15 10 177 https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Venice_Enthroned_with_Justice_Peace_amp_the_Lion_of_St._Mark/HUCB_SHARE_109913108135.jpg 6d2d67cffec55a5a091696583f2f08fb https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Venice_Enthroned_with_Justice_Peace_amp_the_Lion_of_St._Mark/0bb903a7aacd4d52e65b08fa283eb8e9.jpg 1198f545bcf11960b3d1a60877043adc 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 <a href="https://library.artstor.org/public/HUCB_SHARE_109913108135">Venice Enthroned with Justice, Peace & the Lion of St. Mark</a> Description An account of the resource The name of this painting is called Venice Enthroned with Justice, Peace & the Lion of St. Mark. It was painted by Paolo Veronese from 1575-1576 and is painted on the ceiling of the Sala del Collegio. It is categorized under a collection with works of Veronese himself and Jacopo Tintoretto. Veronese was born in Verona to a stonecutter and an illegitimate daughter of a nobleman. He moved to Venice in the 1550s and stayed there ever since. He studied under Antonio Badile from about 1518 to 1560 and ended up marrying his daughter in 1566. Veronese worked for patrons, either religious and or secular, in Venice and the Veneto for most of his career. Some of his most famous works include the ceiling and wall painting for the library of S. Marco (1556-7), the Ducal Palace (early 1550s, 1575-82) and the full-scale decoration of the Venetian church of S. Sebastiano (1555-around 1570). This painting provides the scene of Venice being enthroned with Justice, Peace and the Lion of Saint Mark. The angle of this painting is to get a whole view facing from the ground up of this important event. Venice is wearing a gorgeous gown with a golden patterned scheme on a white dress. She is sitting on her throne which has a luxurious, royal look to it. You see the red velvet lining in the chair that happens to look like what a king would wear. Her head is covered by a piece constructed into the chair to give her some shade and she watches what is happening below her. She looks determined yet happy at the same time. Below her are Peace and Justice, two important figures in the Venetian culture. They have been mentioned several times throughout the lectures and various Zoom classes we have had. Justice is holding a sword in her right arm which is representing power, strength and stability. Peace has a set of olive branches in her left arm which represents peace, freedom and victory. The Lion of Saint Mark is under Venice, painted dark and hidden to the human eye. I really had to squint to see him under Venice. The lion appears to be uncomfortable and just being told to sit quietly under the throne of Venice [1]. The background of this painting is a cloudy blue sky with the sun reflecting on Venice, Justice and Peace. Shade is covering up Venice because of the throne above her. It is significant because Justice and Peace, two very powerful spirits in the history of the Venetians, are enthroning Venice and they are providing her with protection, stability, peace and freedom. They also represent what Venice is made of, stability, power, and freedom. When viewing this painting in person, you would have to look up at the ceiling because it is placed on the ceiling. [1] Griffith, Elizabeth. “The Winged Lion of St. Mark: Logo of Venice, Inc.,” 2005: 13. <a href="https://ebha.org/ebha2005/pdf%20papers/Griffith%20FINAL.pdf.">https://ebha.org/ebha2005/pdf%20papers/Griffith%20FINAL.pdf.</a> Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Griffith, Elizabeth. “The Winged Lion of St. Mark: Logo of Venice, Inc.,” 2005: 13. <a href="https://ebha.org/ebha2005/pdf%20papers/Griffith%20FINAL.pdf.">https://ebha.org/ebha2005/pdf%20papers/Griffith%20FINAL.pdf.</a> Krén, Emil, and Daniel Marx. “Venetia between Justitia and Pax.” Venetia between Justitia and Pax by VERONESE, Paolo, 1996. <a href="https://www.wga.hu/html_m/v/veronese/08/collegio/2ceilin2.html.">https://www.wga.hu/html_m/v/veronese/08/collegio/2ceilin2.html.</a> “Paolo Veronese.” The National Gallery, 2016. <a href="https://www.nationalgallery.org.uk/artists/paolo-veronese">https://www.nationalgallery.org.uk/artists/paolo-veronese</a>. Paolo Veronese, “Venice Enthroned with Justice, Peace, and the Lion of Saint Mark,” Venetian Art, accessed September 15, 2020, <a href="http://library.bc.edu/venetianart/items/show/1819">http://library.bc.edu/venetianart/items/show/1819</a>. Rearick, W. R. "Paolo Veronese's Earliest Works." Artibus Et Historiae 18, no. 35 (1997): 147-59. Veronese, Paolo. 1575-1578. Ceiling of the Sala del Collegio, Venice Enthroned w/Justice, Peace & the Lion of St. Mark. painting. Place: Palazzo Ducale Venice, Italy. <a href="https://library.artstor.org/asset/HUCB_SHARE_109913108135">https://library.artstor.org/asset/HUCB_SHARE_109913108135</a>.