14 10 177 https://venice.dahvc.org/fall-2020/files/original/Portrait_of_the_Vendramin_Family/Vendarim.jpg 5c9f1077c045993093f01ac06da1bb4d 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 the Vendramin Family Description An account of the resource In 1546 Titian created a magnificent group portrait of the men in the Vendramin family. This portrait was also commissioned by this family too. On the right side of the painting, there are three young men kneeling. The boys were added at a later date than the original painting. Shockingly they were added by a different artist than Titian. Over time this painting received remarkable compliments stating that this is one of the greatest group portraits of all time. I believe this painting initially belonged I one of the Vendramin palaces in a side hallway. I can see it being in a side hallway because low lighting would bring out the boldness in this group painting. Darker colors are seen throughout the entirety of the painting. Even in the known to be bright colors like blue and white, are dark and greyed off. This strategy gave me a serious tone the second I glanced at this portrait. The facial expressions of the male family members appear to be straighter and more serious too. The power of this family is represented by the different age groups of the men pictured in this portrait. Couldn’t forget the dog held in the arms of the young boy’s arm to the right. I assume it was a male dog because the common Venetian theme was for these portraits to be strictly male-only. Overall this is a very complete painting done mostly by Titian, which represents the seriousness and powerful Vendramin family in the 16th century. 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 1543 - 1547 Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource 185cm x 202 cm Type The nature or genre of the resource Oil on Canvas Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery, London Source A related resource from which the described resource is derived Portrait of the Vendramin Family, 1543 by Titian, www.titian.org/portrait-of-the-vendramin-family.jsp. “The Vendramin Family - Titian - Google Arts & Culture.” Google, Google, artsandculture.google.com/asset/the-vendramin-family-titian/SwEY2oCHZOcDKg?hl=en. https://www.jstor.org/stable/750096?casa_token=KZWvxHw0xCoAAAAA%3Aiky8avnWUfHEKtiWkXLuyIvTgq4lyNzwvkal7jQcJeDiY_1CasYr3Jn6l2Y_iSAMmBWEW45YV-JYcJUZvmYrQj-xdnvlaefItZrxgVqI06F1ZymnBrY&seq=1#metadata_info_tab_contents 1. Portrait of the Vendramin Family 2. The Vendramin Family- Titian Rights Information about rights held in and over the resource Portrait of the Vendramin Family, 1543 by Titian, www.titian.org/portrait-of-the-vendramin-family.jsp. “The Vendramin Family - Titian - Google Arts & Culture.” Google, Google, artsandculture.google.com/asset/the-vendramin-family-titian/SwEY2oCHZOcDKg?hl=en. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae_with_Cupid/ARTSTOR_103_41822000941995.jpg a0eab98e6ca9c16abbbd30d6e041b4cb 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="https://library.artstor.org/#/asset/ARTSTOR_103_41822000941995">Danaë with Cupid</a> 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 1545-46 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Data from: University of California, San Diego Titian, ca. 1488-1576. [n.d.]. Danae with Cupid. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000941995">https://library.artstor.org/asset/ARTSTOR_103_41822000941995</a>. Format The file format, physical medium, or dimensions of the resource Oil on canvas; 121 x 172 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 Museum of Capodimonte, Naples, Italy Description An account of the resource The Danaë with Cupid by Titian is the earliest version of this painting, and it was created in 1545-46. The Danaë with Cupid was a commission for Cardinal Farnese, and he did not seem too worried about the ecclesiastical office interfering with his lifestyle. It actually hung in his bedroom throughout most of Farnese’s life. Titian had a love for the gods, and it became a favorite theme of Titian’s princely patrons. He became the greatest and most influential interpreter of works of art from the ideas in Ovid’s Metamorphoses and other literary texts throughout his career. [1] In this theme of the Danaë, some specific psychological ramifications do not frequently find their way overtly into literature or art because they express profoundly disturbing fantasies. This young woman is getting impregnated by the father of all gods, hinting an erotic relationship between father and daughter. [2] Danaë appears naked lying in bed with her white dress over her upper thighs and wrapped underneath her butt, covering up her lady genitalia. This scene represents Danaë having sex with the god Jupiter, who is in the form of a gray shadow. She is very relaxed in bed, looking up at the shadow with gold coins drizzling down from the cloud. She appears to have a visible bracelet and a ring on her right hand. Titian painted her with very human-like characteristics, such as the distinct details in her breasts, body, and legs. She makes up most of the painting’s left side, while a nude angel makes up the right side of the oil on canvas. The angelic