14 10 177 https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_Jerome_Reading/358-primary-0-nativeres.ptif.jpg ce145f4049685d404ba16c12cd8df8c9 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 Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived 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 21, 2020. doi:10.1086/676482. Hendy, Phillip. (2020, January 29). Giovanni Bellini. Retrieved September 21, 2020, from https://www.britannica.com/biography/Giovanni-Bellini-Italian-painter Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007. Saint Jerome Reading. (n.d.). Retrieved September 21, 2020, from https://www.nga.gov/collection/art-object-page.358.html Image Source: Giovanni Bellini, Venetian. 1505. Saint Jerome Reading. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335544. Publisher An entity responsible for making the resource available Giovanni Bellini, Venetian. 1505. Saint Jerome Reading. Place: The National Gallery of Art (Washington, D.C.), Gift of The 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 Rafael Salazar-Paranhos Rights Information about rights held in and over the resource National Gallery of Art, Samuel H. Kress Collection. Image Source: Artstor Format The file format, physical medium, or dimensions of the resource Oil on panel, 47 X 37.5cm 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, United States) Description An account of the resource In Saint Jerome Reading, Giovanni Bellini explores a religious figure with Saint Jerome, but more specifically there is an exploration of the natural world as can be seen by most of the painting. It was made in 1505, and today it is located in the National Gallery of Art in the United States. Saint Jerome is seen on the bottom right of the painting reading in the desert, which specifically represents his religious devotion to the Bible. There are also other animals that can be seen around him such as a lion below where he is sitting, a squirrel and two rabbits above him on the rocks, with a darker one on the right and a white one on the left. There is also a dark bird seen hanging on one of the trees. Towards the back of the image, Bellini looks to emphasize the sophisticated nature of the atmosphere around Saint Jerome, with what looks like Roman architecture with stones and arches in the back. There is also a body of water present behind with a city in a far away island, which gives a sense of depth to the painting and gives the audience a sense that Saint Jerome is deep inside of this location. The difference in the foreground and background of the image, along with a contrast of lights and darks is what makes this painting by Bellini so different. It explores only a single subject, but at the same time this can stand for multiple things such a solitude and the importance of the environment, but also a shift in the way art was now being displayed. Bellini progressed over time to this new style of Venetian art. He had a series of paintings portraying Saint Jerome and emphasized greatly on the physical nature around him. In general, the purpose of this naturalism was to combine idealism with a very realistic and detailed portrayal of a religious man [1]. The scene is able to portray this because of the way that Jerome is seen as solitary man but also symbolized as a man who was a hermit and humanist scholar that was also religious and devoted to Christianity [2]. Around Jerome, there are also many different religious symbols. For example, the fig tree, bare tree and crumbled rocks are all theological symbols, which serve to represent good and evil, and religion as a whole [3]. [1] Phillip Hendy, "Giovanni Bellini", Encyclopædia Britannica (2020). [2] Hans Belting, "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life." (Tatti Studies in the Italian Renaissance 17) [3] Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007. 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 Giovanni Bellini painted this work of art. He was a painter of the Venetian School who was sensitive to the colors and adept at using them to convey messages in his painting. He was also known for the ability to crate realist drawings with the effect of light ranging from landscapes to portraits. The medium of this drawing was oil paintings. He favors oil paintings because he could add depth and complexity to the hues in shaping his works for capturing natural light reflections [1]. When viewers first look at the Madonna and Child in a Landscape painting, their attention would be drawn to the Virgin’s face and the baby because the bright color contrasted from the background. The shadows and the wrinkles on the baby’s body creates a sense of three-dimensional feeling rather than just a painting. This painting emphasizes the unconditional love that is shared between the Virgin and the baby. Also, the Virgin’s face draws most of the attention to the viewer’s eye, which is the main message that Bellini wants to convey. As mentioned earlier, Bellini is excellent at using the effect of light. From the lines and folds on the black cloak reflecting with the sunlight to the layers of clouds in the background further conveys a sense of the naturalist setting of this painting. Furthermore, the variety of color and the paintbrush stroke technics adopted when portraying the texture of the cloth wore by the Virgin to achieve a naturalist feel. [1] National Gallery of Art. “National Gallery of Art.” Artist Info. Accessed September 20, 2020. 