<a href="https://library.artstor.org/asset/HUCB_SHARE_109913108135."></a> Veronese, 1528-1588. 16th C. Venice Ruling with Justice and Peace. Place: Palazzo ducale (Venice, Italy). <a href="Veronese,%201528-1588.%2016th%20C.%20Venice%20Ruling%20with%20Justice%20and%20Peace.%20Place%3A%20Palazzo%20ducale%20(Venice,%20Italy).%20https%3A//library.artstor.org/asset/ARTSTOR_103_41822000920403.">https://library.artstor.org/asset/ARTSTOR_103_41822000920403</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1575-1576 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource © Loren Partridge Image Rights: Veronese, Paolo. 1575-1578. Ceiling of the Sala del Collegio, Venice Enthroned w/Justice, Peace & the Lion of St. Mark. painting. Place: Palazzo Ducale Venice, Italy. <a href="https://library.artstor.org/asset/HUCB_SHARE_109913108135">https://library.artstor.org/asset/HUCB_SHARE_109913108135</a>. Format The file format, physical medium, or dimensions of the resource Oil on canvas; 250 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 Publisher An entity responsible for making the resource available Publisher: University of California, San Diego ; UC Berkeley Image Rights: Veronese, Paolo. 1575-1578. Ceiling of the Sala del Collegio, Venice Enthroned w/Justice, Peace & the Lion of St. Mark. painting. Place: Palazzo Ducale Venice, Italy. <a href="https://library.artstor.org/asset/HUCB_SHARE_109913108135">https://library.artstor.org/asset/HUCB_SHARE_109913108135</a>. <a href="Veronese,%20Paolo%20(Italian%20painter%20and%20draftsman,%201528-1588)%20painters%20(artists).%201575-1578%20(creation).%20Ceiling%20of%20the%20Sala%20del%20Collegio,%20View%3A%20full,%20Venice%20Enthroned%20w/Justice,%20Peace%20&%20the%20Lion%20of%20St.%20Mark.%20paintings%20(visual%20works).%20Place:%20Palazzo%20Ducale%20(Venice,%20Italy)Venice,%20Venezia,%20Veneto,%20Italy.%20https://library.artstor.org/asset/HUCB_SHARE_109913108135."></a> https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Madonna_and_Child_[Madonna_col_Bambino]/AKRESS_10312336627.jpg d2b04a894b35a6fcaac57b5777d99e94 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 Madonna and Child (Madonna col Bambino) Creator An entity primarily responsible for making the resource Bartolomeo Vivarini Source A related resource from which the described resource is derived Scholarly Article: Borenius, Tancred. "Three Paintings by Bartolomeo Vivarini." The Burlington Magazine for Connoisseurs 19, no. 100 (1911): 192-98. Accessed September 15, 2020. http://www.jstor.org/stable/858767. Publisher An entity responsible for making the resource available Image and original data provided by the Samuel H. Kress Foundation: http://www.kressfoundation.org/ Iconographical subjects provided by the J. Paul Getty Trust's Provenance Index Database: http://www.getty.edu/research/conducting_research/provenance_index Date A point or period of time associated with an event in the lifecycle of the resource Mid 15th Century (1465–1470) Contributor An entity responsible for making contributions to the resource Jared Kreis Rights Information about rights held in and over the resource Bartolomeo Vivarini (Bartolomeo da Murano), Italian, c. 1432-1499. c. 1475. Madonna and Child. Painting. Place: Seattle Art Museum, Seattle, WA. https://library.artstor.org/asset/AKRESS_10312336627. Format The file format, physical medium, or dimensions of the resource 50.2 x 41.9 centimeters Type The nature or genre of the resource Egg tempera on wood panel. Also uses gold leaf. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Seattle Art Museum, Seattle, WA Description An account of the resource Bartolomeo Vivarini was born in 1432 in Venice and was an avid painter for nearly 50 years. One of his most prominent paintings, Madonna and Child, is shown here. It was apart of our virtual tour of the Correr Museum. This painting represents the current trends in Venice during the period. In Florence we are familiar with the competitive, individualistic painting styles. This painting, however, demonstrated the family workshop dynamic of the Vivarini’s in Venice. The painting is clearly religious in nature due to the portrayal of baby Jesus enthroned. The background of the painting is gold leaf, which is very Byzantine in nature. The use of the stippling with the halos above Jesus and Madonna gives this painting more pop by adding a 3D effect. I also find the red and black colors schemes very interesting. Typically red represents war, power, bloodshed, etc and the color black usually refers to death and trauma. It is interesting to see these colors merged, especially with such religious figures such as Madonna and child, which makes me curious if Vivarini for potentially alluding to some sort of religious conflict or violence, Additionally, Jesus has a Contrapposto stance, which is typically reserved for leaders, especially those addressing their troops during battle. This may serve as a representation for how much power the Venetian people put into religion. Overall, Bartolomeo succeeded in infusing into the picture a tender and reposeful sentiment which gives it great charm; and in its beautiful old frame it has something of the effect of a stained glass in a Gothic cathedral. 