16 10 177 https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Minerva_Sending_Away_Mars_from_Peace_and_Prosperity/download-2.jpg 44b9cebfa23ee64f570914413a52a7d7 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 Painted by Jacopo Tintoretto for Doge Priuli, "Minerva Sending Away Mars from Peace and Prosperity" was created in 1576 and is located in the Room dell'Anticollegio. This painting is part of four paintings in a series by Tintoretto that additionally includes "Bacchus, Venus, and Ariadne", "Vulcan's Forge", and "Mercury and the Graces", and is meant to celebrate and draw attention to the prestigious government of Doge Gerolamo Priuli. Jacopo Tintoretto's art is known for its dramatic lighting and animation between characters interacting. Influenced by Titian's use of color, Tintoretto uses bright and dark colors to contrast moods, personalities, and more. In this painting, Minerva can be seen shielding Peace and Prosperity from Mars. Minerva is portrayed in light hues, with a halo-like aura around her, contrasted severely against Mars, who is dressed in dark armor and appears agitated. This painting signifies Minerva, the Virgin, as the protector of Venice and the serenity of the city, sending Mars, who signifies battle, far away from her guarded nation. In the left of the image, Peace can be seen holding Minerva's arm, while Prosperity's head pokes out in the corner. Both Peace and Prosperity are surrounded by the white glowing hue, and appear healthy and well, signifying Venice's thriving nature under Doge Priuli's rule. Tintoretto's original four canvases in this collection were created for Atrio Quadrato of the Doge's Palace, and meant to accompany Tintoretto's portrait of Doge Priuli. In Atrio Quadrato, the paintings would have been met with reverence from all foreign leaders and ambassadors who came to the palace. These paintings were eventually moved to the Sala dell'Anticollegio, where they hang today. Creator An entity primarily responsible for making the resource Jacopo Tintoretto 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). Accessed September 13, 2020. https://library.artstor.org/asset/SS7730878_7730878_10448088 “Save Venice Inc.: Dedicated to Preserving the Artistic Heritage of Venice.” Accessed September 13, 2020. https://www.savevenice.org/project/mercury-and-the-three-graces-the-forge-of-vulcan-minerva-mars-and-peace-bacchus-ariadne-and-venus. “Venezia - Palazzo Ducale - Tintoretto - Gelatina/ Vetro.” n.d. Www.Archiviodellacomunicazione.It. Accessed September 13, 2020. http://www.archiviodellacomunicazione.it/sicap/Fotografie/91324/?WEB=MuseiVE. Minerva Sending Away Mars from Peace and Prosperity by TINTORETTO. Accessed September 14, 2020. https://www.wga.hu/html_m/t/tintoret/4a/1antico2.html. 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 Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 148cm x 168cm Type The nature or genre of the resource Oil Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Room dell'Anticollegio, Ducale Palace, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Portrait_of_Tullia_d_Aragona_as_Salome/830px-Moretto_da_Brescia_-_Portrait_of_Tullia_d_Aragona_as_Salome_-_WGA16230.jpg 8b07082e453a922688fb58944e6ec237 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Tullia d'Aragona as Salome Subject The topic of the resource Portrait of Tullia d'Aragona as Salome Creator An entity primarily responsible for making the resource Moretto da Brescia Date A point or period of time associated with an event in the lifecycle of the resource ca. 1537 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Web Gallery of Art Format The file format, physical medium, or dimensions of the resource Oil on panel, 56.0 x 39.0 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 Pinacoteca Tosio Martinengo, Brescia, Lombardy Description An account of the resource A centrally-positioned woman gazes directly at the viewer, her head cocked to the side as she reclines on a stone wall bearing an inscription. This inscription identifies one level of the figure’s identity as the biblical femme fatale Salome: "QVAE SACRV[M IOANIS] CAPVT SALTANDO OBTINVIT," which translates from Latin to “I won John’s head with a sacred dance.” John’s head is not shown here, nor is Salome engaged in dance, her infamous act of seduction. She is in repose, coolly and regally eyeing her audience, richly dressed in lace, fur, and velvet with an elaborate, jeweled coiffure. The scepter lazily held in her hand demonstrates both her power and her confidence in her authority (compare to Judith’s sword). In the late nineteenth century, Guido Biagi presented this portrait as a faithful likeness of Tullia d’Aragona – a sixteenth-century philosopher, poet, and courtesan – as a type of Muse in the guise of Salome [1]. This portrait