tintoretto: The Conversion of Saint Paul (Ca. 1545).” Accessed September 23, 2020. https://www.artsy.net/artwork/jacopo-tintoretto-the-conversion-of-saint-paul. “The Conversion of Saint Paul - The Collection.” The Collection - Museo Nacional del Prado, January 1, 1595. https://www.museodelprado.es/en/the-collection/art-work/the-conversion-of-saint-paul/a47d0215-543a-4a8f-8d30-d1c5d843a611. Image Source: “The Conversion of St. Paul--Transcripts.”, A Long Look, September 12, 2020. https://alonglook-slowart.com/transcripts/. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Summer/Summer.jpg 85a4e7efdd47e5e8128d56036a163d08 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 23: National Gallery of Art (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC 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 Summer Description An account of the resource A visual representation of summer as a woman is seen here laying in the grass surrounded by images that makes one think of summer. The woman is thought to be the Roman goddess Ceres, who presided over agriculture and grains. Behind the goddess, there is a line of wheat stalks in the layer just above the sky. These symbolize Ceres' symbol of wheat. A tree with clusters of grapes grows above her - an interesting choice, as in Roman mythology grapes were the symbol of Bacchus. She is also surrounded by several exotic birds, both a parrot and a few bluebirds, that in this case symbolized the wealth of the house that commissioned the work. The actual figure of Summer, or Ceres, is painted in a way that is seen as the height of beauty in Venice. She has a soft face and blonde, almost red, braided hair. She is looking down, so that her eyes can be shaded. The overall style of the work is done with very quick brushstrokes that almost look like a sketch. This was a common Venetian style, with stories being told of how Venetian artists didn't have time to sketch out and create a foundation for their large, genius works. Tintoretto was espeically famous for this, creating energetic and exotic colors and applying them in quick, rapid brushstrokes. This painting is not his most dramatic in these styles, and they got progressively more dramatic throughout his works. There are three different "season" paintings that includes this work - Spring, Fall, and Summer. A Winter painting has not been found. The light and bright colors and the flowers seen show the warmth and flora of the summer season. Tintoretto was a unique, self taught painter with his own style, but his works are still distinctly Venetian. Creator An entity primarily responsible for making the resource Jacopo Tinoretto Publisher An entity responsible for making the resource available The National Gallery of Art Date A point or period of time associated with an event in the lifecycle of the resource c. 1555 Contributor An entity responsible for making contributions to the resource Julia Curd Source A related resource from which the described resource is derived Echols, Robert. “Summer.” Italian Paintings of the 16th Century. National Gallery of Art. Accessed September 23, 2020. https://www.nga.gov/collection/art-object-page.46189.html. Rowland, Ingrad D. “The Fantastical Little Dyer.” The American Scholar, March 4, 2019. https://theamericanscholar.org/the-fantastical-little-dyer/. Padua, Pat. “Tintoretto, The Renaissance 'Challenger,' Gets A Long-Overdue U.S. Show At The National Gallery of Art.” DCist. WAMU 88.5 - American University Radio, March 22, 2019. https://dcist.com/story/19/03/22/tintoretto-the-renaissance-challenger-gets-a-long-overdue-u-s-show-at-the-national-gallery-of-art/. Format The file format, physical medium, or dimensions of the resource 105.7 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 The National Gallery of Art, Washington D.C. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_John_the_Evangelist_on_Patmos/Saint_John_the_Evangelist_on_Patmos.jpg 425e9bb4973c8a761f0f41ccb3abb392 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 23: National Gallery of Art (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC 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 John the Evangelist on Patmos Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived “Saint John the Evangelist on Patmos.” Art Object Page. Accessed September 23, 2020. https://www.nga.gov/collection/art-object-page.43725.html. “National Gallery of Art.” Titian and the Late Renaissance in Venice. Accessed September 23, 2020. https://www.nga.gov/features/slideshows/titian-and-the-late-renaissance-in-venice.html. “National Gallery of Art.” Accessed September 23, 2020. https://www.nga.gov/features/slideshows/titian-and-the-late-renaissance-in-venice.html. Publisher An entity responsible for making the resource available “National Gallery of Art.” Accessed September 23, 2020. https://www.nga.gov/features/slideshows/titian-and-the-late-renaissance-in-venice.html. Date A point or period of time associated with