baby appears to have dirty blonde hair and is looking at Jupiter as he impregnates Danaë. The two figures are glowing but shades appears from their heads up due the cloud of Jupiter. According to Ovid’s Metamorphoses (IV, 697-8), Danaë was locked up in a tower because of a warning that her father would be killed by any son she bore. Then, Jupiter impregnates her, and she births Perseus, who accidentally kills his grandfather with a discus, thus fulfilling the prophecy. [3] The covers of the bed appear to be white with a reddish brownish blanket at the end of the bed. The angel is stepping on this blanket, watching Jupiter impregnate Danaë. You can see the sky in the background, and it appears very blue. There have been several different Danaë paintings over time, and Titian’s is more related to the textual sources in that they leave it unclear as to whether or not Danaë was a willing participant in the seduction. [4] [1] Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43. Accessed November 1, 2020. <a href="https://www.jstor.org/stable/3049743">doi:10.2307/3049743.</a> [2] “Danaë with Cupid,” March 19, 2019. <a href="https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface">https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface</a>. [3] “National Gallery of Art.” Titian's Danaë, June 19, 2014. <a href="https://www.nga.gov/press/exh/3951.html">https://www.nga.gov/press/exh/3951.html</a>. [4] De Jong, Jan L. "LOVE, BETRAYAL, AND CORRUPTION: "MARS AND VENUS" AND "DANAË AND JUPITER" IN THE PALAZZI STATI-CENCI AND MATTEI DI PAGANICA IN ROME." Source: Notes in the History of Art 19, no. 1 (1999): 23. Accessed November 1, 2020.<a href="http://www.jstor.org/stable/23206713"> http://www.jstor.org/stable/23206713</a>. Source A related resource from which the described resource is derived “Danaë with Cupid,” March 19, 2019. <a href="https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface">https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface</a>. De Jong, Jan L. "LOVE, BETRAYAL, AND CORRUPTION: "MARS AND VENUS" AND "DANAË AND JUPITER" IN THE PALAZZI STATI-CENCI AND MATTEI DI PAGANICA IN ROME." Source: Notes in the History of Art 19, no. 1 (1999): 20-29. Accessed November 1, 2020.<a href="http://www.jstor.org/stable/23206713"> http://www.jstor.org/stable/23206713</a>. Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43-55. Accessed November 1, 2020. <a href="https://www.jstor.org/stable/3049743">doi:10.2307/3049743.</a> “National Gallery of Art.” Titian's Danaë, June 19, 2014. <a href="https://www.nga.gov/press/exh/3951.html">https://www.nga.gov/press/exh/3951.html</a>. Titian, ca. 1488-1576. [n.d.]. Danae with Cupid. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000941995">https://library.artstor.org/asset/ARTSTOR_103_41822000941995</a>. Publisher An entity responsible for making the resource available Commissioned by Sir Richard Worsley; the Yarboroughs of Brocksley Park; Col. C. de W. Sibthorp; his sale, Christie's, 12 April 1856, no. 555; Samuel Mawson for Richard Seymour-Conway, 4th Marquess of Hertford. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Holy_Family_with_Young_St_John_and_St_Catherine/1549022778098090-12.VeroneseHeader.jpg a12abe549cb68518232de3fdf929eac1 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Holy Family with Young St John and St Catherine Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived <ul> <li>Gisolfi, Diana, “Veronese.” Grove Art Online, (July 2013), <a href="https://doi.org/10.1093/gao/9781884446054.article.T089003">https://doi.org/10.1093/gao/9781884446054.article.T089003</a>.</li> <li>Le Gallerie Degli Uffizi. “Holy Family with Young St John and St Catherine.” Accessed November 1, 2020. <a href="https://www.uffizi.it/en/artworks/holy-family-with-young-st-john-and-st-catherine">https://www.uffizi.it/en/artworks/holy-family-with-young-st-john-and-st-catherine</a>.</li> <li>Palluchini, Rodolfo. Veronese. Milano: A. Mondadori, 1984.</li> <li>Gisolfi, Diana. Paolo Veronese and the Practice of Painting in Late Renaissance Venice. Yale University Press, 2017.</li> <li>Ilchman, Frederick. Titian, Tintoretto, and Veronese: Rivals in Renaissance Venice. MFA Publications, 2009.</li> </ul> Date A point or period of time associated with an event in the lifecycle of the resource 1565 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 86 x 122 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 Galleria degli Uffizi, Florence, Italy Subject The topic of the resource Holy Family with Young St John and St Catherine was painted by Paolo Veronese in 1565. [1] Though the commissioner of this work is not known, [1] there are numerous artistic and stylistic elements in this piece that are indicative of Veronese’s style, which included finely detailed depictions as well as a mastery of vivid coloring. [2] This particular piece is also indicative of Veronese’s style because certain stylistic elements in this piece are similar to elements of pieces he made around the same time period while he was in Venice. For instance, the depiction of St Catherine with her shimmering blond hair is similar to his rendering in The Coronation of Esther. [2] Immediately upon viewing this piece, five figures can be seen. To