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 Bellini, Giovanni." Benezit Dictionary of Artists. January 22, 2014. Oxford University Press. https://www-oxfordartonline-com.proxy.lib.duke.edu/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00015815 Bätschmann, Oskar. Giovanni Bellini. 9781861893574 1861893574: London : Reaktion Books, Limited April 2008 Chicago : Chicago Distribution Center, 2008. https://find.library.duke.edu/catalog/DUKE005265577 National Gallery of Art. “National Gallery of Art.” Artist Info. Accessed September 20, 2020. https://www.nga.gov/collection/artist-info.936.html. Publisher An entity responsible for making the resource available Courtesy National Gallery of Art, Washington DC 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 1430 - 1516 Contributor An entity responsible for making contributions to the resource Emily Song Rights Information about rights held in and over the resource Open access for fair use Format The file format, physical medium, or dimensions of the resource Oil on panel, 71.7cm 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 , USA https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Summer/summer_1961.9.90.jpg 878c65f7dffa18d5017b4cfdf310ea0c 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 Jacopo Tintoretto was an artist hailing from Venice during the sixteenth century and was the son of a man who dyed silk to make a living. This painting, Summer, is one of three paintings by Tintoretto that are representative of the 3 seasons, excluding winter as there is currently no indication to if that painting exists. These three paintings were made to surround a central ceiling painting in the Casa Barbo a San Pantaleone, in Venice. The central piece, the octagonal Allegory of the Dreams of Men (Detroit Institute of Arts), has themes of cyclical change that pair well with the seasons as they fit that theme as well. This painting reflects the season summer. The main focal point of this piece is the goddess, Ceres, laid out on her right hip with her left arm draped over her head. She is laying upon a nude, sandy color sheet on top of the ground. The arm is noticeably more muscular than one would think when portraying a female, however male anatomy was commonly inserted into paintings of females during this time period. Her face on the other hand has soft features and a relaxed expression indicative of the hidden place she is and peaceful season that summer represents. She is wrapped in a wine colored sheet with lighter red in places of highlight. The colors used are very light and bright. A vivid blue sky is set as the background as stalks of wheat rise up from behind Ceres and into the sky. Rose bushes of bloomed pink buds are also peeking out from behind her laying figure A grape tree to the left of her laying body frames the left side and top of the painting, surrounding her and enhancing the focus onto her. A parrot is perched on top of the tree, a symbol of the exoticism Venice was prideful of back in this era. Its bright red feathers, and wings of blue and yellow stand out against the greenery of the tree and plants. Exotic pets were often owned in Venetian culture of this time period. Two more little blue birds, one resting below the parrot and the other above in a rose bush, are additonal representations of the myth and pride Venice had in their city. The striking animals and peaceful nature of the painting are all testemants to the way Tintoretto saw Venice. Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived Jacopo Tintoretto, Venetian. c. 1555. Summer. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335644. Robert Echols, “Jacopo Tintoretto/Summer/c. 1546/1548,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/46189 (accessed September 20, 2020). Rowland, Ingrid D. “The Fantastical Little Dyer: Few Artists Could Match Tintoretto's Mastery of Color and Form--or His Sense of Playfulness.,” 2019. https://web-a-ebscohost-com.proxy.lib.duke.edu/ehost/detail/detail?vid=6. Tintoretto, and Maria Adelaide. Bianchini. Tintoretto. Milano: Fratelli Fabbri, 1964. Publisher An entity responsible for making the resource available Robert Echols, “Jacopo Tintoretto/Summer/c. 1546/1548,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/46189 (accessed September 20, 2020). 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 Olivia Migli Format The file format, physical medium, or dimensions of the resource 105.7 x 193 cm, oil on canvas Type The nature or genre of the resource Ceiling 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. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_Jerome_Reading/ANGA_KRESSIG_10312335544.jpg 5d82e5371847aa6e97b8ba4b8ba3cd59 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 Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Giovanni Bellini, Venetian. 1505. Saint Jerome Reading. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335544. 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 20, 2020. doi:10.1086/676482. Gasparotto, Davide. 2017. Giovanni Bellini. Landscape Of Faith In Renaissance Venice. Los Angeles: Getty Trust Publications. Kren, Emil, and Daniel Marx. 2020. "St Jerome Reading In The Countryside By BELLINI, Giovanni". Wga.Hu. https://www.wga.hu/html_m/b/bellini/giovanni/1500-09/182jerom.html. Publisher An entity responsible for making the resource available Giovanni Bellini, Venetian. 