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 Creator An entity primarily responsible for making the resource Gentile Bellini Source A related resource from which the described resource is derived Giovanni Bellini and Gentile Bellini. Portrait of Doge Mocenigo. painting. Place: Museo Correr. https://library.artstor.org/asset/SCALA_ARCHIVES_1039778348. Plaut, James S. "An Unknown Portrait of a Doge by Gentile Bellini." The Burlington Magazine for Connoisseurs 70, no. 409 (1937): 155-57. Accessed September 15, 2020. http://www.jstor.org/stable/866746. Carboni, Stefano. 2007. Venice And The Islamic World. New York: Metropolitan Museum of Art. 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. Publisher An entity responsible for making the resource available SCALA, Florence/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource 1478-1479 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 tempera painting, 63 x 46 cm Type The nature or genre of the resource painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Correr, Italian and other European Art, Venice. Italy Description An account of the resource This tempera painting was created as one of Gentile Bellini’s many portraits throughout his lifetime. Bellini, a reputable artist even in his early career, became known for his portraiture skills, and this painting can be considered a masterful example of his signature style. According to Terisio Pignatti, this is an early, unfinished work of Bellini’s, likely a private commission from the doge that was cut short by a visit to Constantinople due to the commonality of the cloak worn by the doge and the bare background and lack of defined details in his clothing. Many scholars had attributed the work to Giovanni Bellini; however, once cleaned, the painting showed the world-renowned human characterization and formal qualities of Gentile Bellini. Bellini expertly used the glaze and paint to carve out key aspects of the unerring, quiet, and powerful nature of the Doge, from his angular profile to his clear gaze. This painting also allows us to see how Bellini’s trip to Constantinople to profile the Sultan influenced his painting styles through comparison of the two, painted just one or two years after the portrait of the Doge. According to Stefano Carboni, in the painting of Mocenigo, Bellini employs the more impersonal profile view, while with the Sultan he used the three-quarters view, hinting at Bellini’s later usage of the full frontal view, the most intimate view of all. In addition, Mocenigo’s painting utilized a neutral background, shifting the focus onto the Doge and his character, whereas Mehmet II’s portrait showcases his status and military accomplishments in the background. Both of these key differences seem to showcase the effect his visit to Constantinople had on him. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Procession_in_St._Mark_s_Square/Procession_in_Piazza_San_Marco.jpg 0b9548841362dd363869f786b3d8694d 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 Procession in St. Mark's Square Description An account of the resource Gentile Bellini painted the famous painting, Procession in Piazza San Marco. Gentile was born in a well-known family for art in Venice. His father was a painter, both he and his bother was inspired and took lesson under his father, Jacopo Bellini. [1] Gentile's painting mainly focused on possessions and scenes of daily life. He is also known for the Doges' official portrait artist and produced some of the most quality arts. Unfortunately, the fire that destroyed the Doge's Palace took away many of his works. [1] Although the name of this painting is called " The Procession of St. Marks,", the artwork draws most of our attention to the various details throughout the painting. When we first look at the painting, we will notice the crowds on the reddish bricks. The massive details the Bellini gives each person is incredible, from each person's articles of clothing to their body gesture. Almost every person he painted is unique to themselves. He focused on not only the people but also the buildings. The building that would first come to