the right side of this piece, is a child version of St. John with Joseph as they both look up towards the baby Jesus. Holding the baby Jesus is the Virgin Mary as St. Catherine stands next to her and looks at the child. The most important factor that Veronese utilizes to show the importance of figures in this piece is the contrast between light and dark. The figures of Joseph and St. John are cast in the shadow of the two female divine figures. Furthermore, the faces of the two divine figures are much more illuminated when compared to the figures and faces of the two male figures. Veronese also utilizes spatial organization to further this contrast between the two female and two male figures in this piece. Due to the positioning of the Virgin Mary and St. Catherine, they are standing over the two male figures and are positioned in a way that it appears as if they are shielding protectively over the baby Jesus. Finally, Veronese, who is well known for his vivid use of color, [2], manipulates this artistic element to cast an emphasis and draw the gaze towards the two divine women in this piece. Specifically, their clothing is deeply colored in shades of reds, deep blues, and shimmering golds. The use of gold can be extended to St. Catherine’s hair, which draws the viewers' gaze to her due to the way the gold was laid to make it appear brighter, vibrant, and as if it were shimmering. Veronese’s use of color in this piece is bolstered by the additional artistic elements he has added to this piece. For instance, the clothing of the two women is remarkably extravagant, and St. Catherine has a variety of jewels in her hair. By depicting them in such a grand manner, he is reminding his viewers, regardless of the time period, of their importance and divinity. Additionally, the background behind the two female figures is considerably less decorated, which acts as a contrast with the two female figures in order to highlight them further. Veronese’s emphasis in this piece is very unique when compared to images of similar biblical content because, instead of focusing on just one female divine figure (often the Virgin Mary), it includes two divine women. Whether the viewer is an individual during Veronese’s time or after, it is clear that the figures are standing protectively over the figure of baby Jesus, with St. Catherine shielding Him with her body. This depiction draws a connection to the idea that Venice was protected by these divine figures. However, rather than only being protected by the Virgin Mary, as most works of the time depicted, Veronese shows that Venice is protected by two divine figures, both the Virgin Mary and a saint. [1] “Holy Family with Young St John and St Catherine”, Le Gallerie Degli Uffizi, accessed November 1, 2020, https://www.uffizi.it/en/artworks/holy-family-with-young-st-john-and-st-catherine. [2] Diana Gisolfi, “Veronese,” Grove Art Online, (July 2013): 1. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae/Tizian_011.jpg dc172cadb7d410c59530f1d03241f5b1 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Danaë Description An account of the resource Painted by Titian c. 1544, this version of Danaë was his first of many renditions of this scene, and is widely regarded as one of the most sensual paintings of the Italian Renaissance. Titian depicts the princess Danaë being impregnated by the Greek god Zeus in the guise of gold coins. Titian established himself as a very highly regarded, and influential interpreter of many famous myths, all of which he painted in great detail throughout his career – by 1510, Titian was appointed the official painter to the Venetian Republic [1]. In the myth of Danaë, Danaë’s father, Arcrisius, had received a prophecy from the Oracle that showed him a future in which his grandson was the cause of his death. In an attempt to protect himself and evade the prophecy, Arcrisius locked Danaë in a tower, away from any men [2]. In the scene that Titian paints, Zeus foils Arcrisuis’ plan by seducing Danaë in her tower, appearing in the form of gold coins. Danaë is shown on a bed of plain, white sheets – Titian strategically uses white to symbolize her purity and innocence. While one sheet is partially covering her leg, the majority of her figure is uncovered and she lays slightly upright on the bed. While her body is pointed towards the frame, her eyes gaze upwards in a calm, amorous way towards the cloudy haze of golden coins that represent Zeus, and her body language is open and relaxed, signifying her comfort and consent to Zeus. Titian skillfully accessorizes and adds details to Danaë’s figure to keep her consistent with the mythical descriptions of her – the ideal body of beauty in the time period, with soft blonde hair that falls over her shoulder naturally, and a ring and bracelet on the hand that is gently gripping the bedsheets on the side closest to the viewer. Titian uses lighting to highlight her pale figure and the white bedsheets, and places the rest of her bed and the background in a darker light, but adds a calm blue sky in the distance, adding to the overall serenity of the scene. Titian also highlights the figure of Cupid at the foot of Danaë’s bed, who is slightly in the background, moving out of the way from Zeus’ golden haze – seemingly to support and allow the scene he is watching. Ultimately, Titian’s use of body language, lighting, and context allows for the creation of a tranquil, beautiful depiction of the famous myth – the pure, virgin Princess Danaë being impregnated with her future son Perseus, by the god Zeus [3]. [1] “National Gallery of Art: Titian's Danaë ,” June 2014, https://www.nga.gov/press/exh/3951.html. [2] Editors of Encyclopedia Britannica, “Perseus,” Encyclopædia Britannica https://www.britannica.com/topic/Perseus-Greek-mythology. [3] Titian. Danaë. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960">https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960</a> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived “National Gallery of Art.” Titian's Danaë. Accessed November 2nd, 2020. https://www.nga.gov/press/exh/3951.html. Editors of Encyclopedia Britannica. “Perseus.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 2018. https://www.britannica.com/topic/Perseus-Greek-mythology. Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43-55. Accessed November 2nd, 2020. doi:10.2307/3049743. Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960 Publisher An entity responsible for making the resource available Commissioner Cardinal Alessandro Farnese Image Source: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Date A point or period of time associated with an event in the lifecycle of the resource c. 1544 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 117 cm x 69 cm Type The nature or genre of the resource Oil on canvas painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo e gallerie nazionali di Capodimonte, Napoli, Italy https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Flora/Flora.jpg 1de53a287ab479347da290690c4b7789 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flora Description An account of the resource Depicted here we see Flora, the Greek goddess of Spring and the bride of Zephyr, emerging from a dark background and identified through the various flowers in her hand. While her surroundings remain dark, her figure emanates from the darkness, illuminating the canvas. Flora’s head tilts slightly to the viewer’s left, implying that she may be looking at something outside the space. While the contrast between the light figure and the dark background may appear to separate the composition, it is also unified through its choice of colors. The reds of the hair--also known as Titian red, the color Titian often used to paint the hair of many women--and drapery, the whites of the clothing, and the beige skin tone create a sense of connection through the harmony between them and the almost black background. Going into the finer details, we see that Titian brilliantly depicts the figure in a naturalistic way without taking away the idealistic beauty of a goddess. Titian achieves this through Flora’s clothing: while we see a rich silky red fabric, we also see wrinkles in the white of the clothing. In addition, we see the natural flow and curl of the hair as it hangs over Flora’s shoulder. Thus, we get a sense of the wealth and power associated with the image while also recognizing the innate beauty. While the subject matter of the painting is of Greco-Roman culture, its portrayal has roots in Venetian society during the Renaissance. Beginning with Giorgione’s Laura, the theme of feminine beauty developed from chastity to a blend of sexual indiscretion and modesty.¹ The development of this theme may also suggest that the figure may be Voluptas, the Greek goddess of sensual pleasures. Adapting these characteristics of “modest beauty” from Giorgione, Titian creates Flora in a dress--which will be discussed later--which hangs unfastened from her right shoulder, displaying a small portion of the breast. As with females in Giorgione’s paintings, Flora uses only three fingers to push up part of her clothing to cover her breast--an action that makes the viewer question whether she truly wants to cover herself and adds to the concept of modest beauty. These characteristics, although they would be frowned upon in the modern world, were great portrayals of gender inequality of the time, displaying woman as the “plaything of man.”² In addition to the figure having a Greco-Roman root, the clothing which Flora adorns has a Greco-Roman root as well. Although Flora’s garment could be identified as a camicia, it doesn’t match the wedding gowns of the time; rather, Flora has been dressed as a nymph.³ Thus, it has been assumed that Titian’s portrayal of Flora displays a Venetian perspective on Classical traditional wedding outfits. As a result, this piece stands out as a great example of Venetian society building on Classical traditions. <ol> <li style="font-weight:400;">Anne Christine Junkerman, "The Lady and the Laurel: Gender and Meaning in Giorgione's "Laura"," Oxford Art Journal 16, no. 1 (1993): 49-58. Accessed November 2, 2020. <a href="http://www.jstor.org/stable/1360536">http://www.jstor.org/stable/1360536</a>.</li> <li style="font-weight:400;">Sir Claude Phillips, Titian, (New York: Parkstone International, 2008), Accessed November 2, 2020, ProQuest Ebook Central.