1505. Saint Jerome Reading. Place: The National Gallery of Art (Washington, D.C.), Gift of The 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 Rhea Niyyar Rights Information about rights held in and over the resource The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335544 Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource oil on panel, 47 x 37.5 cm Type The nature or genre of the resource painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington D.C., USA Description An account of the resource This oil on panel painting was one of Giovanni Bellini’s earlier works. The dating of this painting as 1505, indicated by the inscription in the bottom left corner of the painting, is puzzling to many art historians as the style of this painting was not used by Bellini after the year 1490. Some speculate that the painting was completed in 1505, but a majority of it was created much earlier. The logic behind this reasoning was because although the painting did contain many of the religious symbols, such as fig trees and ivy, that were considered typical for Bellini’s works, the landscape was not as cohesive together and was depicted more naturalistically than in Bellini’s similar works around the same time period [1]. Hans Belting has also shown that “Saint Jerome Reading” illustrates Bellini’s idealization of solitude in his religious depictions. The saint is depicted as being very old, which is indicative of his sage wisdom. In the foreground, Saint Jerome is alone reading in the corner in his eremo, giving higher priority to the landscape and the nature. Meanwhile, in the midground and background, a juxtaposition occurs between the ruins of an old civilization, perhaps Altinum the sunken predecessor to Venice, where hares can play undisturbed, and a new fortress, symbolizing contemporary Venice, which illustrates the enduring power of nature as compared to that of civilizations, once again advocating for one’s retreat into nature as Saint Jerome did, accepting the true power of nature [2]. In addition, while the nature is depicted much more realistically, with lots more curves, contours, and color definition, Saint Jerome has a much less defined body, with less color variation in his skin and less detailed drawing, as compared to his natural surroundings, not only making him stand out as an ethereal figure but also indicating that the focus should be on nature. Also, a large portion of the painting is dedicated to water not only with Altinum and Venice being surrounded by it in the background but also the well in the foreground that Saint Jerome survives off of. The contrast between water causing Altinum's demise and Venice flourishing because of water indicates the supreme power of nature that can either work in favor or against those living in its presence, including Saint Jerome who uses the well to sustain him. In addition, Bellini illustrates the cyclical idea of nature through his use of shadows and light. The focus on the brighter colors and light on Venice combined with the darkness along the top border of the painting creates a tunnel effect, making it seem as though Saint Jerome is in the back of the tunnel, highlighting his simplistic and what some could consider backwards way of living as compared to the advanced Venetians with their buildings. However, the depiction of Saint Jerome in the foreground and the brighter Venice in the background demonstrates the cyclic view of the workings of the world and nature with the idea that the pendulum should soon swing back to a more naturalistic, more basic way of living. Davide Gasparotto also compares the 1505 depiction to other depictions by Bellini of Saint Jerome. Depictions of Bellini were quite acclaimed by many, including Cardinal Domenico Grimani, so Bellini created many in his lifetime [3]. This depiction in particular is less centralized, more focused on nature, and is much smaller than its counterparts; however, all of Bellini’s paintings depict Saint Jerome reading in solitude, placing the emphasis on contemplative and solitary Christian scholarship. [1] Kren, Emil, and Daniel Marx "St Jerome Reading In The Countryside By BELLINI, Giovanni" (2020. Wga.Hu) [2] Belting, Hans, "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life." (Tatti Studies in the Italian Renaissance 17, no. 1, 2014): 26. [3] Gasparotto, Davide. Giovanni Bellini. Landscape Of Faith In Renaissance Venice. (Los Angeles: Getty Trust Publications, 2017) 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.JPG 5b86696b33197d6205a0c7e4cab318ec 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 Creator An entity primarily responsible for making the resource Giovanni Bellini (c. 1430/1435 - 1516) Source A related resource from which the described resource is derived <ul> <li>Humfrey, Peter, et al. "Bellini family." Grove Art Online, (2003). <a href="https://doi.org/10.1093/gao/9781884446054.article.T007643">https://doi.org/10.1093/gao/9781884446054.article.T007643</a>.</li> <li>National Gallery of Art. Summary Catalogue of European Paintings and Sculpture. Washington: National Gallery of Art, 1965.</li> <li>Bätschmann, Oskar. Giovanni Bellini. London: Reaktion, 2008.