15 10 177 https://venice.dahvc.org/fall-2020/files/original/Pope_Paul_III_and_His_Grandsons/pope_paul.jpg 9e8b4c142699911b94cf7e6f6a8dec03 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 Pope Paul III and His Grandsons Description An account of the resource Pope Paul III and His Grandsons is a painting painted by Titian, who was commissioned by the Farnese family. This was one of Titians' finest works Initially looking at this painting you see the three men of different ages. Pope III is sitting in his chair wearing a red suit while his two grandsons are on each side of him. The Pope appears to be very old and ill and positioned very low in this scene. Despite his positioning, the body language from the grandsons shows the great respect they have for him. The Pope also appears to be wearing a cap to most likely cover up any balding or receding hairline. Overall the Pope is visually aging and knows his time is almost up. He is looking at his grandson grinning at him foreshadowing that this grandson will be the successor of the Pope. The brushstrokes of this painting appear to be done very heavily making the atmosphere very tense. The color red is used generously throughout the whole scene. First off, the Pope has red on the upper half of his body and his shoes. One of his grandsons is wearing a full red suit including a red cap. The table next to these two is red too. On the red table, there is a candle illuminating this darkroom making the colors pop. The overall use of the color red adds to this tension Titian intended to illustrate in this painting. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Pope Paul III and His Grandsons, by Titian, www.titian.org/pope-paul-iii-with-his-grandsons-alessandro-and-ottavio-farnese.jsp. Date A point or period of time associated with an event in the lifecycle of the resource 1545-1546 Contributor An entity responsible for making contributions to the resource Ryan Smith Rights Information about rights held in and over the resource Pope Paul III and His Grandsons, by Titian, www.titian.org/pope-paul-iii-with-his-grandsons-alessandro-and-ottavio-farnese.jsp. Format The file format, physical medium, or dimensions of the resource 210cm × 176cm 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 Capodimonte Museum, Naples https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae/SCALA_ARCHIVES_10310197960.jpg f837e48854974b3d268be8ba42c47f8e 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 In this painting Titian exhibits his use of colorito, which is when color is used in a dominating manner in the work. The color helps depict the story of the painting, which involves Jupiter seducing Danaë. The story explains how Danaë was locked in a tower by herself, which led to a life of loneliness and obscurity. Jupiter, the king of gods, came upon her and used his divinity to impregnate her. This eventually led to her giving birth to Perseus. [2] Titian was known for his mythological story-telling with his artwork, and this is clearly no exception. [3] Jupiter is represented in this work as a cloud of gold, possibly to represent his mysticality. Gold was also a color that represents power and wealth. Furthermore, the clean, white sheets represent the innocence and purity of Danaë. Additonally, the distant background also serves as a disconnect between Danaë and society. Titian uses a beautiful blue to represent the serenity of the outside world, but the implementation of perspective also shows how distant Danaë is from society. Another interesting idea about this painting is that it is rumored by scholars to visually quote Michelangelo. Titian was known to be a continuous studier of the motifs and subjects in the works of Michelangelo. [1] This provides a connection between painting in Rome and painting in Venice. [1] Freedman, Luba. "Apelles, Giovanni Bellini, and Michelangelo in Titian's Life and Art. [2] “Danae.” Artble, August 10, 2017. [3] Terisio Pignatti, and David Piper. Titian. Source A related resource from which the described resource is derived “Danae.” Artble, August 10, 2017. https://www.artble.com/artists/titian/paintings/danae. Terisio Pignatti, and David Piper. Titian. New York, New York: Rizzoli, 1981. Freedman, Luba. "Apelles, Giovanni Bellini, and Michelangelo in Titian's Life and Art." Artibus Et Historiae 34, no. 67 (2013): 251-73. Accessed November 4, 2020. http://www.jstor.org/stable/23510254. Image: 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 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 Jared Kreis Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource 117 x 69cm, 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 Museo e gallerie nazionali di Capodimonte, Naples, Italy Creator An entity primarily responsible for making the resource Titian https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/The_Golden_Age/1586871792354752-9.zucchi.oro.jpg 70d10c6e5cef43e0a67b3bcd35217912 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 Golden Age Source A related resource from which the described resource is derived Pillsbury, Edmund. "Drawings by Jacopo Zucchi." Master Drawings 12, no. 1 (1974): 3-88. Accessed November 5, 2020.http://www.jstor.org/stable/1553219. Puttfarken, Thomas “Golden Age and Justice in Sixteenth-Century Florentine Political Thought and Imagery: Observations on Three Pictures by Jacopo Zucchi.” Journal of the Warburg and Courtauld Institutes 43 (1980):130.https://doi.org/10.2307/751192. “The Golden Age | Artworks | Uffizi Galleries.” Accessed November 7, 2020. https://www.uffizi.it/en/artworks/the-golden-age. Image Source: Zucchi, Jacopo“The Golden