our eyes is the St. Marks Basilica. Under Bellini's brush stoke, he clearly presented every tile and marble to our eyes and how the sunlight reflects, especially on the green dome. Bellini further enhances the three-dimensional perspective by emphasizing the structure and alignment of the buildings to achieve a realistic effect and capture the moment in time back in the Renaissance age. [1] Kuiper, Kathleen. The 100 Most Influential Painters & Sculptors of the Renaissance. Britannica Educational Publishing, 2010. Creator An entity primarily responsible for making the resource Gentile Bellini Source A related resource from which the described resource is derived Rodini, E. (1998), Describing Narrative in Gentile Bellini’s Procession in Piazza San Marco. Art History, 21: 26-44. doi:10.1111/1467-8365.00091 COLE, ALPHAEUS P. "DEVELOPMENT OF REALISM IN VENETIAN ART." The American Magazine of Art 20, no. 10 (1929): 571-83. http://www.jstor.org/stable/23931226. Oonops. “Mheu, Historical Museum of the Urban Environment.” Procession of the True Cross Piazza San Marco, Venice | Musée historique de l'environnement urbain", 2009. Accessed September 12, 2020. http://www.mheu.org/en/timeline/procession-cross-piazza-san-marco.htm. Kren, Emil, and Daniel Marx. “Procession in Piazza San Marco.” Procession in Piazza San Marco by BELLINI, Gentile, 2007. Accessed September 12, 2020. https://www.wga.hu/html_m/b/bellini/gentile/miracl1.html. Kuiper, Kathleen. The 100 Most Influential Painters & Sculptors of the Renaissance. Britannica Educational Publishing, 2010. Publisher An entity responsible for making the resource available Created by Emil Krén and Daniel Marx Date A point or period of time associated with an event in the lifecycle of the resource 1496 Contributor An entity responsible for making contributions to the resource Emily Song Rights Information about rights held in and over the resource © Web Gallery of Art, use for educational purpose only Format The file format, physical medium, or dimensions of the resource Tempera and oil on canvas, 367 x 745 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice https://venice.dahvc.org/fall-2020/files/original/Venice_Ruling_with_Justice_and_Peace/Venice_with_Justice_and_Peace.jpg 1198f545bcf11960b3d1a60877043adc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Venice Ruling with Justice and Peace Creator An entity primarily responsible for making the resource Paolo Veronese Date A point or period of time associated with an event in the lifecycle of the resource 16th C Contributor An entity responsible for making contributions to the resource Julia Curd Format The file format, physical medium, or dimensions of the resource 252 x 180 cm, Oil on Canvas Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice, Italy Description An account of the resource Venice, Justice, and Peace are all personified as women in this painting. Venice sits up on a throne, above Justice and Peace, dressed in expensive and stylish clothing. Venice was often personified as a maiden, as she was described so in written works until the age of romanticism. Justice is seen to the left of Venice, holding her scales and sword. She is portrayed with these objects many times around the Piazza de San Marco, on the side of the Doge's Palace as well as on the Bell Tower. On Venice's other side is the representation of Peace, holding an olive branch. These two values, Justice and Peace, were symbolized by the city. Justice was considered the "highest civic virtue", while Peace was important for the city to thrive economically and politically. Below Venice, the lion that symbolizes St. Mark is seen. St. Mark is the patron saint of Venice, and is also seen in many places around the Piazza. The winged lion is seen on one of the two columns of the Piazza, as well as with the Doge on the side of the palace. Veronese was commissioned for this work through a competition among artists to see who would be selected to create the works on the ceiling of the Doge's palace. He was selected with another artist, Francesco Bassano. This work is one of many paintings on the ceiling of the Doge's palace, this one specifically representing the values and symbols of the city of Venice. Publisher An entity responsible for making the resource available Signoria de Venice Rights Information about rights held in and over the resource Data from: University of California San Diego Source A related resource from which the described resource is derived Veronese, 1528-1588. 16th C. Venice Ruling with Justice and Peace. Place: Palazzo ducale (Venice, Italy). https://library-artstor-org.proxy.lib.duke.edu/asset/ARTSTOR_103_41822000920403. Gisolfi, Diana. “Veronese [Caliari], Paolo.” Grove Art Online, 2003. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. Wordsworth, William. “On the Extinction of the Venetian Republic by...” Poetry Foundation. Poetry Foundation. Accessed September 15, 2020. https://www.poetryfoundation.org/poems/45539/on-the-extinction-of-the-venetian-republic. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace/Venice_Enthroned_with_Justice_and_Peace/2ceilin2.jpg 51aee900263e72216101a2ababed9c30 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 Venice Enthroned with Justice and Peace Description An account of the resource The painting Venice Enthroned with Justice and Peace is located on one of the ceilings of the Sala del Collegio in Doge Palace. As a result, you would be looking up towards this painting rather than straight ahead at it. The image consists of Venice being enthroned, and dressed in extremely fancy and sophisticated clothing. She is represented by a prominent female figure, as that is how many artists during this time represented her in paintings. She is looking down below with two different female figures in between her that represent Justice and Peace, two of the most important systems of beliefs that were present in Venice. Justice is the figure on the left and she holds a sword at her hand representing strength and virtue while Peace is on the right hand side of the image holding onto an olive branch, which is a symbol for peace and victory. Below these two figures there is also a lion in the dark, which could represent the fact that Justice and Peace are overpowering strength and courage, as the angel figures are what is most important in the city of Venice. Finally, Justice also holds onto a scale, which symbolizes the idea of balance and equality that the city of Venice stands for. This is one of many ceiling paintings, and it is significant for building up a message that is then reflected on the main wall of the palace to celebrate Doge Venier. The Doge Palace incorporated multiple ceiling paintings as a complement to the rest of the artwork. However, while this is a ceiling painting, it is extremely significant for representing the values and beliefs of the Republic of Venice. It was clearly a very fair and just time period, and the political allegory that is shown by this painting is a perfect representation of that. Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Veronese, Paolo (Italian painter and draftsman, 1528-1588) painters (artists). 1575-1578 (creation). Ceiling of the Sala del Collegio, View: full, Venice Enthroned w/Justice, Peace & the Lion of St. Mark. paintings (visual works). Place: Palazzo Ducale (Venice, Italy)Venice, Venezia, Veneto, Italy. https://library.artstor.org/asset/HUCB_SHARE_109913108135. Paolo Veronese, “Venice Enthroned with Justice, Peace, and the Lion of Saint Mark,” Venetian Art, accessed September 14, 2020, http://library.bc.edu/venetianart/items/show/1819. Veronese, Paolo. “Venetia between Justitia and Pax.” Accessed September 14, 2020. https://www.wga.hu/html_m/v/veronese/08/collegio/2ceilin2.html. Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online. 2003; Accessed 14 Sep. 2020. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. Publisher An entity responsible for making the resource available Signoria of Venice 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 Rafael Salazar-Paranhos Rights Information about rights held in and over the resource © Loren Partridge 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) https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace/35/1200px-Jacopo_Tintoretto_-_Minerva_Sending_Away_Mars_from_Peace_and_Prosperity_-_WGA22619.jpg 80afb82095cb64ab8fcf6d358ba5a57f 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 Minerva Sending Away Mars from Peace and Prosperity Description An account of the resource Jacopo Tintoretto was an Italian painter born in Venice whose art was characterized by uniqueness in composition and handling. His painting “Minerva Sending Away Mars from Peace and Prosperity” is part of a group of four extraordinary square paintings that include “Bacchus, Venus, and Adriane,” “Vulcan’s Forge,” and “Mercury and the Graces.” These four paintings were made to celebrate the successful government of Doge Girolamo Priuli. The paintings include mythological and allegorical figures that are meant to emphasize ideas of prosperity and power during Doge Girolamo Priuli’s reign. The four paintings were originally on the walls of the Atrio Quadrato in the Palazzo Ducale, but they are now arranged symmetrically in the Sala dell'Anticollegio in the Palazzo Ducale. In “Minerva Sending Away Mars from Peace and Prosperity,” Tintoretto uses contrasting colors and mythological figures to depict his story. Minerva is seen