</li> </ul> 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 Riya Mohan 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 x 52.8 cm 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 Description An account of the resource In this piece, we see a woman gently holding her child; the two characters can specifically be identified as the Virgin Mary with the child Jesus. The woman’s hair is covered with a dark cloth and she wears a red dress as she holds the child on a ledge. The dark cloth creates a shadow on part of her face as she looks down at the child in her hands and as the child Jesus looks up at her. Behind her, a vivid landscape can be seen. The sky is filled with multiple hues that gradient from a dark blue-green to a pale blue with many white and gray clouds filling the expanse. The sky is cut cleanly with a sharp, horizontal line where the land begins. In the rich and vividly green land, the silhouette of a city can be seen as well as part of a winding path. There are also faint, golden halos around the Virgin and Jesus’s heads, which mark them as divine beings. Madonna and Child in a Landscape is a devotional painting created by Giovanni Bellini in 1480 and is part of a genre from his early style of painting [1]. The demand for such devotional works of art stems from the importation of a large quantity of small-scale religious panels from the Netherlands. It is also from the Netherlands that Bellini adopts the oil method of painting and introduces it to the mainstream realm of Italian/Venetian art [1]. Many pieces like this were commissioned by the patrician class for their combination of aesthetic qualities with religious aspect [1]. The artistic elements of this work make it especially appealing through its combination of formal elements of religion with relatable aspects of life. The vivid, richly-colored landscape behind the Virgin and child Jesus is befitting the content of this piece. However, it also helps emphasize the type of setting in which the two figures are placed in—a natural and real-world situation. This particular setting helps combine formal elements of Christianity with relatable contexts to better allow the people of Venice to understand and connect with their religion. Bellini combines piety with pathos by depicting such important characters in such an intimate and familiar scene (that of a mother and child). Through the use of color and shadow, Bellini has made the Virgin and Jesus appear more human, which further allows the Venetian patrician viewers of this piece to understand their religion and make pious connections. Though there are many ways in which Bellini makes Jesus and Mary more relatable to the audience, he reminds viewers of the divinity of the individuals in this piece by separating the child Jesus from the profane world through the use of a dark, distinct ledge. The portrayal of formal elements of religion in a real-world context helps generate stronger connections and piety, which, ultimately, led to the success of this piece. [1] Peter Humfrey et al., "Bellini family.", Grove Art Online, (2013): 20-21. Publisher An entity responsible for making the resource available Unknown https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Allegory_of_Chastity/allegory_of_chastity_1939.1.147.jpg 658a99cb9b7d83e78e2c922a853e6683 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 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting 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 Allegory of Chastity Description An account of the resource The painting of the Allegory of Chastity was originally created as a portrait cover for the bishop of Treviso, Bernardo de' Rossi. At the time, the bishop created a close-knit group of artists that he utilized to create works of art, which included Lorenzo Lotto. Lotto, who was picked for the commission, was born in Venice and remained culturally influenced by the city for the rest of his artistic career. He studied under Raphael and morphed his style to a more fluid and color rich approach [1]. He was not a very popular or even respected artist in his time. As Antoni Morassi points out, one person wrote to him that his painting abilities were minimal at best, but that his religious devotion was admirable [2]. Lotto captured religion in many of his paintings, which is not limited to the Allegory. Despite being just a portrait cover, Lotto uses the canvas to emphasize the contrast of human morality, between purity and desire. Allegory of Chastity visualizes the moral struggle and dichotomy between virtue and vice. Lotto paints a scenic view in the background of the image, with a sunset behind the mountains and trees along the sides. In the center of the image lies a maiden in white and gold clothing, sitting in the grass. Paul Holberton writes that the cherub up above pours some flower petals on the woman [3]. This highlights her divine and idyllic femininity. She is the focus of the painting due to her spatially centered position but also because she is where the light of the painting comes from. Lotto symbolizes the idea of chastity through the woman as she is the source of light in the painting. In addition, the color of her clothes being white and gold represent the ideals of innocence and purity. Meanwhile, the two figures on the bottom portion of the image are satyrs. The female satyr gazes at the male, alluding to her lust and desire. The male satyr drinks from his jug of wine which represents a different vice of drunkenness. Lotto utilizes composition and lines to emphasize the ideals of human purity and desire. Lotto divides the painting into 2 sections: the maiden and cupid as one unit and the satyrs as the other. He also creates a triangle formation through the painting of a hill to represent the allegorical figure at the top, the most pure and divine, while