</li> <li style="font-weight:400;">Emma H. Mellencamp, "A Note on the Costume of Titian's "Flora"," The Art Bulletin 51, no. 2 (Jun 01, 1969): 174. <a href="https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1296211331?accountid=10598">https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1296211331?accountid=10598</a>.</li> </ol> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived <ul> <li>Journal Article I: Mellencamp, Emma H. 1969. "A Note on the Costume of Titian's "Flora"." The Art Bulletin 51 (2) (Jun 01): 174. <a href="https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1296211331?accountid=10598">https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1296211331?accountid=10598</a>.</li> </ul> <ul> <li>Journal Article II: Junkerman, Anne Christine. "The Lady and the Laurel: Gender and Meaning in Giorgione's "Laura"." Oxford Art Journal 16, no. 1 (1993): 49-58. Accessed November 2, 2020. <a href="http://www.jstor.org/stable/1360536">http://www.jstor.org/stable/1360536</a>.</li> </ul> <ul> <li>Book: Phillips, Sir Claude. 2008. Titian. New York: Parkstone International. Accessed November 2, 2020. ProQuest Ebook Central.</li> </ul> <ul> <li>Image Source: Titian, ca. 1488-1576. c.1515. Flora. Place: Galleria degli Uffizi. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000645729">https://library.artstor.org/asset/ARTSTOR_103_41822000645729</a>.</li> <li>Museum: “Flora by Titian: Artworks: Uffizi Galleries.” by Titian | Artworks | Uffizi Galleries. Accessed November 2, 2020. <a href="https://www.uffizi.it/en/artworks/flora">https://www.uffizi.it/en/artworks/flora</a>.</li> </ul> Publisher An entity responsible for making the resource available Unknown, but was acquired by Archduke Leopold Wilhelm of Austria and later relocated to the Uffizi Date A point or period of time associated with an event in the lifecycle of the resource 1515 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource University of California, San Diego Format The file format, physical medium, or dimensions of the resource Oil on canvas, 79 x 63 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 Galleria degli Uffizi https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Venus_of_Urbino/SCALA_ARCHIVES_1031314662.jpg e836b7a1454507a3e4c570fecb51c97a 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Venus of Urbino Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library-artstor-org.proxy.lib.duke.edu/asset/SCALA_ARCHIVES_1031314662. <div> <div class="gtx-trans-icon"> Grabski, Józef. ""Victoria Amoris": Titian's "Venus of Urbino." A Commemorative Allegory of Marital Love." Artibus Et Historiae 20, no. 40 (1999): 9-33. Accessed November 3, 2020. doi:10.2307/1483663. “Venus of Urbino, 1538 by Titian.” Titian, Paintings, Quotes, and Biography, 2011. https://www.titian.org/venus-of-urbino.jsp. Takac, Balasz. “Venus of Urbino, Titian's Most Sensual Painting.” Widewalls, April 17, 2020. https://www.widewalls.ch/magazine/titian-venus-of-urbino. </div> </div> Publisher An entity responsible for making the resource available Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library-artstor-org.proxy.lib.duke.edu/asset/SCALA_ARCHIVES_1031314662. Date A point or period of time associated with an event in the lifecycle of the resource 1538 Contributor An entity responsible for making contributions to the resource Jacey Curd Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 119 x 165 cm Type The nature or genre of the resource Painting, oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerina degli Uffizi, Tuscany, Italy Description An account of the resource Venus of Urbino, created by Titian, shows a nude woman lounging on a bed in the foregound of the painting. Besides this figure, there are several other symbolic elements with significance [1]. One of these is the bouquet of roses she holds in her hand, which symbolize love. The white sheets she lays on symbolize purity, and the red bed represents love. The little dog that is curled up by her feet is a representation of fidelity [2]. These symbols are what lead many scholars to believe that this woman is Venus, goddess of love, and not another woman, though this is continually disputed. I would side with the scholars who believe this is a depiction of Venus, given both the symbolism and history of the work. Titian is known for many of his paintings depicting mythological scenes, and this particular painting bears strong resemblance to Giorgone's Sleeping Venus in its composition, which was actually finished by Titian [1]. There is also debate among scholars as to whether Titian's interpretation highlights the sensuality of the figure or her virtue and fidelity, given the figures she appears with. What is particularly striking about this work is the gaze of the main female figure, looking directly towards the viewer. Her body is twisted away from her gaze, but this gaze increases the sensuality of the figure in comparison with Giorgone's Sleeping Venus. She has many features that would have been considered the ideal of feminine beauty, such as her curled blonde hair and rosy cheeks. These features of the work, in combination with the symbolism and history discussed earlier, are what lead me to believe that this is a representation of Venus, and not simply a beautiful woman that Titian wanted to paint. [1] Grabski, Józef. ""Victoria Amoris": Titian's "Venus of Urbino." A Commemorative Allegory of Marital Love." Artibus Et Historiae 20, no. 40 (1999): 9-33. Accessed November 3, 2020. doi:10.2307/1483663. [2] “Venus of Urbino, 1538 by Titian.” Titian, Paintings, Quotes, and Biography, 2011. https://www.titian.org/venus-of-urbino.jsp. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae_[with_Cupid]/danae.jpg dcd686a1d8dd83d195a90d5c1970bbd9 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Danaë (with Cupid) Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Commissioner: Cardinal Alessandro Farnese. Image Source: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Date A point or period of time associated with an event in the lifecycle of the resource 1544 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 117 x 69 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 Museum of Capodimonte, Naples, Italy Description An account of the resource Titian, known as the greatest Italian Renaissance painter of the Venetian school, was known for penetrating human character in his canvases. In many of his paintings, he carefully represented physical beauty and a level of eroticism that has not been matched [1]. Titian’s Danaë, painted in 1544, was a commission made for the Cardinal Alessandro Farnese. It is the first of six versions of the same composition made in the 1540s through 1560s. The painting depicts the myth of Danaë, in which her father (Acrisius) receives a prophecy from an oracle that declares his death would be at the hands of his future grandson. In this composition, Danaë is imprisoned in a tower by her father following the oracle’s warning. Danaë is shown fully naked on a bed of white sheets, used to denote her innocence and virtue [2]. Knowing the consequences, Danaë let herself be seduced and impregnated by Zeus. Zeus, appearing as a shower of gold coins, broke the defenses used by Danaë’s father through this disguise. With a white cloth partially draped across her leg, Danaë’s eyes face the shower of gold coins, representing her acceptance of Zeus into her space. Titian contrasts the direction of her eyes with the direction of her body, which faces towards the frame, once again depicting her openness to Zeus. Danaë’s beauty lives up to the standards of Venetian females as she represents the ideal body with her pale skin [2]. Titian uses subtle details like soft body texture and jewelry to emphasize Danaë as a perfect representation of beauty. The figure of cupid on the right gazes upon the scene at the shower of gold coins as he seemingly leans out of the frame. This action symbolizes his acceptance and support for Danaë’s decision. Titian’s Danaë is known as one of the most erotic and sensual works of the time [1]. Titian creates a tranquil scene where Zeus penetrates through Acrisius’s barrier and impregnates his daughter. This painting is often used to evoke the rivalry between painting in Venice and Rome (specifically Michelangelo’s works). Michelangelo is said to have visited this painting, appreciating it for its coloring and style, but mentioned the lack of Venetians ability to draw [3]. [1] Harold Wethey, Titian (Encyclopedia Britannica) 1, 2. [2] Madlyn Millner Kahr, Danaë: Virtuous, Voluptuous, Venal Woman (The Art Bulletin 60, no. 1, 1978) 47, 48. [3] Zhenya Gershman, Rembrandt: The "I" Witness (Arion: A Journal of Humanities and the Classics, 2011), 65. Source A related resource from which the described resource is derived Wethey, Harold. “Titian.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed November 4, 2020. https://www.britannica.com/biography/Titian. Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43-55. Accessed October 30, 2020. doi:10.2307/3049743 Gershman, Zhenya. "Rembrandt: The "I" Witness." Arion: A Journal of Humanities and the Classics, Third Series, 19, no. 2 (2011): 65-91. Accessed November 4, 2020. http://www.jstor.org/stable/41308565. Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Venus_of_Urbino/SCALA_ARCHIVES_1031314662.1.jpg e836b7a1454507a3e4c570fecb51c97a 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Venus of Urbino Description An account of the resource The oil on canvas painting was commissioned for Guidobaldo II, who was designated one year later as the duke of Urbino [1]. Contrary to the description provided by the title, the primary subject matter of the image is a representation of an Italian woman in her bedchamber [1]. The work was intended to be a piece for Guidobaldo’s private enjoyment, a symbol of female beauty, and the qualities he looked for in a spouse [1]. The driving theme of the painting is its sexual nature and seductive tones. The woman is framed front and center, resting legs crossed on a bed with a set of white sheets underneath her nude body and pillows supporting her upper body. The whiteness of the sheets produces a monolithic effect, accentuating her skin and its luminous quality. Directly underneath the sheets is a crimson red bed cushion [2]. The red coloring of the furniture signals an association with passion, desire, and love, standard emotive connections with the color [2]. She is lying in a relaxed position