protecting Peace (wearing an olive wreath crown) and Prosperity (who is partially appearing in the scene to fill her bowl with fruit) from Mars (God of War). As one can see, Tintoretto makes the left side of the painting that includes Minerva, Peace, and Prosperity bright by using light colors in skin, clothes, and accessories. Meanwhile, Tintoretto depicts the right side of the painting that includes Mars as dark, which can be seen through the black armor and lack of bright paint colors. The painting is showing how Minerva is shielding Venice from war in order to keep peace and prosperity in Venice. The lightness on the left side of the painting displays the serene nature of Venice and its success. Peace and Prosperity appear to be glowing in the picture, and this glow can be associated with the thriving nature of Venice under Doge Girolamo Priuli. Creator An entity primarily responsible for making the resource Tintoretto, Jacopo Source A related resource from which the described resource is derived Tintoretto, Jacopo (Venetian painter, 1519-1594). Work: 1576 - 1577, Era: CE, Image: 1967. Minerva Sending Away Mars from Peace and Prosperity, Peace, Harmony and Minerva banishing Mars, general view. painting (visual works). https://library.artstor.org/asset/SS7730878_7730878_10448088. "A Portrait by Jacopo Tintoretto." The Burlington Magazine for Connoisseurs 83, no. 487 (1943): 254-56. Accessed September 14, 2020. http://www.jstor.org/stable/868738. Rearick, W. R. "Venice. Palazzo Ducale and Libreria Marciana." The Burlington Magazine 123, no. 944 (1981): 699-703. Accessed September 14, 2020. http://www.jstor.org/stable/880557. Brooke, Caroline. "The Re-Use of Drawings in the Workshop of Jacopo Tintoretto." The Burlington Magazine 150, no. 1267 (2008): 677-80. Accessed September 14, 2020. http://www.jstor.org/stable/40479903. Cessi, Roberto, and Denis E. Cosgrove. “Cultural Heritage: the Myth of Venice,” April 23, 2020. Accessed September 14, 2020. https://www.britannica.com/place/Venice/Cultural-heritage-the-myth-of-Venice. Publisher An entity responsible for making the resource available Doge Girolamo Priuli Date A point or period of time associated with an event in the lifecycle of the resource 1576 - 1577 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource © Rector and Visitors, University of Virginia Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 148 x 168 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 Sala dell’Anticollegio, Ducal Palace, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Return_of_Jacob_with_His_Family/12jacob1.jpg 3a514023d55669e4d60dd86790d01297 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 Return of Jacob with His Family Creator An entity primarily responsible for making the resource Jacopo Bassano Date A point or period of time associated with an event in the lifecycle of the resource Circa 1580 Contributor An entity responsible for making contributions to the resource Olivia Migli Format The file format, physical medium, or dimensions of the resource Oil on canvas, 150 x 205 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 Source A related resource from which the described resource is derived Nichols, Tom. “Jacopo Bassano, Regionalism, and Rural Painting.” Shibboleth Authentication Request. Accessed September 14, 2020. https://web-a-ebscohost-com.proxy.lib.duke.edu/ehost/detail/detail?vid=30. Christiansen, Keith. “Jacopo Dal Ponte, Called Bassano (Ca. 1510–1592).” metmuseum.org, March 2009. https://www.metmuseum.org/toah/hd/bass/hd_bass.htm. Web Gallery of Art, searchable fine arts image database. Accessed September 14, 2020. https://www.wga.hu/index1.html. Description An account of the resource This painting was painted by Jacopo Bassano, a young man who trained at the cosmopolitan workshop of Bonifacio de’Pitati, circa 1580. This particular painting is apart of the collection of the Sala del Anticollegio in the Palazzo Ducale. Seen in the painting is the biblical story of Jacob, later renamed Israel, and his family's journey back to Canaan. Bassano was known to use the allegory of biblical travel to describe the wandering in search of salvation which is exemplified in the Return of Jacob and His Family. Bassano uses light colors to shine a light on the foreground of the painting. The herd of animal and people are the spotlight along with a brightly lit sky behind a mountain off in the distance. The herd consist of sheep, mule, a horse, and some cow. Darker colors make up the middle ground and edges of the rural landscape in the painting. The trees and forest are all very dark browns, grays, and black. The simplicity of the background makes the detail of the people and animals even more prominent. The sky surrounding