Age | Artworks | Uffizi Galleries.” Accessed November 4, 2020. https://www.uffizi.it/en/artworks/the-golden-age. Description An account of the resource The Golden age is part of a cycle of three paintings in the Uffizi, including the other two representations of the Ages of Silver, and Iron. The cause or context the cycle of Zucchi was commissioned is not known based on the limited historic documentary, but the circle could be seen as serving the role of portrait covers. [1]In its appearance, the golden age is the ideal and fantastic period of time when human life is full of happiness and peace in the everlasting spring. It’s emphasized in the painting with the blooming flowers, pervasive soft grasses, streams of water, and vibrant plants in the background landscapes. People don’t know the definition of evil and receive harvest without the need for cultivation, as it can be reflected in the exaggerated plump grapes the male figure holding in the foreground. “O bell’anni dell’oro” on the top of the painting is the name of a song, a reference to a musical interlude performed for the festivities of the nuptials of Cosimo I and Eleonora di Toledo. It’s the motto in the painting that emerges in the parchment displayed by two angel figures hovering in the air, and that motto lays the foundation of the cycle’s close connection with the Medici family. [1] The Golden Age myth has proven to be as convincing and effective as ideology in fulfilling the needs of a particular political environment. The Golden Age had gone beyond a period of primordial prosperity for the classical authors. It emphasizes creating the condition of universal morality and justice without punishment or judges. It also celebrates reproduction and breeding of descendants, alluding to the “natural law”, with the painting’s focus on subjects of the pleasant family scene, and depiction of children and animals. How the illusion of the Golden Age helps with political ambitions was to demonstrate to the public that Medici would return along with a return of faith and military strength, as well as artistic accomplishments about liberty, morality, and prosperity. It also reminds the public of the glorious age that people experienced during the previous govern period of the Medici family. [2] Under the perfect justice, the theme of the painting is also closely associated with internal peace, the “Quiet” and “Tranquillity” associated with Medici’s iconography. [2]The emphasis on peace can be reflected in the depiction of actions in the painting----- a group of women and children dancing in a circle on the right side, another group of women gathering and communicating on the lake bank, and young figures picking and sharing flowers and fruits in the foreground, etc. As subjects mainly about private life and family happiness, they form an overall relaxing and undisturbed tone in the wonderland. Jacopo Zucchi had studied under Italian artist Vasari and later became his collaborator and work for the Medici. [3] His theme shows a near resemblance to the Metamorphoses by Ovid, a work that the painter is likely to have had the interpretation of his own, integrating the iconographic elements from the literature source. The painting includes some of the artist’s distinctive styles. It shows his inspiration for composition from Vasari, depicting groups of figures scattered along with the steam. The structure of the painting lays its base from the bottom and construct diagonally to create the depth of the space. [1] The gestures of figures are dynamic, distinct, and at the same time rhythmically guiding the viewers’ focus to perceive the painting as a whole. [1]“The Golden Age | Artworks | Uffizi Galleries.”, Uffizi Galleries, Accessed November 3, 2020. <a href="https://www.uffizi.it/en/artworks/the-golden-age">https://www.uffizi.it/en/artworks/the-golden-age</a>. [2] Thomas Puttfarken, “Golden Age and Justice in Sixteenth-Century Florentine Political Thought and Imagery: Observations on Three Pictures by Jacopo Zucchi.” Journal of the Warburg and Courtauld Institutes 43 (1980): 130. [3] Edmund Pillsbury, "Drawings by Jacopo Zucchi." Master Drawings 12, no. 1 (1974): 3 Creator An entity primarily responsible for making the resource Jacopo Zucchi Publisher An entity responsible for making the resource available Uffizi Galleries Zucchi, Jacopo“The Golden Age | Artworks | Uffizi Galleries.” Accessed November 4, 2020. https://www.uffizi.it/en/artworks/the-golden-age. Date A point or period of time associated with an event in the lifecycle of the resource 1575 c. Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Pictures are propriety of the Gabinetto Fotografico delle Gallerie degli Uffizi. Format The file format, physical medium, or dimensions of the resource Oil on panel, 50 x 38.5 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 Galleries, Florence, Italy https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Mars_and_Venus_United_by_Love/DP167124.jpg c6bbf7af79b0dcac8f470e6380a91be8 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 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mars and Venus United by Love Creator An entity primarily responsible for making the resource Paolo Veronese (1528 - 1588) Publisher An entity responsible for making the resource available Emperor Maximilian II Public Domain. Image Soruce: Veronese, Paolo. Mars and Venus United by Love. Metropolitan Museum of Art. Accessed November 4, 2020. https://www.metmuseum.org/art/collection/search/437891. Date A point or period of time associated with an event in the lifecycle of the resource 1570s Contributor An entity responsible for making contributions to the resource Carmel Falek Rights Information about rights held in and over the resource Public Domain. Image Source: Veronese, Paolo. Mars and Venus United by Love. Metropolitan Museum of Art. Accessed November 4, 2020. https://www.metmuseum.org/art/collection/search/437891. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 205.7 cm x 161.0 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 Metropolitan Museum of Art, New York City, New York Description An account of the resource Paolo Veronese was most likely commissioned by Emperor Maximilian II to create a painting of the Roman mythological gods Venus and Mars [1]. Born in Verona (where his name stems from) to a family of artists, Veronese studied the works of those before him, like Raphael and Michelangelo. During the time he painted Mars and Venus United by Love, he also created other works centered on Roman mythology, such as The Choice of Hercules, diving into the theme of Christian morality [2]. In the painting, Veronese details the union of the Roman gods Mars and Venus. Cupid, their child, binds them together with a love knot, representing the joyous and happy matrimony. Mars is depicted in his battle uniform, alluding to his role as the god of war in ancient mythology. Venus has her arm around Mars, showing affection and compassion towards her loved one, and is adorned with pearls around her neck and hair. Milk is flowing from her breasts, representing nurture and care, important aspects of love [3]. In the background, Veronese details a dark and cloudy sky with trees covering the view. Mars’s warhorse is in the back restrained and at ease with the baby cherub holding a sword. The calm horse contrasts the typical depiction of Mars as an angry god, showcasing how he can be intimate and caring for the woman he loves. Veronese incorporates classical architecture with a rusticated building and sculpture in the background, and his last name carved on the bottom, signifying that the painting is his creation. He composes this artwork by separating the main characters from the background, in order to clearly narrate this story of the ideal matrimony for the viewer. Veronese utilizes light colors when depicting Venus, highlighting her purity as an ideal wife. She is the source of brightness in the painting. Mars’s battle uniform is gold, a color of power and riches, and covered by a silk pink cloth with detailed shadows and folding. The color of the sky in the background is intricate in itself, with Veronese utilizing various shades of blue and teal, creating an almost ombré effect [4]. Paolo Veronese in his allegorical painting Mars and Venus United by Love illustrates the ideal relationship, ultimately showcasing his views on Christian morality. He highlights the key aspects of any holy matrimony, such as unity, intimacy, love, and affection. His purpose is to display to the viewer what it means to be in a healthy and loving partnership through the allegory of Mars and Venus. [1] “Mars and Venus United by Love,” Metropolitan Museum of Art, accessed November 5, 2020, https://www.metmuseum.org/art/collection/search/437891. [2] “Paolo Veronese,” Encyclopedia Britannica, accessed November 5, 2020, https://www.britannica.com/biography/Paolo-Veronese [3] Patricia Simons, "The Incubus and Italian Renaissance Art," Source: Notes in the History of Art 34, no. 1 (2014): 8 [4] Xavier F. Salomon, "Veronese's Skies in S. Sebastiano," The Burlington Magazine 154, no. 1315 (2012): 712 Source A related resource from which the described resource is derived Crastre, Francois, and Frederic Taber Cooper. Veronese. New York, NY: Frederick A. Stokes Company, 1912. “Mars and Venus United by Love.” Metropolitan Museum of Art. Accessed November 5, 2020. https://www.metmuseum.org/art/collection/search/437891. “Paolo Veronese.” The Editors of Encyclopaedia Britannica. Accessed November 5, 2020. https://www.britannica.com/biography/Paolo-Veronese. Rosand, David. "The Passion of Adonis." Arion: A Journal of Humanities and the Classics 21, no. 3 (2014): 5-27. Salomon, Xavier F. "Veronese's Skies in S. Sebastiano." The Burlington Magazine 154, no. 1315 (2012): 711-12. Simons, Patricia. "The Incubus and Italian Renaissance Art" Source: Notes in the History of Art 34, no. 1 (2014): 1-8. Image Source: Veronese, Paolo. Mars and Venus United by Love. Metropolitan Museum of Art. Accessed November 4, 2020. https://www.metmuseum.org/art/collection/search/437891. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Pope_Paul_III_with_his_Grandsons/ARTSTOR_103_41822000645323.jpg a58dd8d7b55bf6384226d6ebc73ceaef 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 Pope Paul III with his Grandsons Subject The topic of the resource Titian's painting Pope Paul III with his Grandsons was commissioned by the pope himself who asked Titian personally for a portrait due to his immense fame.[1] In this picture Pope Paul III is pictured with his two sons Cardinal Alessandro Fernese and Ottavio Fernese. Pope's did not traditionally and were not supposed to have families, but after the fall of the Roman Empire some Pope's were corrupt and sacrilegious. Later in his life, Pope Paul III was charged with nepotism to punish him for propelling his family members' careers forward.