has been dated to c. 1537, when d’Aragona was living in Ferrara, where she inspired legendary passion in the literary men at court. In 1547, d’Aragona’s philosophic Dialogue on the Infinity of Love and volume of poetic exchanges were published by the Venetian printing house Giolito. Years earlier, her home in Venice had functioned as literary salon and became the setting for Sperone Speroni’s Dialogue on Love, written in 1537 and published in 1542. D’Aragona’s dialogue responds directly to Speroni’s, as Speroni included Tullia as a character who was unflatteringly associated with irrational, animalistic, carnal love. In her own dialogue, Tullia again appears as a character, but one who controls the conversation and establishes parity between men and women in sensual and intellectual love. If this portrait is indeed of d’Aragona, it alludes to the power of her beauty and sexuality, and her ability to corrupt men. The circumstances of this commission are unknown, though it is unlikely that d’Aragona would have chosen to represent herself this way. In her writings, d’Aragona skillfully crafts her persona, and her self-representation consciously creates distance from her occupation as courtesan. While this image projects the image of refinement that d’Aragona strove for, it lacks any allusion to her learning or cultural production, and emphasizes the very aspect of her identity that she struggled to subsume. This image shows her as she might have been viewed by a man who lusted after her, but not as she wished to be perceived. [1] Guido Biaggi, Un’etera romana: Tullia d’Aragona (con ritratto) (Florence: R. Paggi, 1897), 3-4. Source A related resource from which the described resource is derived <ul> <li>Biaggi, Guido. Un’etera romana: Tullia d’Aragona (con ritratto). Florence: R. Paggi, 1897.</li> <li>d'Aragona, Tullia. Dialogue on the Infinity of Love. Venice: Giolito, 1547.</li> <li>Gombosi, György. Moretto da Brescia. Basel: Holbein-Verlag, 1943. Image Source: Pinacoteca Tosio Martinengo</li> </ul> https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Portrait_of_a_Lady_[Veronica_Franco_]/VeronicaFranco.jpg 9a288f2ac35f5e15f8133a3c88a1935d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of a Lady (Veronica Franco?) Subject The topic of the resource Portrait of a woman believed to be Veronica Franco Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived <ul> <li>Catalogue of All the Principal and Most Honored Courtesans of Venice. Venice, 1570. </li> <li>King, Margaret. Women of the Renaissance. Chicago: University of Chicago, 1991.</li> <li>Smarr, Janet Levarie. Joining the Conversation: Dialogues by Renaissance Women. Ann Arbor: University of Michigan Press, 2005. </li> </ul> Image Source: https://dornsife.usc.edu/veronica-franco/portraits-of-franco/ Date A point or period of time associated with an event in the lifecycle of the resource ca. 1575 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Oil on canvas, 87.0 x 78.7 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 Worcester Art Museum, Worcester, MA, USA https://worcester.emuseum.com/objects/20316/portrait-of-a-lady Description An account of the resource Unlike the supposed portrait of fellow poet-courtesan <a href="https://venice.dahvc.org/fall-2020/items/show/28%20">Tullia d’Aragona</a>, Franco’s eyes are averted from the viewer, so she poses no direct challenge to her audience. Her face recedes into shadow, partially hidden from the viewer, leaving her expression unreadable. The circles under her eyes give the impression of weariness and worldly knowledge, contrasting with the youthful glow in her pink cheeks and her vibrant red hair. Her left hand, asymmetrically-hung cloak, and diagonal line of jewels guide the viewer to a conspicuous expanse of her breast, a hint of nipple striking between her creamy skin and bright white chemise. Either as a visual pun or as an attempt to champion her character, the artist has depicted Franco wearing a strand of pearls, symbolic of chastity and purity. Like d'Aragona, Franco used her poems to defend her special honor above other courtesans by showcasing her intellect and network of powerful connections [1]. In her poetry, she responds to men who attack her in their verses as a prostitute, explicitly stating her worthy character and inviting admiration [2]. This portrait shows a woman who is likewise inviting admiration, acknowledging her profession but not defined by it. Tintoretto, however, has omitted attributes such as quills, letters, and books that would portray her in the intellectual persona she worked to craft for herself. [1] Janet Levarie Smarr, Joining the Conversation: Dialogues by Renaissance Women (Ann Arbor: University of Michigan Press, 2005), 24. [2] Margaret King, Women of the Renaissance (Chicago: University of Chicago, 1991), 216. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Corisca_and_the_Satyr/1920px-Corisca_and_the_Satyr_by_Artemisia_Gentileschi.jpg 81be598ca012142bea954fb13c89981f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Corisca and the Satyr Subject The topic of the resource Corisca, a nymph in Battista Guarini's Il Pastor Fido, evades a satyr through deception Creator An entity primarily responsible for making the resource Artemisia Gentileschi (with Massimo Stanzione) Date A point or period of time associated with an event in the lifecycle of the resource ca. 1630-1635 Contributor An entity responsible for making contributions to the resource Dana Hogan Format The file format, physical medium, or dimensions of the resource Oil on canvas, 155.0 x 210.0 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 Luciano Pedicini Collection, Naples, Italy Description An account of the resource In this painting, we see a young woman fleeing a satyr seated upon the ground. Gentileschi highlights Corisca's movement through the figure's spatial dominance of the picture plane and her billowing garments with highly articulated drapery. Her figure leans diagonally away from the satyr, who parallels her motion, leaning forward to reach for her. Corisca's bright white, gold, purple and green clothes draw the viewer’s eye and position her as the protagonist of the scene through their contrast with the dark, monotonous landscape. The satyr recedes into the background, the lower half of his body barely distinguishable from the dark ground. With his body mainly cast in shadow, the light on his forehead and left shoulder draw attention to his enlarged, pointed ear which marks him as Other. Further creating contrast between the two figures are the exposed expanses of their skin: the satyr's muscular brown torso and arms, and Corisca's bared arms, chest, and front foot, lit by an unidentified source. The differences in their coloring may have been used as tropes of light and dark to communicate their information about the characters' virtue to an early modern audience. Artemisia Gentileschi collaborated with fellow painter Massimo Stanzione to create this image – their individual contributions may be identified through the differing brushstrokes used to depict the figures and the background. While Corisca and the satyr are painted with seamless, virtuosic strokes, the tree, hills and sky behind them are more painterly, that is, the brushstrokes themselves are more visible. This contrast was likely intentional as the narrative depicted belongs to a play: the realistic figures could be understood as interacting in an artificial setting as actors on a stage. In the early 1630s when this painting is believed to have been produced, Artemisia Gentileschi was working for the Duke of Alcala, the Spanish Viceroy of Naples. Prior to Naples, Artemisia had spent four years in Venice, though no known work from this period has survived [1]. It was likely in Venice that she encountered Battista Guarini's play Il Pastor Fido, which became extremely popular throughout Europe and was reprinted multiple times after 1585 [2]. In the scene depicted, the nymph Corisca tricks the satyr by wearing a wig, enabling her to escape his sexual advances while he is left grasping at the wig, surprised to have lost his prey. In early modern Italy this narrative was often understood as a moralizing message for men to beware the wiles of women. Mary Garrard has reinforced the narrative’s connection to Venetian literary circles and reads it as a political statement of an active woman capable of outsmarting a man [3]. [1] Jesse Locker, Artemisia Gentileschi: The Language of Painting (New Haven: Yale University Press, 2015), 4, 85. [2] Jesse Locker, “Artemisia Gentileschi: The Literary Formation of an Unlearned Artist,” in Artemisia Gentileschi in a Changing Light, ed. Sheila Barker (Turnhout: Harvey Miller, 2017), 97. [3] Mary D. Garrard, “Identifying Artemisia: The Archive and the Eye,” in Artemisia Gentileschi in a Changing Light, ed. Sheila Barker (Turnhout: Harvey Miller, 2017), 31. Source A related resource from which the described resource is derived <ul> <li>Garrard, Mary D. “Identifying Artemisia: The Archive and the Eye.” In Artemisia Gentileschi in a Changing Light, edited by Sheila Barker, 11-40. Turnhout: Harvey Miller, 2017.</li> <li>Locker, Jesse. Artemisia Gentileschi: The Language of Painting. New Haven: Yale University Press, 2015.