with her gaze directed towards the viewer. It appears the woman could be looking at her lover, who had just entered the room, awaiting his arrival in a flirtatious manner. Her left-hand rests over her pubic region, designating the pelvic area as the focus of the image. Titian employs this positioning from ancient Greek and Roman sculptures of Venus, where she is similarly represented [2]. However, Titian’s illustration is much more erotic. Under these circumstances, the image intends to please the viewer with an ideal depiction of the female body. Also included in the work are various other smaller symbols that relate further meaning. The sleeping dog on the bed is possibly symbolizing marital fidelity [3]. In the background, two maids are at the service of the woman, one searching in the chest and the other holding a luxurious ceremonial gown over her shoulder [3]. The maids represent the woman's high esteem and prestige and how her needs were carefully attended to as a member of a wealthy household. [1] Helen Gardner and Fred S. Kleiner, Gardner's Art Through the Ages: The Western Perspective (Boston, MA: Wadsworth/Cengage Learning, 2010), 488. [2] James R. Jewitt, “Titian, Venus of Urbino,” Smarthistory, August 2020, https://smarthistory.org/titian-venus-of-urbino/. [3] “Venus of Urbino by Titian,” Uffizi, The Uffizi Gallery, Accessed November 3, 2020, https://www.uffizi.it/en/artworks/venus-urbino-titian. Creator An entity primarily responsible for making the resource Titian (Tiziano Vecelli) Source A related resource from which the described resource is derived Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. Boston, MA: Wadsworth/Cengage Learning, 2010. Jewitt, James R. “Titian, Venus of Urbino.” Smarthistory, August 2020. https://smarthistory.org/titian-venus-of-urbino/. “Venus of Urbino by Titian.” Uffizi. The Uffizi Gallery. Accessed November 3, 2020. https://www.uffizi.it/en/artworks/venus-urbino-titian. Image Source: Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314662. Publisher An entity responsible for making the resource available Image Source: Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314662. Date A point or period of time associated with an event in the lifecycle of the resource 1538 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Image Source: Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314662. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 119.2 x 165.5 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Uffizi Gallery, Florence, Italy https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/The_Penitent_Magdalene/SCALA_ARCHIVES_1039489004.jpg 910acd61d536e5fddb760d20eea6429e 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Penitent Magdalene Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian. c. 1533-35. Saint Mary Magdalene in Penitence, The Penitent Magdalen. painting. Place: Galleria Palatina. https://library.artstor.org/asset/SCALA_ARCHIVES_1039489004. Aikema, Bernard. "Titian's Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and Its Critics." Journal of the Warburg and Courtauld Institutes 57 (1994): 48-59. Accessed November 4, 2020. doi:10.2307/751463. Cole, Bruce. Titian And Venetian Painting, 1450-1590. N.p.: Taylor & Francis, 2018. "The Penitent Magdalene By Titian | Artworks | Uffizi Galleries". 2020. Uffizi.It. https://www.uffizi.it/en/artworks/saint-mary-magdalene. Publisher An entity responsible for making the resource available Artstor. Titian. c. 1533-35. Saint Mary Magdalene in Penitence, The Penitent Magdalen. painting. Place: Galleria Palatina. https://library.artstor.org/asset/SCALA_ARCHIVES_1039489004. Date A point or period of time associated with an event in the lifecycle of the resource 1533-35 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on panel, 84 x 69.2 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 Pitti Palace, Florence, Italy Description An account of the resource In this painting, we see a penitent Mary Magdalene worshipping the heavens. Titian portrays Mary Magdalene realistically in multiple ways. First, with regards to the composition of the image, Titian places an ointment jar right next to her, providing a realistic scale for the viewer to use to estimate her size. Second, Titian, rather than using a uniform tone to represent Magdalene’s skin, makes her skin look fleshy, infusing pinks into her otherwise golden skin-tone. In addition, Titian layers the paints on her eyes, making them seem glossy and filled with tears, which adds emotion and expression to her face. In addition, Titian uses shadows to show the heavenly light being reflected on Magdalene, realistically creating shadows around the edge of her figure and adding emphasis for the viewer on the more realistic aspects of the painting, specifically her face. In addition, Titian layers gold in order to create texture in Magdalene’s hair, which is frizzy and adds dimension to the painting, making her seem more alive. Finally, nothing separates the viewer from Magdalene, the main character, creating a connection between God and the viewer, making the viewing experience more personal. Now, the question becomes why would Titian want to make Magdelene more realistic? First the lifelike