[2] The painting was not finished because of the clear depiction of the ongoing feud in the family. [3] Description An account of the resource Titian's portrait of the Pope and his grandsons is filled with rich tones of red and maroon along with dark brown, black and skin toned tan accented with white and silver. Seated in the focal point of the painting is Pope Paul III dressed in a white fur and silk robe with a velvet vestment. He is also wearing a traditional pope's cap. His left hand is gripping the arm of the chair symbolizing his power and strength. His head is turned slightly to the right to address his one grandson Ottavio. Ottavio is bowing slightly next to the pope in reverence and as a polite gesture. He is wearing a black shirt with a brown sash that holsters a knife. His high white socks accent the ouline of his figure from the wooden backdrop. The pope's other grandson stands slightly behind the left side of the pope's chair. He is adorned in red cardinal vestments looking directly at the viewer, but with his body positioned as if he is ready to assume the throne. In the background of the painting faint outlines of detailed wood can be seen, but since the painting is not finished the details are not fully fleshed out. There is a red banner that flows very naturally, showcasing Titian's skill in Renaissance art. [1] Phillips-Court, Kristin. “Emblematic Narrative in Caro's Gli Straccioni (with an Eye to Titian's Paul III).,” 2004. [2] Murphy, Francis Xaiver. “The Council of Trent.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 20, 2020. [3]Wethey, Harold E. “Titian.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 23, 2020. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Murphy, Francis Xaiver. “The Council of Trent.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 20, 2020. https://www.britannica.com/biography/Paul-III/The-Council-of-Trent. Phillips-Court, Kristin. “Emblematic Narrative in Caro's Gli Straccioni (with an Eye to Titian's Paul III).,” 2004. https://link.gale.com/apps/doc/A120702683/AONE?u=duke_perkins&sid=AONE&xid=28639a9d. Titian. “Pope Paul III with His Grandsons.” ARTSTOR. JSTOR, 2020. Museo e gallerie nazionali di Capodimonte. Naples, Italy. https://library.artstor.org/#/asset/ARTSTOR_103_41822000645323. Wethey, Harold E. “Titian.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 23, 2020. https://www.britannica.com/biography/Titian. Publisher An entity responsible for making the resource available Data from: University of California, San Diego Pope Paul III Date A point or period of time associated with an event in the lifecycle of the resource 1545-1546 Contributor An entity responsible for making contributions to the resource Darien Sansosti Rights Information about rights held in and over the resource Titian, ca. 1488-1576. 1545-46. Pope Paul III with his Grandsons. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/ARTSTOR_103_41822000645323. Format The file format, physical medium, or dimensions of the resource 200 x 174 cm Type The nature or genre of the resource Oil painting 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 Museo e gallerie nazionali di Capodimonte Naples, Italy https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Mars_and_Venus_United_by_Love/SS7731421_7731421_11764786.jpg 3dd0f01935b79dbba3ccc7b7597b2502 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 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA 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/SS7731421_7731421_11764786">Mars and Venus United by Love</a> Creator An entity primarily responsible for making the resource Paolo Veronese (1528 - 1588) Source A related resource from which the described resource is derived Veronese, Paolo. "Mars and Venus United by Love."Metropolitan Museum of Art. Accessed November 8, 2020. <a href="https://www.metmuseum.org/art/collection/search/437891.">https://www.metmuseum.org/art/collection/search/437891.</a> Bayer, Andrea. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." The Metropolitan Museum of Art Bulletin 63, no. 1 (2005): 20. Krén, Emil, and Daniel Marx. “Mars and Venus United by Love,” accessed November 8, 2020, <a href="https://www.wga.hu/html_m/v/veronese/10/1allego2.html.%C2%A0">https://www.wga.hu/html_m/v/veronese/10/1allego2.html. </a> Salmon, Xavier F. "Veronese's Skies in S. Sebastiano." The Burlington Magazine 154, no. 1315 (2012): 712. Image Source: Paolo Veronese (Paolo Caliari) (Italian, Verona 1528-1588 Venice). 1570s. "Mars and Venus United by Love." Painting, Paintings. Place: <a href="https://www.metmuseum.org"> The Metropolitan Museum of Art</a>. <a href="https://library.artstor.org/asset/SS7731421_7731421_11764786.">https://library.artstor.org/asset/SS7731421_7731421_11764786.</a> Date A point or period of time associated with an event in the lifecycle of the resource 1570s Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource This image was provided by The Metropolitan Museum of Art. Contact information: The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028, <a href="http://www.metmuseum.org/">http://www.metmuseum.org/</a> Image Source: Paolo Veronese (Paolo Caliari) (Italian, Verona 1528-1588 Venice). 1570s. "Mars and Venus United by Love." Painting, Paintings. Place: <a href="https://www.metmuseum.org/">The Metropolitan Museum of Art</a> <a href="https://library.artstor.org/asset/SS7731421_7731421_11764786.">https://library.artstor.org/asset/SS7731421_7731421_11764786.