</li> <li>Locker, Jesse. “Artemisia Gentileschi: The Literary Formation of an Unlearned Artist.” In Artemisia Gentileschi in a Changing Light, edited by Sheila Barker, 89-102. Turnhout: Harvey Miller, 2017. Image Source: Art Tribune, January 2012. http://www.artribune.com/wp-content/uploads/2012/01/ART_24_bassa_1.jpg</li> </ul> Publisher An entity responsible for making the resource available Image Source: Art Tribune, January 2012. http://www.artribune.com/wp-content/uploads/2012/01/ART_24_bassa_1.jpg Rights Information about rights held in and over the resource Public Domain. Image Source: Art Tribune, January 2012. http://www.artribune.com/wp-content/uploads/2012/01/ART_24_bassa_1.jpg https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Cameria_or_Mihrimah_Sultan_as_Saint_Catherine/cameria-daughter-of-suleiman-the-magnificent.jpg f66eee5b0c9cc6a766511f4d3933fe05 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cameria, or Mihrimah Sultan as Saint Catherine Subject The topic of the resource Cameria, or Mihrimah Sultan (1522-1578), daughter of Suleiman the Magnificent Creator An entity primarily responsible for making the resource Titian (Tiziano Vecellio) Source A related resource from which the described resource is derived <ul> <li>The Courtauld Institute of Art. “Cameria, Daughter of Suleiman the Magnificent, as Saint Catherine.” Accessed October 2, 2020. <a href="http://www.artandarchitecture.org.uk/images/gallery/f2d2f159.html">http://www.artandarchitecture.org.uk/images/gallery/f2d2f159.html</a></li> <li>Humfrey, Peter. Titian. London: Phaidon, 2007.</li> <li>Sotheby's. "Cameria, or Mihrimah Sultan (1522-1578), Daughter of Suleyman the Magnificent." Lot 216, Arts of the Islamic World & India including Fine Rugs and Carpets, 10 June 2020. https://www.sothebys.com/en/buy/auction/2020/arts-of-the-islamic-world-india-including-fine-rugs-carpets/cameria-or-mihrimah-sultan-1522-1578-daughter-of</li> </ul> Image Source: https://artuk.org/discover/artworks/cameria-daughter-of-suleiman-the-magnificent-as-saint-catherine-207525 Date A point or period of time associated with an event in the lifecycle of the resource ca. 1560 Rights Information about rights held in and over the resource The Samuel Courtauld Trust, The Courtauld Gallery, London. Relation A related resource <a href="http://www.nationaltrustcollections.org.uk/object/996348">Copy after Titian by Pieve di Cadore</a> <a href="https://www.sothebys.com/en/buy/auction/2020/arts-of-the-islamic-world-india-including-fine-rugs-carpets/cameria-or-mihrimah-sultan-1522-1578-daughter-of">Copy after Titian (Private Collection)</a> http://www.nationaltrustcollections.org.uk/object/960194 Format The file format, physical medium, or dimensions of the resource Oil on canvas, 99.3 x 71.5 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 Courtauld Gallery, London, England Contributor An entity responsible for making contributions to the resource Dana Hogan Description An account of the resource Cameria, the daughter of Suleiman the Magnificent, faces the viewer in a three-quarter pose, her expression still and confident as she makes direct eye-contact. Her left hand rests lightly on the wheel of Saint Catherine of Alexandria, a choice that has been attributed to the Ottoman Empire’s possession of Alexandria at the time [1]. Her headdress flows from a jeweled turban around her hair to a high, pointed structure of gold, pearls, rubies and emeralds culminating in a waterfall of white drapery. The cut and fabric of her tunic appear to be typical of Ottoman dress of the time, with a high neck and intricate patterns of flowers and curvilinear forms, contrasting with the low-cut gowns of lace, velvet, satin and silk favored by Venetian noblewomen. Like <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/89%20">Caterina Cornaro</a>, Cameria is shown in this state portrait as a virtuous, learned princess. However, while Cameria is shown in Ottoman costume, she has been somewhat Italianized by the artist through her association with a popular Christian saint and the depiction of her facial features conforming to Venetian ideals of beauty with soft, rounded curves and a pale complexion with rosy overtones. Compare this image of a historic figure of the Near East with the <a href="https://venice.dahvc.org/fall-2020/items/show/28">allegorical figure of Africa</a>, each made from an Italian perspective, most likely for a European audience. [1] “Cameria, Daughter of Suleiman the Magnificent, as Saint Catherine,” The Courtauld Institute of Art, accessed October 2, 2020. <a href="http://www.artandarchitecture.org.uk/images/gallery/f2d2f159.html">http://www.artandarchitecture.org.uk/images/gallery/f2d2f159.html</a> https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Plaque_with_the_Personification_of_Africa_[_]/l_ps1_52150_fnt_dd_t16-tms.jpg fd71e7348881f40b0d3b4dd9f38e8fdf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Plaque with the Personification of Africa (?) Subject The topic of the resource A woman depicted as a huntress, possibly an allegorical figure representing Africa Creator An entity primarily responsible for making the resource Anonymous Venetian, Milanese, or Umbrian Source A related resource from which the described resource is derived <ul> <li>Kaplan, Paul H. D. “Isabella d’Este and Black African Women.” In Black Africans in Renaissance Europe, edited by Thomas Earle and Kate J. P. Lowe, 125-54. Cambridge: Cambridge University Press, 2005.