nature of Magdalene’s portrayal enhances the sensuality of her appearance. Titian adds lots of femininity to the painting by using thick, concentrated brushstrokes and warm tones, highlighting the eyes, soaked in crystalline tears, and the copper blonde hair that covers her bare breasts [1]. In addition, Bruce Cole believes that Titian derived Magdalene’s pose from Venus Pudica, highlighting not only the Renaissance idea of relying on classicism but also the carnal nature of the painting [2]. Bernard Aikema speculates that the reason for this erotic portrayal of Magdalene was as a result of influence from the writings of Saint John Cassian. Cassian believed that temptation should be seen as a test for believers of Christ; therefore, Titian’s work served as a temptation for male viewers who had to overcome their temptations in order to view the religious nature of the work [3]. This realistic and erotic approach makes viewers have a religious and moral battle with themselves, thus increasing their connection with the painting and the significance of the religious scene to them. [1] "The Penitent Magdalene By Titian | Artworks | Uffizi Galleries," (2020), Uffizi.It. <a href="https://www.uffizi.it/en/artworks/saint-mary-magdalene">https://www.uffizi.it/en/artworks/saint-mary-magdalene. </a> [2] Bruce Cole, Titian And Venetian Painting, 1450-1590 (N.p.: Taylor & Francis, 2018), 113. [3] Bernard Aikema, "Titian's Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and Its Critics" in Journal of the Warburg and Courtauld Institutes 57 (1994): 48-59. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae/570px-Tizian_011.jpg cbbf9725cc681774773374d509e89bcf 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 November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Danaë Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived “Danae, 1545 by Titian.” Titian.org. Accessed November 4, 2020. https://www.titian.org/danae.jsp. “Titian's Danaë .” National Gallery of Art, June 19, 2014. https://www.nga.gov/press/exh/3951.html. Zarucchi, Jeanne Morgan. "The Gentileschi "Danaë": A Narrative of Rape." Woman's Art Journal 19, no. 2 (1998): 13-16. Accessed November 4, 2020. doi:10.2307/1358400. Image Source: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Publisher An entity responsible for making the resource available Image Source: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Date A point or period of time associated with an event in the lifecycle of the resource 1544 Contributor An entity responsible for making contributions to the resource Rafael Salazar-Paranhos Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 117 x 69cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo e gallerie nazionali di Capodimonte, Naples, Italy Description An account of the resource The painting Danaë, by Titian, was made in 1544 and is located in the Capodimonte Museum in Naples, Italy. The painting was made for Cardinal Alessandro Farnese’s bedroom and is representative of his own mistress. The painting was made for the Cardinal during a visit by Titian to Rome, and it represents both his highly respected side as a distinguished patron along with his womanizer personality [1]. The painting is in fact a mythical interpretation of Ovid’s Metamorphoses text by Titian, much like his other work later in his life. In addition, this is once again a very specific, “love” commission similar to other paintings from the artist, such as Bacchus and Ariadne which had a very particular meaning for Alfonso d’Este. The story of Danaë is quite complex. It involves very detailed parts which Titian is able to perfectly depict. In the image, we can clearly see the main subject Danaë as she lays under a shower of gold. This shower is representative of Zeus and Jupiter, as he disguises himself into Danaë’s locked chamber in order to impregnate her and give her a son in Perseus [2]. The painting not only shows Titian’s ability to adapt stories into visual depictions, but also his talent of manipulating colors and shades. The composition is made up of a carefully calculated Danaë, as she is positioned in a relaxed manner on her bed. She is dressed in white representing her purity and the scene looks to be getting light from an outside source, which mainly highlights the woman, and creates a shadow in the middle of the painting. The gold is also now made more vivid through these shadows which highlights the symbolism of Zeus and shows Danaë’s openness to the situation. This strategy is key to making the woman the center of attention for Titian’s patron Farnese [3]. There is also a baby cupid that lays near her feet, which of course represents love and, in this case, it has done its job as Zeus has made his way into the room. As can be seen, Danaë shows Titian’s ability to control color and utilize symbols to transform a mythological story into a visual representation. He is able to conform to his patron, Farnese, while also displaying his artistic skills with his creative freedom. [1] “Titian's Danaë,” National Gallery of Art (June 19, 2014) [2] Jeanne Morgan Zarucchi, "The Gentileschi "Danaë": A Narrative of Rape," Woman's Art Journal 19, no. 2 (1998): 13-16. [3] “Danae, 1545 by Titian,” Titian.org (2020)