</a> The person who associated a work with this deed has dedicated the work to the public domain by waiving all of his or her rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. Format The file format, physical medium, or dimensions of the resource Oil on canvas; 205.7 x 161 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 Metropolitan Museum of Art, New York City, New York, USA Description An account of the resource Mars and Venus United by Love was painted by Paolo Veronese (Paolo Caliari) in the 1570s. Veronese was most likely commissioned by Emperor Maximilian II to create this mythological masterpiece. Before the Metropolitan Museum of Art received this painting in 1909-1910, several European royalties owned this painting, starting with Emperor Rudolf II in Prague by 1621. [1] This painting has been in several different exhibits over the last hundred years in the Metropolitan Museum of Art. Veronese displays the Roman gods’ Mars and Venus in a beautiful landscape with their son, Cupid, placed in the lower-left corner. Cupid is tying a love knot around his parents, symbolizing a happy marriage. Both parents are looking at their son; Venus is smiling, and Mars has a straight face. Mars is wearing his war uniform, referring to his status as the god of war in ancient mythology. He is not wearing a helmet, but his armor is decorated in gold with lion faces in the design. He also has a lavender cape that he is holding with his left hand. He is shown with brown curly hair and a full beard, comforting his wife. Venus, the goddess of love, is painted with her blonde hair pinned up, pearls around her neck, and one bracelet on either wrist. She has a blue and gold strap wrapped around her upper right side of her body. It has the same gold lions as Mars’s armor. Venus is nude with the right breast covered by her right hand, her left breast covered by Mars’s head, and her lower body is covered by the other side of Mars’s cape, which is a deep blue color. There appears to be a drop of milk coming from Venus’s breast, which may be an allusion to chastity transformed by love into charity. [2] They appear to be up against the side of a piece of architecture. There is a beautiful landscape with trees and leaves of various colors. You see leaves with green, yellow and brown. The brightness of this painting is very bright, and there is not much shade. Behind the happy family appears another Cupid guarding Mars’s horse with his sword, symbolizing restrained passion [3]. The peaceful horse is portraying the opposite of Mars because Mars is considered an angry god. In the painting, it appears that Mars can be intimate and loving towards his wife. The sky is ombré colored with blue hues of azurite and smalt with various clouds throughout the painted sky [4]. [1] Mars and Venus United by Love,” Metropolitan Museum of Art, accessed November 8, 2020, <a href="https://www.metmuseum.org/art/collection/search/437891.">https://www.metmuseum.org/art/collection/search/437891.</a> [2] Bayer, Andrea. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." The Metropolitan Museum of Art Bulletin 63, no. 1 (2005): 20. [3] Krén, Emil, and Daniel Marx. “Mars and Venus United by Love,” accessed November 8, 2020, <a href="https://www.wga.hu/html_m/v/veronese/10/1allego2.html.%C2%A0">https://www.wga.hu/html_m/v/veronese/10/1allego2.html. </a> [4] Salmon, Xavier F. "Veronese's Skies in S. Sebastiano." The Burlington Magazine 154, no. 1315 (2012): 712. Publisher An entity responsible for making the resource available Emperor Maximilian II Image Source: Paolo Veronese (Paolo Caliari) (Italian, Verona 1528-1588 Venice). 1570s. "Mars and Venus United by Love." Painting, Paintings. Place: <a href="https://www.metmuseum.org/">The Metropolitan Museum of Art</a>. <a href="https://library.artstor.org/asset/SS7731421_7731421_11764786.">https://library.artstor.org/asset/SS7731421_7731421_11764786.</a> https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Pietro_Aretino/Untitled.png 546d53ee8b66c3fd7b916b1edcc05777 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 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA 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 Pietro Aretino Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Salomon, Xavier F. “An important work by Titian has been hiding in plain sight.” Apollo Magazine, September 20, 2019. https://www.apollo-magazine.com/an-important-work-by-titian-has-been-hiding-in-plain-sight/. The Frick Collection. “Pietro Aretino.” Accessed November 10, 2020. https://www.frick.org/exhibitions/parmigianino/aretino. The Metropolitan Museum of Art. “Portrait of Pietro Aretino.” Accessed November 10, 2020. https://www.metmuseum.org/art/collection/search/662705. Image Source: The Frick Collection, accessed November 10, 2020. http://collections.frick.org/view/objects/asitem/items$0040:263. Publisher An entity responsible for making the resource available Image Source: The Frick Collection, accessed November 10, 2020. http://collections.frick.org/view/objects/asitem/items$0040:263. Date A point or period of time associated with an event in the lifecycle of the resource c. 1537 Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource Public Domain. Image Source: The Frick Collection, accessed November 10, 2020. http://collections.frick.org/view/objects/asitem/items$0040:263. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 101.9 x 85.7 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Frick Collection, New York, NY Subject The topic of the resource Prominent Italian author Pietro Aretino sits for a portrait. Description An account of the resource Pietro Aretino was an influential Italian author during the sixteenth century. In addition to his artistic work, however, he was a friend to countless people in power and was nicknamed “the scourge of princes” for his use of blackmail against correspondents [1]. He was keen and active in the realm of politics. In this self-titled work by Titian, Aretino dominates the frame. Although his clothes are dark and muted in color, he still is able to emerge from the background blanketed in a gray shadow. This further allows the gold chain that drapes over his neck and his fair-complexion to bring attention to his bearing over the viewer, from whom he remains aloof. He stands facing the left at a three-quarter turn, giving him additional breadth that projects power and purpose. His gaze is soft and turned upward, showing his wisdom and by extension his creativity that served as the basis for much of his work––meanwhile his graying beard implies a more insidious type of aging. The piece and the figure portrayed can be summed up by one word: presence. Although the portrait currently hangs in New York’s Frick Collection, it was commissioned for Aretino’s publisher Francesco Marcolini [2]. Another one of Titian’s portraits of Aretino (now in the Pitti Palace) was sent as a gift to Cosimo de’ Medici, a powerful and wealthy Florentine banker who ruled over a dynasty [3]. Together, the two recognize Pietro Arentino’s dominance of both the artistic and political landscape, a feat that few of his time could dare to claim. Furthermore, the use of such a prolific and recognized painter signalled great wealth and supremacy. Anyone whose eyes fell upon the portraits––either at the palace of a baron of Florence or at the office of a very well respected publisher––would know instantly the importance of both the owner and the subject. [1] “Pietro Aretino,” The Frick Collection, accessed November 10, 2020, https://www.frick.org/exhibitions/parmigianino/aretino. [2] Xavier F. Salomon, “An important work by Titian has been hiding in plain sight,” Apollo Magazine, September 20, 2019, https://www.apollo-magazine.com/an-important-work-by-titian-has-been-hiding-in-plain-sight/. [3] “Portrait of Pietro Aretino,” The Metropolitan Museum of Art, accessed November 10, 2020, https://www.metmuseum.org/art/collection/search/662705. https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/The_Choice_Between_Virtue_and_Vice/Paolo_veronese_[boucher]_-_hercules_na_encruzilhada.jpg 8e21d3fd252321bf2bd73b0c546202e5 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 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA 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 Choice Between Virtue and Vice Creator An entity primarily responsible for making the resource Paolo Veronese Publisher An entity responsible for making the resource available Unknown 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 The Frick Collection Format The file format, physical medium, or dimensions of the resource Oil on canvas, 219.1 x 169.5 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 Frick Collection, New York City, New York, USA Description An account of the resource Though the patron of this piece may be unknown, the moral lesson shown is clear, which is offered in the form of a story with Hercules at a crossroads. He must choose between Vice, the woman facing away from the viewer and clothed in bright fabrics, who offers him a life of ease and pleasure, or Virtue, who looks more dim and haggard, but points towards the rugged ascent to true happiness. [1] In the piece, Hercules has favored Virtue, but the figure of Vice has ripped his stockings and has a jagged knife that leans against the breast of a sphinx under her skirt as Hercules shields himself from Virtue who, in turn, protects him. [1] The lesson in this piece was conveyed to viewers in conjunction with the painting’s partner piece Allegory of Wisdom and Strength, which was originally hung to the right of The Choice Between Vice and Virtue. [1] This piece is also accompanied with an inscription, located on the entablature at the upper left, which states that “Honor and Virtue flourish after Death.” [1] In The Choice between Vice and Virtue, also known as The Choice of Hercules, [2] Veronese has used his signature style of vivid coloring and detailing in a new direction that results in more intense detailing and complex development. [2] For instance, the painter has used light and color in a flipped symbolism that sets it apart from the traditional use of light and color as symbols in paintings. The figure of Virtue is dull, plain, and cast in shadows, whereas the figure of Vice is bright and illuminated as she is garbed in beautiful and richly colored clothing. However, he reminds the viewers that initial looks may be deceptive by using the symbolism of duplicity associated with the Sphinx as well as the placement of a knife under Vice’s skirt. Though the figure of Vice appears far more attractive, Hercules has chosen the path of Virtue as seen by the spatial positioning in this piece. The white-clothed figure of Hercules can be seen reaching for Virtue as Virtue holds to him and tries to shield him from Vice’s continued attacks, which can be seen in the layout of this piece as Vice continues to reach for him. Through the use of symbolism, light, and spatial organization, Veronese hopes to teach his viewers a moral lesson through this piece, though he does so in a unique manner. Traditionally, the elements of light and bright colors were used to indicate the divine, good, or just. However, Veronese, in this piece, has turned this symbolism to show that what may appear good may not, in reality, be good. This furthers the moral lesson Veronese is conveying through his story because he shows viewers, both contemporary and of his time, that the choice for true happiness and virtue may not be as glamorous as individuals hope for and that it is easy to be trapped in the allure of vice. [1] “The Choice Between Vice and Virtue,” The Frick Collection, accessed November 6, 2020, <a href="https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice;jsessionid=5F4ED9F5E888E0A7D067364109DBECF3?ctx=2d203f6b-ee1c-4f5a-9e91-dc71fb66a6c9&idx=0">https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice;jsessionid=5F4ED9F5E888E0A7D067364109DBECF3?ctx=2d203f6b-ee1c-4f5a-9e91-dc71fb66a6c9&idx=0</a>. [2] Diana Gisolfi, “Veronese [Caliari], Paolo,” Grove Art Online, July 2013: 13. Source A related resource from which the described resource is derived <ul> <li>The Frick Collection. “The Choice Between Vice and Virtue.” Accessed November 6, 2020, <a href="https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice;jsessionid=5F4ED9F5E888E0A7D067364109DBECF3?ctx=2d203f6b-ee1c-4f5a-9e91-dc71fb66a6c9&idx=0">https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice;jsessionid=5F4ED9F5E888E0A7D067364109DBECF3?ctx=2d203f6b-ee1c-4f5a-9e91-dc71fb66a6c9&idx=0.