an event in the lifecycle of the resource 1576 Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource 237.6 x 263 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 Washington D.C, Virginia, USA Description An account of the resource This painting was commissioned to Titian in 1544 for the new albergo (board room). This one of the wealthiest religious confraternities in Venice, stated in the National Gallery of Art article. This painting was one of four original scuole grandi. Originally this painting was installed to be the centerpiece of a painted ceiling that was surrounded by various panels. These paintings represented cherubs, satyrs, female heads, and symbols of the four evangelists. This painting shows Saint John the Evangelist secluded on the Greek island Patmos. He is experiencing his apocalyptic vision of Christ’s second coming. The low viewpoint adds the dramatic element of the sky and the foreshortened heroic figure of John. John has bent knees with his hands up to the sky. There are at least seven figures up in the sky looking down on John. In the sky there are several children accompanied by an older man. The older man is waving down to John, whom is on the island of Patmos. The children appear to have wings giving off a sense that they are baby angels flying in the sky. John’s body language gives off a sense as if to someone is talking down upon him. John depicts in this scene with his “attributes of a gospel and an eagle, was the Scuola’s patron saint”. Overall this painting is very consistent with the highness of the location of the painting and wouldn’t look right if it was located on a wall. Titian did an amazing job painting out this scene. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_John_the_Evangelist_on_Patmos/saint_john_the_evangelist_on_patmos_1957.14.6.jpg a9b19571ff212e00270bba80807669a2 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 23: National Gallery of Art (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC 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 John the Evangelist on Patmos Subject The topic of the resource Saint John the Evangelist is stranded on the island of Patmos, where he receives a vision of the Second Coming of Christ and is inspired to write the Book of Revelations. 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 c. 1547 Contributor An entity responsible for making contributions to the resource Vik Manocha Format The file format, physical medium, or dimensions of the resource Oil on canvas, 237.6 x 263.0 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 National Gallery of Art, Washington D.C., USA Source A related resource from which the described resource is derived Echols, Robert. "Titian's Venetian Soffitti: Sources and Transformations." Studies in the History of Art 45 (1993): 28-49. http://www.jstor.org/stable/42621876. Fredriksen, Paula. "Apocalypse and Redemption in Early Christianity: From John of Patmos to Augustine of Hippo." Vigiliae Christianae 45, no. 2 (1991): 151-83. doi:10.2307/1584421. Schulz, Juergen. "Titian's Ceiling in the Scuola di San Giovanni Evangelista." The Art Bulletin 48, no. 1 (1966): 89-95. doi:10.2307/3048341. Image Source: NGA Online Editions, accessed September 21, 2020. https://www.nga.gov/collection/art-object-page.43725.html. Publisher An entity responsible for making the resource available Image Source: NGA Online Editions, accessed September 21, 2020. https://www.nga.gov/collection/art-object-page.43725.html. Rights Information about rights held in and over the resource Public Domain. Image Source: NGA Online Editions, accessed September 21, 2020. https://www.nga.gov/collection/art-object-page.43725.html. Description An account of the resource In this painting by Titian, we see Saint John on the peak of a mountain astounded and in awe at the vision of God that appears to him. This occurs following his exile from Rome by Domition in a wave of anti-Christian persecutions [1]. Our sight is drawn up to God the Father, led by rays of light that converge on him surrounded by angels that part the clouds. The transition from muted browns and blues to vibrant reds and yellows further draws our gaze up towards the top of the painting. Additionally, certain aspects of the work alert us of the fact that the scene is being captured in the middle of the action. We can observe that the eagle at Saint John’s feet in mid-caw and that Saint John himself appears to be caught off guard with his robes flowing haphazardly around him. He is standing in contrapposto, which continues to develop the narrative of an active and lively figure. The work Saint John the Evangelist on Patmos originally comprised part of a ceiling ensemble located at the Scuola di San Giovanni Evangelista in Venice [2]. Evidence of this can be seen in the painting itself, as it is portrayed from a low viewpoint and so stretches the scene vertically as it approaches the top. This gives the effect of the series of paintings