the satyrs are below, representing desire and human vice. These compositional features further highlight the tug of war between vice and virtue that Lotto communicates as the woman and cherub represent chastity and the satyrs represent evil and lust. The idea of fusing portraits with religious themes was not uncommon during the Renaissance [4]. Lorenzo Lotto was commisioned to create this work in order to represent the Bishop's views of the ideal Christian and what makes someone morally righteous. Artists, especially Lotto, utilized their canvases in any way they could to explore and paint their views on human morality. [1] “Lorenzo Lotto,” Encyclopedia Britannica, accessed September 18, 2020, <a href="https://www.britannica.com/biography/Lorenzo-Lotto">https://www.britannica.com/biography/Lorenzo-Lotto</a> [2] Antonio Morassi, "The Lotto Exhibition in Venice," The Burlington Magazine 95, no. 606 (1953): 290. [3] Paul Holberton, "Classicism and Invention: Botticelli’s Mythologies in Our Time and Their Time," Botticelli Past and Present (2019): 62. [4] “Allegory of Chastity,” National Gallery of Art, accessed September 18, 2020, https://www.nga.gov/collection/art-object-page.288.html Creator An entity primarily responsible for making the resource Lorenzo Lotto (1480 - 1556/1557) Source A related resource from which the described resource is derived Holberton, Paul. "Classicism and Invention: Botticelli’s Mythologies in Our Time and Their Time." In Botticelli Past and Present, edited by Debenedetti Ana and Elam Caroline, 53-72. London: UCL Press, 2019. Morassi, Antonio. "The Lotto Exhibition in Venice." The Burlington Magazine 95, no. 606 (1953): 290-98. The Editors of Encyclopaedia Britannica. (2020, January 01). Lorenzo Lotto. Retrieved September 19, 2020, from <a href="https://www.britannica.com/biography/Lorenzo-Lotto">https://www.britannica.com/biography/Lorenzo-Lotto</a> The National Gallery of Art. (n.d.). Allegory of Chastity. Retrieved September 18, 2020, from https://www.nga.gov/collection/art-object-page.288.html Image Source: Lotto, L. (n.d.). Allegory of Chastity [Digital image]. Retrieved September 18, 2020, from https://www.nga.gov/collection/art-object-page.288.html Publisher An entity responsible for making the resource available Bishop Bernardo de' Rossi Date A point or period of time associated with an event in the lifecycle of the resource 1505 Contributor An entity responsible for making contributions to the resource Carmel Falek Format The file format, physical medium, or dimensions of the resource Oil on panel, 42.9 x 33.7 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington D.C., United States of America Rights Information about rights held in and over the resource Public Domain. Image Source: Lotto, L. (n.d.). Allegory of Chastity [Digital image]. Retrieved September 18, 2020, from https://www.nga.gov/collection/art-object-page.288.html https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Portrait_of_Doge_Mocenigo/SCALA_ARCHIVES_1039778348.jpg 5b21fa0c6feabf17e931bf9fe8ef8175 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 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Doge Mocenigo Subject The topic of the resource This painting is by Gentile Bellini and was likely commissioned privately by Doge Giovanni Mocenigo himself. This painting was originally credited to Bastani due to the heavy dark over paintings, but after being cleaned and restored it was soon realized that the well preserved, highly detailed painting was actually done by Bellini. Description An account of the resource This portrait was a later work of Gentile Bellini that showcases his flat patterned style that has been used to identify other works of his. The painting takes on a side-portrait view of the doge depicting him in a very stately and pious manner. He has a very serious look on his face showing his power and authority over the dominion of Venice. The lines and wrinkles that can be seen on Mocenigo's face implies that he is a wise man who is suited to run the city of Venice. The cloak worn by the doge is white with elaborate golden trimming along the collar and the buttons which is subject to change depending on the doge. One thing that is peculiar about this painting is the fact that the doge is wearing a gold and white corono ducal instead of the usual red one. The white and gold colors are symbolic and signify that the doge is pure and uncorrupted. The golden background of this painting has an interesting effect on the silhouette of the doge that makes it seem like there is an aura coming off of his body. While the whole entire background obviously visualizes the wealth and power of the doge and Venice because of the gold color, the area around the doge's body is slightly lighter than the rest of the background giving him an angelic like portrayal. Creator An entity primarily responsible for making the resource Gentile Bellini Source A related resource from which the described resource is derived COLLINS, H. F. (1970). Gentile Bellini: A Monograph And Catalogue Of Works (Order No. 7020348). Available from ProQuest Dissertations & Theses Global. (288084750). Retrieved from https://login.proxy.lib.duke.edu/login?url=https://www-proquest-com.proxy.lib.duke.edu/docview/288084750?accountid=10598 Britannica Educational Publishing Staff. The 100 Most Influential Painters and Sculptors of the Renaissance : 100 Most Influential Painters and Sculptors of the Renaissance. Chicago, IL: Rosen Publishing Group, 2009. Accessed September 16, 2020. ProQuest Ebook Central. Pignatti, Terisio. "A Rediscovered Portrait by Gentile Bellini." The Burlington Magazine 95, no. 600 (1953): 93-95. Accessed September 16, 2020. http://www.jstor.org/stable/871019. Giovanni Bellini and Gentile Bellini. Portrait of Doge Mocenigo. painting. Place: Museo Correr. https://library.artstor.org/asset/SCALA_ARCHIVES_1039778348. Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource 1478 Contributor An entity responsible for making contributions to the resource Darien Sansosti Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource 62.5 cm x 45.5 cm Type The nature or genre of the resource Painting on a panel 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 Correr https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Mars_and_Neptune_/Mars_and_Neptune.jpg 6c35be6c0bfb7c23c2e236e84fe8309f 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 16: Visual Analysis of work from Correr and Ducal Palace Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Mars and Neptune Description An account of the resource Mars and Neptune is painted by Paolo Veronese from 1575 - 1578. The Italian Renaissance painter Paolo Veronese(1528–1588) is known for the idea of opulence and splendor of Renaissance Venice that reflected in his arts. Being educated in the shadow of the antiquarian taste, he has been appreciated for his works’ inextricably linkage with unique crowded compositions [1] and his distinctive, advanced, and splendid use of color to achieve the theatrical effects, which also made him known as one of the greatest colorists. [2] Mars and Neptune is placed on the ceiling of the Council Chamber (Sala del Collegio) decorated by Italian architect Andrea Palladio in the Doge's Palace (Palazzo Ducale) in Venice, Italy. The purpose of the masterpiece on the ceiling is to commemorate the good management of the Venetian Republic and the prosperity status. It also shows how the Republic inherited on and further strengthen the faiths and virtues that were essential throughout history to govern Venice. [3] The artwork Mars and Neptune highlights the characteristics of the painter’s style, such as the brimful composition and the dramatics of the scene. In the foreground, we can see the figures of two warrior-like gods, a sinister roaring lion, and the head of a horse decorated with flowers. More metal armors and decorations. seamlessly fill the space, which is a typical structure for Veronese. The apparent contrast of light and dark and the color scheme with the theme of white, red, and blue enhance the magnificence of this heroic scene of the myth. In addition, the details of the bright decorations and the picturesque scenery composed of the sky and buildings in the background constitute a prosperous and cheerful festive atmosphere. [4] The movements of the figures and other icons in the painting have strong symbolic meaning. The two protagonists are Mars (in charge of the war, representing the power of Venice on land) and Neptune (in charge of the ocean, representing the territory of the country on water). The parallel relationship between them can also be reflected in the interesting symbolic similarity between the warrior god's helmet and the huge sea god's shell in both angel’s hands. However, the contrast between the shapes and movements of these two characters foreshadow the transformation: Neptune is depicted as elderly and fatigued whereas Mars is full of the vitality and liveness in his prime. The difference in the action of Neptune’s curved back and Mar’s zealous gaze at the angle with his back upright, together with the light and shadow cast on the faces of the characters emphasize this contrast. All the symbolic elements hint the implied historical meaning of rebirth and shift — Venice is about to have a new transform by improving the development of terrestrial resources rather than the holdings on water. [5] [1] Salomon, Xavier. “Paolo Veronese (Paolo Caliari) (1528–1588).” metmuseum.org. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, November 2011. <a href="https://www.metmuseum.org/toah/hd/vero/hd_vero.htm">https://www.metmuseum.org/toah/hd/vero/hd_vero.htm</a> [2] Zamperini, Alessandra, and Grace Crerar-Bromelow. 2014. Paolo Veronese.Summary https://find.library.duke.edu/catalog/DUKE006038110 [3] “Second Floor.” Palazzo Ducale. Accessed September 16, 2020. https://palazzoducale.visitmuve.it/en/the-museum/layout-and-collections/institutional-chambers/second-floor/. [4] “Mars and Neptune by Paolo Veronese.” painting. Accessed September 16, 2020. <a href="https://painting-planet.com/mars-and-neptune-by-paolo-veronese/">https://painting-planet.com/mars-and-neptune-by-paolo-veronese/</a>. [5] Griffith, Elizabeth. “The Winged Lion of St. Mark: Logo of Venice, Inc.” European Business History Association 2005 Conference Frankfurt “Images of the Corporation,” September 1, 2005. Creator An entity primarily responsible for making the resource Paolo Caliari detto Veronese Publisher An entity responsible for making the resource available Image Source: Paolo Veronese, “Mars, Neptune and the Lion of Saint Mark,” Venetian Art, accessed September 16, 2020, http://library.bc.edu/venetianart/items/show/1829. Date A point or period of time associated with an event in the lifecycle of the resource 1575 - 1578 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 Format The file format, physical medium, or dimensions of