the one bright spot looks stormy and cloudy. The contrasting colors lead the gaze of the audience through the painting, which allowed Bassano to effectively tell this story. It is showing the journey of Jacob and his family and of the salvation waiting ahead of them in Canaan, symbolized by the bright spot in the distance, as if salvation is lying ahead waiting for them. The rural landscape is very similar to his other works, as he’s well known for his depiction of domestic animals and peasant-like people at work. The collection of house hold items cluttered around the image are also a telltale sign of Bassano’s work. Publisher An entity responsible for making the resource available https://www.wga.hu/art/b/bassano/jacopo/2/12jacob1.jpg https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/The_Lion_of_the_St._Mark/Lion_of_St._Mark.jpeg 41a00b5b0b29fdf01b6aebe515cce364 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 The Lion of the St. Mark Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Benezit Dictionary of Artists. "Carpaccio, Vittore." Last modified October 31, 2011. https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00032555. Cook, Albert. "Carpaccio's Animals." The Centennial Review 27, no. 4 (1983): 224-43. http://www.jstor.org/stable/23739724. Fortini-Brown, Patricia. Venetian Narrative Painting in the Age of Carpaccio. New Haven: Yale University Press, 1994. Grasman, Edward. "A Salute to You: Expansion under the Wings of Saint Mark." Artibus Et Historiae 33, no. 66 (2012): 121-31. http://www.jstor.org/stable/23509747. Image Source: Artstor, accessed September 15, 2020. https://library.artstor.org/asset/ARTSTOR_103_41822000478501. Publisher An entity responsible for making the resource available Image Source: Artstor, accessed September 15, 2020. https://library.artstor.org/asset/ARTSTOR_103_41822000478501. Date A point or period of time associated with an event in the lifecycle of the resource 1516 Contributor An entity responsible for making contributions to the resource Vik Manocha Format The file format, physical medium, or dimensions of the resource Tempera on canvas, 130.0 x 368.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice, Italy Rights Information about rights held in and over the resource Public Domain. Image Source: Artstor, accessed September 15, 2020. https://library.artstor.org/asset/ARTSTOR_103_41822000478501. Description An account of the resource Vittore Carpaccio (c. 1465 – c. 1520) painted The Lion of St. Mark in 1516 on commission for the Palazzo dei Camerlenghi near the Rialto district [1]. It features a large lion in its center––which represents the Republic’s patron saint St. Mark and therefore the Republic itself––holding a book inscribed with the message “Peace unto you, Mark my evangelist” [2]. Behind the beast is a detailed landscape of Venice, showing key centers of power like the Ducal Palace (home of Venice’s leader, the Doge), St. Mark’s Campanile, and the Arsenal of the city. This painting serves a two-fold purpose, which we can analyze with aid from the location at which it was originally displayed as well as the historical context. Its first layer of meaning comes from its placement in the Palazzo dei Camerlenghi. The large building was not a personal residence but rather a set of offices used for clerical purposes. Thus, the vast size of the work gave all visitors an impression of the sheer power of the family that commissioned it––and whose coat of arms can be seen clearly below the lion’s front foot. The self-promotion of power, however, was not limited to just that of the administrative sense. It also projected the power of Venice. To understand the true intent of Carpaccio’s piece, we have to look at the events directly preceding it. In 1509, several political and religious powers formed the League of Cambrai to counter Venice’s growing influence in the region [3]. Through a series of wars, the Republic had lost much of its territorial holdings and so desperately needed to reassert its dominance or risk collapse [4]. Thus, the Lion of St. Mark––which appears to be coming out of the sea (its traditional area of strength) and onto the land––expresses its desire to have dominion over both. It at the same time reinforces the myth of Venice: although the ships behind it flex its military might, the book’s inscription emphasizes its divine protection as the holiest city in Italy. [1] "Carpaccio, Vittore," Benezit Dictionary of Artists, last modified October 31, 2011. https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00032555. [2] Albert Cook, "Carpaccio's Animals," The Centennial Review 27, no. 4 (1983): 238. [3] Edward Grasman, "A Salute to You: Expansion under the Wings of Saint Mark," Artibus Et Historiae 33, no. 66 (2012): 122. [4] Patricia Fortini-Brown, Venetian Narrative Painting in the Age of Carpaccio (New Haven: Yale University Press), 1994, 54. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Scala_dei_Giganti/Scala_dei_Giganti.jpg 1c44e5e8cff95742bfc25f4e762cad06 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 Scala dei Giganti Creator An entity primarily responsible for making the resource Antonio Rizzo Source A related resource from which the described resource is derived Fenlon, Iain, Piazza San Marco, (Cumberland: Harvard University Press, 2009), Accessed September 13, 2020, ProQuest Ebook Central. Muir, Edward, "Images of Power: Art and Pageantry in Renaissance Venice," The American Historical Review 84, no. 1 (1979): 16-52, doi:10.2307/1855658. Rizzo, Antonio, (Italian architect and sculptor, born before 1440, died 1499 or after) sculptors. 1486-1497 (creation). Scala dei Giganti, View: full, View from inside the passage. stairs. Place: Palazzo Ducale (Venice, Italy)Venice, Venezia, Veneto, Italy. https://library.artstor.org/asset/HUCB_SHARE_109913123485. Wiebke Pohlandt, "Antonio Rizzo," Jahrbuch Der Berliner Museen 13, (1971): 162-207, doi:10.2307/4125724. Wolters, Wolfgang, "Rizzo, Antonio," Grove Art Online, 2003; Accessed 13 Sep. 2020. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000072338">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000072338</a>. Publisher An entity responsible for making the resource available Doge Foscari Date A point or period of time associated with an event in the lifecycle of the resource c. 1486-1497 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource © Loren Partridge Format The file format, physical medium, or dimensions of the resource Limestone and colored marble, originally partially gilt Type The nature or genre of the resource Sculpture/Architecture 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 Description An account of the resource The Scala dei Giganti, which is depicted, is an entrance to the Doge’s Palace. Made of limestone and marble, this staircase is one of many representations of Venetian power and wealth. Although the staircase itself was commissioned to Antonio Rizzo, it is important to recognize that its title is derived from the two sculptures that stand tall at the top of the staircase. Translated into English, Scala dei Giganti literally means “staircase of giants” and refers to the two mythological figures at the top. Standing at the base of the staircase, immediately the quatrefoil design in the base in front of the steps is noticed. When approaching the staircase as depicted in the image, it is important to recognize the role of the two statues at the top: Mars and Neptune. While their symbolic meaning is important, we shall focus on the image for now. Both sculptures create vertical lines, creating a space in between in which the viewer’s eyes follow. As the viewer climbs the steps, the eyes follow the railing of the staircase (which are embedded with high relief imagery) to the two arches flanking the staircase that are below the feet of the sculptures. In their own niches, a coat of arms is shown on each arch, with two divine figures pointing to the coat of arms in high relief. Upon reaching the top of the flight, the viewer is overcome by the two sculptures, Mars (left) and Neptune (right), which stand in contrapposto, another characteristic of Roman art that had made its way into Venetian culture. Mars, the Roman god of war, is depicted as muscular, with a shield behind his right leg and a Roman war helmet on his head. Adjacent to him stands Neptune, the god of the sea, who is also depicted as muscular, with great detail being put into his hair, almost giving the sculpture and sense of animation and fluidity. Both vertical lines of the sculptures lead up to a sculpture of St. Mark’s lion, embedded into the arcade behind the two Roman gods. Each arch has a mixture of high and low relief motifs that lead down towards the doric pilasters which are assimilated into the facade. Given that Venice was an expanding state, with its foreign interests ranging from Milan to the Eastern Mediterranean, it was important that Venice built on this concept of power and righteousness. By incorporating the Roman gods--Mars and Neptune--not only does Venice make the statement that they are powerful on both land and sea, but Venice also makes the statement that they have a seat at the international table with just as much, if not more, authority and power than Rome. This, in conjunction with the fact that this staircase was used for royal processions as well as welcoming honorary guests from foreign lands, serves as strong evidence for the self-promotion of the Venetian state.