flowing into the ceiling itself. As viewers, we stand closer to the base of the mountain to acknowledge with a physical barrier our separation from the divine. Both the eagle and the subject allude to the patron of the work: both represent Saint John, the patron saint of the Scuola di San Giovanni Evangelista [3]. The placement of this painting would then suggest that its purpose is to remark on the power and influence of one of the five Scuola Grandi of Venice. Any visitor to the location would instantly make the connection between the scuola and God. [1] Paula Fredriksen, "Apocalypse and Redemption in Early Christianity: From John of Patmos to Augustine of Hippo," Vigiliae Christianae 45, no. 2 (1991): 152. [2] Robert Echols, "Titian's Venetian Soffitti: Sources and Transformations," Studies in the History of Art 45 (1993): 29. [3] Juergen Schulz, "Titian's Ceiling in the Scuola di San Giovanni Evangelista," The Art Bulletin 48, no. 1 (1966): 91. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Madonna_and_Child_in_a_Landscape/33254-primary-0-nativeres.ptif.jpg c556a23bc5e30f283de19274425b4026 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 23: National Gallery of Art (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC 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/ANGAIG_10313953461">Madonna and Child in a Landscape</a> Description An account of the resource Giovanni Bellini was an Italian Renaissance painter who had a big impact on Venetian painting by adding a more sensuous and coloristic style. Using effects of light with different color hues, Bellini was able to draw attention towards and away from figures in his paintings allowing the viewers to see what values and aspects of Venetian religion he would highlight [1]. His works show an evolution from being purely religious to having some type of emphasis on place and landscape [1]. His painting “Madonna and Child in a Landscape” is a perfect representation of this transition. It was painted in the late 1480s and is an illustration of the Virgin Mary and her baby Jesus. “Madonna” is the Italian term for “our lady,” so this title gives respect for the Virgin Mary. Bellini uses light colors to depict the skin of both the figures while using dark colors for other aspects of the painting including the dark blue cloth draped on Virgin Mary and gloomy shades of green/blue for parts of the landscape like the clouds and grass. I believe he used this striking contrast in color to emphasize the importance of the two figures. Additionally, faint halos can be seen over the head of both the Virgin Mary and baby Jesus, which insinuates that these figures are angelic and of higher being [2]. Bellini represents the love shared between Virgin Mary and baby Jesus as heavenly. While focus is put on these two figures, the landscape does not go unnoticed. By placing Virgin Mary and baby Jesus in a common and informal landscape, Bellini shows how divine beings may live among Venetians. The landscape is filled with vivid shades of green and blue emphasizing the naturalism in the painting. Through this landscape, Bellini shows how Venetians connect to religious beings on a personal level [2]. The use of light and different color shades places emphasis on the Virgin Mary and baby Jesus. However, Bellini makes sure to include these divine beings in a common Venetian landscape to represent how religion is molded into aspects of Venetian life. [1] Giles Robertson, Giovanni Bellini." The Burlington Magazine 92, no. 562 (1950), 25, 26 [2] Helen Cooksey, Madonna and Child in a Landscape, Annual Report (Fogg Art Museum), no. 1972/1974, 62 Creator An entity primarily responsible for making the resource Bellini, Giovani (Italian) Source A related resource from which the described resource is derived Robertson, Giles. "Giovanni Bellini." The Burlington Magazine 92, no. 562 (1950): 25-26. Accessed September 22, 2020. http://www.jstor.org/stable/870405. Helen Cooksey. ""Madonna and Child in a Landscape" by Girolamo Mazzola-Bedoli." Annual Report (Fogg Art Museum), no. 1972/1974 (1972): 58-66. Accessed September 22, 2020. http://www.jstor.org/stable/4301365. Giovanni Bellini, Italian. 1480. Madonna and Child in a Landscape. Painting. Place: The National Gallery of Art (Washington, D.C.), Ralph and Mary Booth Collection. Accessed September 21, 2020. https://library.artstor.org/asset/ANGAIG_10313953461. Thomas B. Cole, MD. “Madonna and Child in a Landscape.” JAMA. American Medical Association, December 21, 2011. Accessed September 22, 2020. https://jamanetwork.com/journals/jama/fullarticle/1104741. Publisher An entity responsible for making the resource available The National Gallery of Art (Washington, D.C.) Date A point or period of time associated with an event in the lifecycle of the resource 1480 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource NGA Images, National Gallery of Art, 4th Street and Constitution Avenue, NW Washington DC 20565, ngaimages@nga.gov