the resource Oil on canvas; 252 x 180 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 Palazzo Ducale, Venice, Italy Source A related resource from which the described resource is derived Griffith, Elizabeth. “The Winged Lion of St. Mark: Logo of Venice, Inc.” European Business History Association 2005 Conference Frankfurt “Images of the Corporation,” September 1, 2005. “Mars and Neptune by Paolo Veronese.” painting. Accessed September 16, 2020. https://painting-planet.com/mars-and-neptune-by-paolo-veronese/. Mars and Neptune by VERONESE, Paolo. Accessed September 16, 2020. https://www.wga.hu/html_m/v/veronese/08/collegio/2ceilin3.html. Rearick, W. R. “Paolo Veronese's Earliest Works.” Artibus et Historiae 18, no. 35 (1997): 147. https://doi.org/10.2307/1483544. Salomon, Xavier. “Paolo Veronese (Paolo Caliari) (1528–1588).” metmuseum.org. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, November 2011. https://www.metmuseum.org/toah/hd/vero/hd_vero.htm. “Second Floor.” Palazzo Ducale. Accessed September 16, 2020. https://palazzoducale.visitmuve.it/en/the-museum/layout-and-collections/institutional-chambers/second-floor/. Image Source: Paolo Veronese, “Mars, Neptune and the Lion of Saint Mark,” Venetian Art, accessed September 16, 2020, http://library.bc.edu/venetianart/items/show/1829. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Portrait_of_Doge_Leonardo_Dona/Portrait_of_Doge_Leonardo.jpg bb903cc5c41fd01ee67bdfde542f038f 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/. Description An account of the resource The Portrait of Doge Leonardo Dona was painted by Giovanni Bellini in 1501-02. Its current location is in the National Gallery, London. The dimensions are sixty-one point six centimeters by forty-five point one centimeters. This was an oil on poplar panel painting. Initially this painting was located in Venice, Italy and was believed to be looted by Napoleon when he came through and took over the city. It was believed to be bought by William Thomas Beckford who then sold it to the National gallery. Ever since then it has remained at this location to date. The Portrait of Doge Leonardo Dona fell in line with the Venetian tradition of painting formal portraits. While these portraits would be painted the officials would be wearing their robes of state. Leonardo was the 75th Doge until he died in 1501. This was an elected position to have that was kept for life. In this Portrait of Doge Leonardo Dona, you see the aging effects on him immediately. You also see a lightly colored robe on him starting at his neck and going all the way down past his shoulders. You then look up and notice a gold headband that’s wrapped on top of a white cap. I believe it was significant for this portrait to be painted due to the significance he carried in the city of Venice. While he was there the city became a big financial center making it super wealthy. Overall I liked this painting and the features distributed in it. 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 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Doge Leonardo Dona Creator An entity primarily responsible for making the resource Giovanni Bellini Date A point or period of time associated with an event in the lifecycle of the resource 1501-02 Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource oil in poplar panel 61.6 cm x 45.1 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery, London Source A related resource from which the described resource is derived “‘Portrait of Doge Leonardo Loredan’ by Giovanni Bellini,” August 12, 2020. https://joyofmuseums.com/museums/united-kingdom-museums/london-museums/the-national-gallery-london/masterpieces-of-the-national-gallery/portrait-of-doge-leonardo-loredan-by-giovanni-bellini/. “Portrait of Doge Leonardo Loredan.” Accessed September 16, 2020. http://www.giovannibellini.org/portrait-of-doge-leonardo-loredan/. Bätschmann, Oskar (2008). Giovanni Bellini. London, England: Reaktion Books. ISBN 978-1-86189-357-4. Christiansen, Keith; Weppelmann, Stefan, eds. (2011). The Renaissance Portrait: From Donatello to Bellini. New York, New York: Metropolitan Museum of Art. ISBN 978-0-300-17591-2. Brown, David Alan; Ferino-Pagden, Sylvia (2006). Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting. New Haven, Connecticut: Yale University Press. ISBN 978-0-300-11677-9. Gasparotto, Davide (2017). Giovanni Bellini: Landscapes of Faith in Renaissance Venice. Los Angeles, California: J. Paul Getty Museum. ISBN 978-1-60606-531-0. Humfrey, Peter (1997). Painting in Renaissance Venice. New Haven, Connecticut: Yale University Press. ISBN 978-0-300-06715-6. Nichols, Tom (1997). Titian: And the End of the Venetian Renaissance. Islington, London: Reaktion Books. ISBN 978-1-78023-227-0. Description An account of the resource The Portrait of Doge Leonardo Dona was painted by Giovanni Bellini in 1501-02. Its current location is in the National Gallery, London. Initially, this painting was located in Venice, Italy, and was believed to be looted by Napoleon when he came through and took over the city. It was believed to be bought by William Thomas Beckford who then sold it to the National gallery. Ever since then it has remained at this location to date. The Portrait of Doge Leonardo Dona fell in line with the Venetian tradition of painting formal portraits. While these portraits would be painted the officials would be wearing their robes of state. Leonardo was the 75th Doge until he died in 1501. This