</a></li> <li>Gisolfi, Diana. “Veronese [Caliari], Paolo”. Grove Art Online (July 2013): 13. <a href="https://doi.org/10.1093/gao/9781884446054.article.T089003">https://doi.org/10.1093/gao/9781884446054.article.T089003</a>.</li> <li>Brook, Irene. "Veronese," Renaissance Studies 30, no. 3 (2015): 457. </li> <li>Cocke, Richard. 2005. Veronese. London, England: Chaucer Press.</li> <li>Salomon, Xavier F. 2014. Veronese. London, England: National Gallery Company.</li> </ul> https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Mars_and_Venus_United_by_Love/main-image.1.jpg 8b55e84525f32ce428bb87027a0b3102 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 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mars and Venus United by Love Creator An entity primarily responsible for making the resource Paolo Veronese Publisher An entity responsible for making the resource available Emperor Maximilian II Image Source: Paolo Veronese (Paolo Caliari), Italian, Venetian, 1528-1588. Mars and Venus United by Love. Place: The Metropolitan Museum of Art, http://www.metmuseum.org. https://library.artstor.org/asset/MMA_IAP_10310749724. Date A point or period of time associated with an event in the lifecycle of the resource 1570s Rights Information about rights held in and over the resource The person who associated a work with this deed has dedicated the work to the public domain by waiving all of his or her rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. This image was provided by The Metropolitan Museum of Art. Contact information: The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028, Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 205.7 cm x 161 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 Metropolitan Museum of Art, New York City, New York, USA Contributor An entity responsible for making contributions to the resource Raj Kumar Description An account of the resource Paolo Veronese, an Italian Renaissance painter, was known for his vivid use of color and naturalist style, which he developed from Titian. He created paintings with striking, colorful settings and was admired for the grandeur and sensibility of his brushwork [1]. Veronese’s Mars and Venus United by Love illustrates a peaceful, quiet scene where two mythological subjects are being united by love. On the left, the naked goddess of Venus is seen with her arm around Mars, taming him from his fighting endeavors. The nudity of Venus displays her sensual and erotic power. Her other arm is cupping her right breast, from which milk flows, which denotes attributes of nourishment and fertilization [2]. These attributes soften the image and represent central aspects of love and family. Meanwhile, Mars is depicted in armor and typical solider uniform with a lavender cape draped around most of his body. This cape creates a soft texture in the painting showing his passionate side, displaying him as the lover and not the warrior. On the right side of the painting, a baby cupid can be seen taming a war horse of Mars. This symbolizes the subduction of Mars’s fighting passion for his love for Venus. On the left side of the painting, a second cupid is scene binding the two figures with a love knot, symbolizing their unification through hard times and times of war. The use of two cupids emphasizes how Mars and Venus are putting aside all other hindrances to unify in an eternal state of happiness and accord [2]. The entire scene takes place in a grove and creates a mood of peace and love [3]. The grove gives a sense of an idyllic landscape environment, where this type of impossible engagement can survive. The painting has a very calm tone with a hint of rough texture shown by the sword and war horse, which helps create a balanced composition. The landscape is filled with beautiful trees and leaves of all colors contributing to the mood of prosperity and happiness. The deep blue sky, filled with some clouds, creates a serene atmosphere where these two “lovebirds” can forget about everything and just embrace each other [3]. Overall, Veronese creates an undisturbed composition filled with color to show the “forbidden” love affair by two mythological figures. [1] Rodolfo Pallucchini, Paolo Veronese (Encyclopedia Britannica, 1972) 1, 2. [2] Emil Kren, Mars and Venus United by Love (Web Gallery of Art), 1. [3] Xavier Solmon, Veronese's Skies in S. Sebastiano, (The Burlington Magazine 154, no. 1315, 2012), 711. Source A related resource from which the described resource is derived Pallucchini, Rodolfo. “Paolo Veronese.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 1972. Accessed November 10, 2020. https://www.britannica.com/biography/Paolo-Veronese. Salomon, Xavier F. "Veronese's Skies in S. Sebastiano." The Burlington Magazine 154, no. 1315 (2012): 711-12. Accessed November 10, 2020. http://www.jstor.org/stable/41812820. Kren, Emil. “Mars and Venus United by Love.” Mars and Venus United by Love by VERONESE, Paolo, 2013. https://www.wga.hu/html_m/v/veronese/10/1allego2.html. Bayer, Andrea. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." The Metropolitan Museum of Art Bulletin 63, no. 1 (2005): 20. Accessed November 10, 2020. Paolo Veronese (Paolo Caliari), Italian, Venetian, 1528-1588. Mars and Venus United by Love. Place: The Metropolitan Museum of Art, http://www.metmuseum.org. <a href="https://library.artstor.org/asset/MMA_IAP_10310749724">https://library.artstor.org/asset/MMA_IAP_10310749724</a>. https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/St._Francis_in_the_Desert/download_[5].png 56a142eac7c562763f2fa955ddce0b13 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 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA 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 St. Francis in the Desert Description An account of the resource In this painting, we see Saint Francis in the Desert after receiving stigmata, the crucifixion wounds of Jesus. Giovanni Bellini pulls the focus onto the details of the landscape in multiple ways. First, with regards to the composition of the image, Bellini scatters objects of religious and Franciscan significance throughout the painting, not giving anything for viewers to focus on and thus forcing to consider the image in its entirety to discover the meaning behind the painting. Second, he uses a variety of warm-toned pastels in the painting aside from the blue sky in the background, which creates a uniform feel to the painting and does not add specific contrast for a viewer’s eye to be drawn to. In addition, Bellini adds multiple sources of light, both in the back of the painting and on the saint’s face, which is very different from the normal beam of light that either emanates from or shines on central figures in most religious painting and moves the focus away from the saint himself to include the rest of the painting. Finally, Giovanni Bellini adds more texture in the foreground as compared to the background of the painting, which increases the viewer’s focus on the foreground and the objects in the foreground; however, there is not any particularly textured area in the foreground, diffusing the focus throughout the foreground. Now, the question becomes why would Bellini want to make the entire landscape the focus of the painting rather than Saint Francis himself? First, the painting contains lots of details that have meaning in Franciscan and religious literature; for example, the water trickling from a spot out of the stones would easily evoke to any viewers at the time comparison to the miraculous fountain brought forth from the rocks at Horeb by Moses and reminding them of the enduring miracles of the Lord [1]. Tiny details like these are scattered throughout the painting, and Bellini would want to bring attention to them, so the viewer would be able to understand the enhanced meaning of the painting. In addition, because the art was meant to be hanging in a palace, Keith Christiansen believes that the conspicuous location played into the lack of focus in the painting, forcing viewers to focus on the details of the painting and meditate on its meaning [2]. This meditation is especially important for this painting of Saint Francis as Fransiscans have the pivotal role of leadership, renewal, and prophetic purification within the church; thus, any depiction of Francis is a statement of and about the church [3]. The inclusion of the many important symbols necessitated the lack of a clear focus on the central figure as it left room for the viewer to individually understand what the meaning of the painting was, playing into the idea of personal interpretations of religion and religious art that became increasingly popular with the advent of the Renaissance. [1] Art in The Frick Collection: Paintings, Sculpture, Decorative Arts, (New York: Harry N. Abrams, 1996). [2] Keith Christiansen, "Bellini and the Meditational "poesia" in Artibus Et Historiae 34, no. 67 (Poland: IRSA, 2013): 9-20. [3] John V. Fleming, From Bonaventure to Bellini: An Essay in Franciscan Exegesis, (United States: Princeton University Press, 2017), 160. Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Bellini, Giovanni. 1476. Saint Francis In The Desert. Oil on panel. New York City: The Frick Collection. https://collections.frick.org/miradorviewer/Objects/39?json=6b641709-231c-11eb-a22c-5b1b306822b4 Christiansen, Keith. "Bellini and the Meditational "poesia"." Artibus Et Historiae 34, no. 67 (2013): 9-20. Accessed November 10, 2020. http://www.jstor.org/stable/23510240. Art in The Frick Collection: Paintings, Sculpture, Decorative Arts, New York: Harry N. Abrams, 1996. Fleming, John V.. From Bonaventure to Bellini: An Essay in Franciscan Exegesis. United States: Princeton University Press, 2017. 160. Publisher An entity responsible for making the resource available M. Zuan Michiel, Bellini, Giovanni. 1476. Saint Francis In The Desert. Oil on panel. New York City: The Frick Collection. https://collections.frick.org/miradorviewer/Objects/39?json=6b641709-231c-11eb-a22c-5b1b306822b4 Date A point or period of time associated with an event in the lifecycle of the resource 1476-78 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource Copyright © 1998-2020 The Frick Collection. All Rights Reserved. Format The file format, physical medium, or dimensions of the resource Oil on panel, 124.6 x 142 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 Frick Collection, New York City, United States of America