Format The file format, physical medium, or dimensions of the resource Oil on Panel, 71.7 cm x 52.8 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC, United States 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 23: National Gallery of Art (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC 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 Jerome Reading Description An account of the resource Painted by Giovanni Bellini in 1505, and currently located in the National Gallery of Art, this painting depicts Saint Jerome reading in the desert, and is believed to be an affirmation of Bellini's religious devotion. Saint Jerome Reading is featured in a series of several paintings that depict Saint Jerome, all of which portray him in a natural setting and landscape [1]. In the bottom right of the corner, Saint Jerome sits reading a book that represents the Bible, as animals surround him. He is accompanied by a lion, who, according to legend, he helped by taking a thorn out of its paw. In the center of the painting, two bunnies play below the skyline of a city similar to Venice, and various detailed plants and crumbled rock set the scenery. Closer to Jerome, before the skyline, Bellini painted what appears to be an ocean, allowing for both the image of an oasis, as well as the seclusion of Jerome's location. Saint Jerome's solitude in this particular painting both represents the artist's fascination with scenery, but also the sole driven focus that the Saint has with his biblical and religious studies, portraying him as a devoted hermit. Bellini carefully includes various details that are commonly associated with religion and theology, including the fig tree, and ruins around Saint Jerome [2]. Bellini was widely regarded as one of the most influential Venetian artists, and painted for nearly 65 years. His paintings have a variety of interpretations, and are high detailed. Bellini painted few secular pictures, and the majority were highly detailed religious narratives, and emphasized a natural setting. [3] In paintings that placed Jerome in a landscape, as can be seen in Saint Jerome reading – the focus is predominantly on the nature and surroundings of Jerome, while he has a small feature in the corner. In most paintings of the Saint, he is typically completely dedicated to reading his works and furthers Bellini's appreciation for religion. Bellini's focus on religion ties back into Venice's self-awareness of their myth, and how the divinity of the city promotes their unique prestige. [1] Hendy, Philip. "Giovanni Bellini." Encyclopedia Brittanica, 2020 [2] Belting, Hans. "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life." (Tatti Studies in the Italian Renaissance 17, 2014) [3] National Gallery of Art "Giovanni Bellini." https://www.nga.gov/collection/artist-info.936.html. Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Hendy, Philip. “Giovanni Bellini.” Encyclopædia Britannica. Encyclopædia Britannica, inc., January 29, 2020. https://www.britannica.com/biography/Giovanni-Bellini-Italian-painter. Belting, Hans. "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life." I Tatti Studies in the Italian Renaissance 17, no. 1 (2014): 5-33. Accessed September 22, 2020. doi:10.1086/676482. National Gallery of Art "Giovanni Bellini." Accessed September 22, 2020. https://www.nga.gov/collection/artist-info.936.html. Publisher An entity responsible for making the resource available Giovanni Bellini (National Gallery of Art, Washington D.C.). Gift of Samuel H. Kress Foundation https://library.artstor.org/asset/ANGA_KRESSIG_10312335544. Date A point or period of time associated with an event in the lifecycle of the resource 1505 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Panel, 47 cm x 37.5 cm Type The nature or genre of the resource Oil Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington D.C, USA https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/The_Feast_of_the_Gods/The_Feast_of_the_Gods.jpg ba5f1831e6a55ef5498b8e7acefde17e 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 23: National Gallery of Art (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC 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 of the Gods Contributor An entity responsible for making contributions to the resource Muhib Methani Type The nature or genre of the resource Painting Creator An entity primarily responsible for making the resource Giovanni Bellini and Titian Publisher An entity responsible for making the resource available Duke Alfonso d'Este of Ferrara Image Source: Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. https://library.artstor.org/asset/ANGAIG_10313966996 Date A point or period of time associated with an event in the lifecycle of the resource 1514/1529 Rights Information about rights held in and over the resource Courtesy of National Gallery of Art, Washington Format The file format, physical medium, or dimensions of the resource Oil on canvas, 170.2 x 188 cm (67 x 74 in.) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery of Art (Washington, D.C.), Widener Collection Source A related resource from which the described resource is derived Image Source: Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. https://library.artstor.org/asset/ANGAIG_10313966996 I). Journal Article 1: Bull, David, Joyce Plesters, J. Carter Brown, and Lamia Doumato. "Monograph Series II: The Feast of the Gods: Conservation, Examination, and Interpretation." Studies in the History of Art 40 (1990): 3-106. Accessed September 22, 2020. http://www.jstor.org/stable/42621814. II). Journal Article 2: Colantuono, Anthony. "Dies Alcyoniae: The Invention of Bellini's Feast of the Gods." The Art Bulletin 73, no. 2 (1991): 237-56. Accessed September 22, 2020. doi:10.2307/3045792. III). Book: Bätschmann, Oskar. 2007. “Chapter VI: Harmony.” Giovanni Bellini, November, 182–213. https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=48989049&site=ehost-live&scope=site. Museum: "The Feast of the Gods." Art Object Page. 2020. Accessed September 22, 2020. https://www.nga.gov/collection/art-object-page.1138.html#overview. Description An account of the resource In this oil painting, we immediately see a contrast in color and shading between the foreground, which contains Greco-Roman mythological figures, and the background, with the jagged and rough landscape. Immediately, the viewer notices the bright coloring of the foreground, specifically the clothing of the figures (who are identified as nymphs and gods)--a feature which comes to define much of Venetian Renaissance art. Bright hues of red, blue, white, and pink create a contrast with the natural green and brown of the surroundings: this contrast in light and dark brings an emphasis on the events occurring in the foreground, while still allowing the background to provide depth to the painting. Following the direction/line of the faces of these figures, the viewer’s eyes are drawn to the right side of the painting to the main subject matter: Priapus advancing on the sleeping nymph Lotis. In contrast to the background, the foreground shows much animation: the figures are eating, drinking, and interacting with each other. The background does show some animation, through the movements of the playing satyrs near the base, yet not nearly as much as the foreground. Although it seems like there is an abrupt distinction between the foreground and background, the trees on the right side connect the two, slowly receding into the mass of trees at the base of the mountain. In addition to the contrasts of light and color, there also appears to be a contrast in style between the background and the foreground. While the trees in the foreground are much more similar in detail to the figures, those of the foreground are much more untamed and profuse with leaves, indicating a difference in style. Whereas the figures in the foreground are much more meticulous in terms of detail, the landscape of the background is wild and natural. This difference is explained by the fact that two artists worked on this painting: firstly Giovanni Bellini, to whom we can attribute the detailed trees on the right, and secondly, Titian, to whom we can attribute the background [1]. Commissioned by Duke Alfonso d'Este of Ferrara, the painting was intended to be a part of one of his private collections, with this painting being the first of a cycle [2]. It is likely that Bellini found inspiration from Ovid’s Fasti. Although many believe this painting to be one that strictly depicts a mythological scene, Jacob Burckhardt saw it as a dramatic scene that has been idealized and modernized for that time period: the barber’s bowl on Mercury appears later on in another artwork by Cervantes, for example of evidence. However, this scene was finished before Titian could work on it: x-rays of the painting show that much of the scene remained constant, with the landscape in the background changing from Bellini’s dense forest to Titian’s mountain [3]. [1] "The Feast of the Gods." Art Object Page. 2020. Accessed September 22, 2020. <a href="https://www.nga.gov/collection/art-object-page.1138.html#overview">https://www.nga.gov/collection/art-object-page.1138.html#overview</a>. [2] David Bull. "Monograph Series II: The Feast of the Gods: Conservation, Examination, and Interpretation." Studies in the History of Art 40 (1990): 3-106. Accessed September 22, 2020. <a href="http://www.jstor.org/stable/42621814">http://www.jstor.org/stable/42621814</a>. [3] Oskar Bätschmann. 2007. “Chapter VI: Harmony.” Giovanni Bellini, November, 182–213. https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=48989049&site=ehost-live&scope=site.. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/The_Feast_of_the_Gods/ANGAIG_10313966996.jpg ba5f1831e6a55ef5498b8e7acefde17e 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 23: National Gallery of Art (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC 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/ANGAIG_10313966996">The Feast of the Gods</a> Description An account of the resource The Feast of the Gods was created by Giovanni Bellini in 1514 and then later done by Titian in 1529. This painting has a mythological subject matter. This painting is very different from what Bellini mainly produces because it was the end of the first decade of the 16th century and people had more of an interest in the mythological subject matter. The Duke of Ferrara commissioned the Feast of the Gods because he wanted a series of paintings for his studio or the camerino d’alabastro. This painting was an example of restoration that does not have to be done when the painting needs it, such as flaking and its exposure to the elements, but rather the patron’s demands. Titian came in around 1529-1530 and did some interventions to the landscape. The Feast of the Gods came to the National Gallery in 1942, and they discovered that it was painted repeatedly before [1]. We also know that he opens up the sky on the right side because of documentation and x-ray analysis. He helped unify the painted cycle and the other paintings that Titian did for the studio for Duke Ferrera. This painting was most likely based on Ovid’s Fasti as there were many Olympians, gods, and nymphs in this painting. There is a free-like quality of this painting, which is very similar to other Titian paintings. The figures have free-like quality because they are free gallivanting in the woods. Everyone painted is organized in a straight vertical line across the painting in a frozen way. It is very animated because the figures interact with one another, drinking, giving each other glares, and some people are doing things they aren’t supposed to do. This painting is a mythological story brought to life. This painting is placed in a forest because you can see the various trees and a giant hill in the background with more trees. Some of the leaves in the various trees are painted in different colors such as green, light green, dark green, and brownish. The sky is opening on top over the hill with various blue hues and peeking through the trees on the painting’s right side. The scene of this painting is various gods, Olympians, and nymphs having a feast. There are around 20 mythological characters such as Jupiter, Neptune, and Apollo present in this painting, as well as many other gods. They form in a straight line across the lower bottom of the painting in a frieze-like state. The various gods and goddesses are dressed in vibrant clothing with colors such as blue, pink, green, white, and red. This makes viewers eyes’ pop because these colors aren’t used anywhere else in the painting except for the clothing. Everyone is interacting with one another; they are drinking, placing pots and bowls on their heads, and glaring at one another. The gods appear to be having a great time with one another. They are doing things they aren’t supposed to do, laughing, talking, giving glares. They are having a godly party in this forest. A critical tale brought to life is that Priapus, the god of fertility, lifts up the gown of the sleeping nymph, Lotus, shown in the lower right of the painting. He will then be foiled by the loud, obnoxious noise of Silenus’s donkey and everyone laughs at Priapus’s failure. This painting is currently placed in the National Museum of Art on display, as well as several other paintings completed by Bellini. This was a combined masterpiece as Bellini completed it, and Titian added more detail and edited a few things. This painting is significant because it was created when mythological ideas were popular; it was created by two artists (one who completed it and one who added detail and touch-ups to it) and made this mythological story come to life. It is a stunning masterpiece with such meaning and devotion to it. The people reading left to right are: Silenus, Bacchus, Faunus or Silvanus, Mercury, Jupiter, an unidentified goddess holding a quince, a fruit associated in the ancient world with marriage, Pan, Neptune, Ceres, Apollo, Priapus, and Lotis. [1] Bull, David. "The Feast of the Gods: Conservation and Investigation." Studies in the History of Art 45 (1993) Creator An entity primarily responsible for making the resource Giovanni Bellini and Titian Source A related resource from which the described resource is derived Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. <a href="https://library.artstor.org/asset/ANGAIG_10313966996.">https://library.artstor.org/asset/ANGAIG_10313966996.