was an elected position to have that was kept for life. In this Portrait of Doge Leonardo Dona, you see the aging effects on him immediately. You also see a lightly colored robe on him starting at his neck and going all the way down past his shoulders. You then look up and notice a gold headband that’s wrapped on top of a white cap. The colors used in the portrait hold a hidden meaning too. The bold use of gold and white represents wealth, prosperity, and goodness. The fine lines gave a formality effect on me as the viewer too. I believe it was significant for this portrait to be painted due to the significance he carried in the city of Venice. While he was there the city became a big financial center making it super-wealthy. The appearance that was given off by the Doge in this portrait showed he was the alpha in this society. Overall I liked this painting and the features distributed in it. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Saint_Christopher/SaintChristopherTitian.jpg 2e96803376753b4c7646cbb1ac361027 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 16: Visual Analysis of work from Correr and Ducal Palace 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 Christopher Description An account of the resource This piece was one of the few artworks to survive from the fires in the Ducal palace [1]. While in its current form the edges are slightly withered, the fresco remains largely intact. The image was originally commissioned by the Holy Church, and is now located adjacent to one of the staircases in the palace where it has remained on display [2]. The central figure of the image is Saint Christopher, and on his shoulders rests a depiction of Christ as a child. This imagery alludes not only to Christopher's mission to serve Christ for all his time and advance the faith but also as a comparison to Venice’s protection of its people [3]. It establishes a sense of power that Venice can fend off any intruders. Saint Christopher has strong and well defined legs. His calves and arms are linear and his muscles bulge out of his skin. A red piece of clothing hands loosely from his body and is painted with movement from the wind. Only three fourths of his face is fully visible but he is looking directly at the child on his shoulders with an expression of concern. While Saint Christopher’s lower body is very dark, his facial area as well as Christ have a very light skin tone, drawing the attention of the viewer. In the background on the bottom left the viewer can see an outline of the city of Venice, most notably the clock tower at the piazza San Marco standing tall. The bottom right of the image contains a mountainous landscape which mimics the mainland region surrounding Venice. Lastly, Saint Christopher is drastically out of proportion, appearing several factors larger than the buildings and mountains in the background. This partially removes his humanity and positions him as part of the divine. [1] “Saint Christopher,” Titian, Titian.net, accessed September 15, 2020, http://www.titian.net/saint-christopher/. [2] “SPECIAL ITINERARIES: The Doge's Hidden Treasures,” Palazzo Ducale, Fondazione Musei Civici di Venezia, accessed September 15, 2020, https://palazzoducale.visitmuve.it/en/the-museum/layout-and-collections/the-doges-hidden-treasures-itinerary/. [3] “Saint Christopher Painting by Tiziano Vecellio (Titian): Painting Analysis,” 1st Art Gallery, 1st-Art-Gallery.com, accessed September 15, 2020, https://www.1st-art-gallery.com/Tiziano-Vecellio-Titian/Saint-Christopher.html. Creator An entity primarily responsible for making the resource Tiziano Vecelli (Titian) Source A related resource from which the described resource is derived “Saint Christopher Painting by Tiziano Vecellio (Titian): Painting Analysis.” 1st Art Gallery. 1st-Art-Gallery.com. Accessed September 15, 2020. https://www.1st-art-gallery.com/Tiziano-Vecellio-Titian/Saint-Christopher.html. “Saint Christopher.” Titian. Titian.net. Accessed September 15, 2020. http://www.titian.net/saint-christopher/. “SPECIAL ITINERARIES: The Doge's Hidden Treasures.” Palazzo Ducale. Fondazione Musei Civici di Venezia. Accessed September 15, 2020. https://palazzoducale.visitmuve.it/en/the-museum/layout-and-collections/the-doges-hidden-treasures-itinerary/. “St. Christopher - Tiziano Vecellio.” Google Arts & Culture. Google Arts & Culture. Accessed September 15, 2020. https://artsandculture.google.com/asset/st-christopher/VAGqjshVAC1lhw?hl=en. Image Source: “Saint Christopher.” Web Gallery of Art. Web Gallery of Art, n.d. Palazzo Ducale. Palazzo Ducale. https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html. Publisher An entity responsible for making the resource available Commissioned by the Holy Church Vecelli, Tiziano. Image Source: “Saint Christopher.” Web Gallery of Art. Web Gallery of Art, n.d. Palazzo Ducale. Palazzo Ducale. https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html. Date A point or period of time associated with an event in the lifecycle of the resource 1524 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource Image Source: “Saint Christopher.” Web Gallery of Art. Web Gallery of Art, n.d. Palazzo Ducale. Palazzo Ducale. https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html. Format The file format, physical medium, or dimensions of the resource Fresco, 310.0 x 186.0 cm Type The nature or genre of the resource Painting (Fresco) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice, Italy