</a> Colantuono, Anthony. "Dies Alcyoniae: The Invention of Bellini's Feast of the Gods." The Art Bulletin 73, no. 2 (1991): 237-56. “The Feast of the Gods,” 2020. <a href="https://www.nga.gov/collection/art-object-page.1138.html">https://www.nga.gov/collection/art-object-page.1138.html</a>. Krén, Emil, and Daniel Marx. “The Feast of the Gods.” The Feast of the Gods by BELLINI, Giovanni, 1996. <a href="https://www.wga.hu/html_m/b/bellini/giovanni/1510-/207feas.html">https://www.wga.hu/html_m/b/bellini/giovanni/1510-/207feas.html</a>. Manca, Joseph. "What Is Ferrarese about Bellini's Feast of the Gods?" Studies in the History of Art 45 (1993): 300-13. Bull, David. "The Feast of the Gods: Conservation and Investigation." Studies in the History of Art 45 (1993): 366-73. Publisher An entity responsible for making the resource available Commissioned by the Duke of Ferrera National Gallery of Art, Washington D.C. Image Rights: Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. <a href="https://library.artstor.org/asset/ANGAIG_10313966996.">https://library.artstor.org/asset/ANGAIG_10313966996.</a> Date A point or period of time associated with an event in the lifecycle of the resource 1514 / 1529 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Courtesy of National Gallery of Art, Washington Image Rights: Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. https://library.artstor.org/asset/ANGAIG_10313966996. Format The file format, physical medium, or dimensions of the resource Oil on canvas overall: 170.2 x 188 cm; framed: 203.8 x 218.4 x 7.6 cm Type The nature or genre of the resource painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery of Art (Washington, D.C.) Widener Collection https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Madonna_and_Child_in_a_Landscape/madonna_and_child_in_a_landscape_1946.19.1.jpg 57a57182024d2541ceb391da40d21634 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 23: National Gallery of Art (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC 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 Madonna and Child in a Landscape Description An account of the resource The Madonna and Child subject was a common subject among artists in Venice in the late 15th century. It is estimated that over one-third of Bellini’s published works are paintings of the virgin and child, all taking slightly different forms and building upon the last. This iconic image subject was highly desired by people of all social classes. Bellini’s paintings were produced in a workshop, allowing him to turnover many different perspectives on the subject. In the background there are dark, ominous clouds that hover over the virgin and child while light seems to shine on their figures in the foreground. The painting contains spatial depth and accurately distinguishes the main subjects surroundings. Off in the distance there is evidence of a few buildings, one of which is a tall clock tower shaped structure. Christ child is gazing upwards as Madonna places a small fruit-like object in his hand, potentially symbol of the downfall of mankind. The clothes of the virgin are textured and rest naturally on her body, which presents Bellini’s advancements in naturalizing his paintings. Her dark, navy colored drapery contrasts with her bright white face and the bright white skin of the baby. Christ is fully nude with thick legs and soft skin, as well as sharp creases that permeate his whole body. His softness can be interpreted as the innocence of youthhood or more specifically Christ. Both Christ and Madonna have faint, gold lined halos enclosing both of their heads, a symbol of their divine nature holiness. This work communicates Venice’s pious nature as well as it’s devotion to the artistic craft. Each iteration of Bellini’s Madonna and Child introduced more sophisticated realism and textures, advancing artistic innovation. Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Bellini, Giovanni, Ronda Kasl, Keith Christiansen, Andrea Golden, Cinzia Maria. Mancuso, Antonietta Gallone, and David Miller. Giovanni Bellini and the Art of Devotion. Indianapolis, IN: Indianapolis Museum of Art, 2005. “Bellini's Luminous Madonnas.” Italian Renaissance Learning Resources. Oxford University Press. Accessed September 22, 2020. http://www.italianrenaissanceresources.com/units/unit-1/essays/bellinis-luminous-madonnas/. Goffen, Rona. Giovanni Bellini. New Haven, CT: Yale University Press, 1995. Image Source: “Madonna and Child in a Landscape.” National Gallery of Art. National Gallery of Art. Accessed September 22, 2020. https://www.nga.gov/collection/art-object-page.33254.html. Publisher An entity responsible for making the resource available Image Source: “Madonna and Child in a Landscape.” National Gallery of Art. National Gallery of Art. Accessed September 22, 2020. https://www.nga.gov/collection/art-object-page.33254.html. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1480-1485 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource Open Access image. Image Source: “Madonna and Child in a Landscape.” National Gallery of Art. National Gallery of Art. Accessed September 22, 2020. https://www.nga.gov/collection/art-object-page.33254.html. Format The file format, physical medium, or dimensions of the resource Oil on panel, 71.7 x 52.8 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC, United States