</li> <li>Lowe, Kate. “Introduction: The Black African Presence in Renaissance Europe.” In Black Africans in Renaissance Europe, edited by Thomas Earle and Kate J. P. Lowe, 1-14. Cambridge: Cambridge University Press, 2005.</li> <li>Spicer, Joaneath. “European Perceptions of Blackness as Reflected in the Visual Arts.” In Revealing the African Presence in Renaissance Europe, edited by Joaneath Spicer, 35-60. Baltimore: The Walters Art Museum, 2012. Exhibition catalog.</li> <li>The Walters Art Museum. “Plaque with the Personification of Africa (?)” Accessed September 30, 2020. <a href="https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/">https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/</a></li> </ul> <a href="https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/">Image Source: The Walters Art Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1550-1575 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Creative Commons License Format The file format, physical medium, or dimensions of the resource Stamped gilded iron, 14.2 x 7.2 cm Type The nature or genre of the resource Sculpture 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 Walters Art Gallery, Baltimore, USA Description An account of the resource The ebony, semi-nude body of a woman emerges from a gold ground, positioned in a decorative niche as an allegorical figure. She is in motion, with one foot lifted as she stands in contrapposto, one arm raised to grasp a loop of billowing drapery near her head and the other crossing her body, pointing past the cloth that curves around her hip and flutters in an imagined breeze. The voluptuous, sensuous figure depicted here is believed to represent Africa with her exotically patterned fabric, huntress’ boots [1] and gold bands around her arms, neck, and chest. It is unclear whether the gold atop her head is cloth woven into a turban or tresses styled in an elaborate European coiffure. Though she is figured as a non-European, her dynamic figure is contained by European architecture, framed by all’antica columns and a geometrically-patterned, perspectival floor. Joaneath Spicer has provided an overview of the range of functions of images of people of color in early modern European art, from status symbols to allegorical foils. This image could be categorized both as a display of the worldliness, wealth, and political power of its owner, as well as an expression of an artist’s mastery of a medium – perhaps participating in the tradition of the black Venus type. Spicer has shown that luxurious mediums with a naturally black or brown hue such as iron, onyx, black marble, bronze, and rosewood were used to depict black African bodies in a dual representation of beauty and exoticism [2]. Little is known about the circumstances of the commission of this relief, though the curators at the Walters Museum have compared it to plaques used to decorate a casket commissioned by Emperor Maximilian II [1]. Images such as this were used to celebrate the expansion of European discovery of the world, and accompanied rising investments in European hegemony and cultural narratives that positioned Europe as the refined, intellectual continent with Africa, Asia, and America as foils. While this figure image may have been intended to convey messages of European conquest and global knowledge, she also possesses power and dignity as a beautiful huntress, dominating the space prescribed for her. As an allegorical figure, she is allowed a greater range of motion and activity than a depiction of a historical European woman (see, for example, the placid, bust-length portraits of <a href="https://venice.dahvc.org/fall-2020/items/show/27">Veronica Franco</a>, <a href="https://venice.dahvc.org/fall-2020/items/show/28">Tullia d’Aragona</a>, and <a href="https://venice.dahvc.org/fall-2020/items/show/25">Cameria</a>). Her motion may be compared to that of <a href="https://venice.dahvc.org/fall-2020/items/show/26">Corisca</a>, who manages to outwit and elude her captor. [1] “Plaque with the Personification of Africa (?)” The Walters Art Museum, accessed September 30, 2020. <a href="https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/">https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/</a> [2] Joaneath Spicer, “European Perceptions of Blackness as Reflected in the Visual Arts,” in Revealing the African Presence in Renaissance Europe, ed. Joaneath Spicer (Baltimore: The Walters Art Museum, 2012), 4. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Judith/Judith.jpg c8c221690cd59004a9b35970e5260957 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Judith Subject The topic of the resource The biblical heroine, Judith standing over the decapitated head of Holofernes Creator An entity primarily responsible for making the resource <a href="https://giorgionetempesta.blogspot.com/2011/04/giorgione-judith.html">Giorgione</a> Source A related resource from which the described resource is derived <ul> <li>Brine, Kevin, Elena Ciletti and Henrike Lahnemann, eds. The Sword of Judith: Judith Studies Across the Disciplines. Cambridge: Open Book Publishers, 2010.</li> <li>Dal Pozzolo, Enrico Maria and Lionello Puppi, eds. Giorgione. Milan: Skira, 2009.</li> <li>Fomicieva, T. "The History of Giorgione's 'Judith' and its Restoration." Burlington Magazine 115, no. 844 (1973): 417-21.</li> </ul> Image Source: <a href="https://www.arthermitage.org/Giorgione/Judith.html">The Hermitage Museum</a> Publisher An entity responsible for making the resource available Provenance: Collection of baron L.A. Crozat de Tierra, Paris, 1772 Date A point or period of time associated with an event in the lifecycle of the resource 1504 Contributor An entity responsible for making contributions to the resource Dana Hogan Format The file format, physical medium, or dimensions of the resource Oil on canvas, 144.0 x 68.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Hermitage Museum, St. Petersburg, Russia Description An account of the resource Giorgione’s Judith is a beautiful young widow who has already slain the Assyrian general Holofernes. In fifteenth and sixteenth-century Italy, Judith often served as an allegorical figure of Virtue triumphant, or as the victor in a number of binary oppositions such as the Church vs. the Ottoman Turks. Judith also served as an exempla virtutis for women – an example of the gendered qualities of obedience, humility, and chastity. She became a problematic figure at times: while she was a model of familial and civic virtue, she was also a woman who outsmarted a man and cut off his head. Some preachers and treatise writers warned that her example would lead unintelligent women to kill their husbands, and unflattering prints depicting her as a femme fatale were circulated throughout Europe. This Judith strikes a balance between modest, virtuous woman and symbol of power. Her eyes are averted from the viewer, cast low in a gesture of humility that was typical of portraits of women at this time. Her sword is held loosely at her side, neither bloodied nor wielded high as in other images. However, the positioning of her right arm and the shading of her gown draw the eye to the split seam and her exposed leg. Judith’s bare leg, thrust forward toward the viewer and exerting pressure on Holofernes’s severed head, shows her dominance and is suggestive of the means by which she bested Holofernes. During this time, Judith’s detractors claimed that she seduced Holofernes in order to kill him, whereas her supporters insisted that she remained chaste and won her victory as the handmaiden of God. Giorgione’s rendering leaves room for either interpretation, or further, the possibility of a heroine who embodies that is both sensual and divine. https://venice.dahvc.org/fall-2020/files/original/Minerva_Sending_Away_Mars_from_Peace_and_Prosperity/Minerva_Sending_Away_Mars_from_Peace_and_Prosperity/min_mars.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 Minerva Sending Away Mars from Peace and Prosperity Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Room dell'Anticollegio, Ducale Palace, Venice, Italy Description An account of the resource Painted by Jacopo Tintoretto for Doge Priuli, "Minerva Sending Away Mars from Peace and Prosperity" was created in 1576 and is located in the Room dell'Anticollegio. This painting is part of four paintings in a series by Tintoretto that additionally includes "Bacchus, Venus, and Ariadne", "Vulcan's Forge", and "Mercury and the Graces", and is meant to celebrate and draw attention to the prestigious government of Doge Gerolamo Priuli. Jacopo Tintoretto's art is known for its dramatic lighting and animation between characters interacting. Influenced by Titian's use of color, Tintoretto uses bright and dark colors to contrast moods, personalities, and more. In this painting, Minerva can be seen shielding Peace and Prosperity from Mars. Minerva is portrayed in light hues, with a halo-like aura around her, contrasted severely against Mars, who is dressed in dark armor and appears agitated. This painting signifies Minerva, the Virgin, as the protector of Venice and the serenity of the city, sending Mars, who signifies battle, far away from her guarded nation. In the left of the image, Peace can be seen holding Minerva's arm, while Prosperity's head pokes out in the corner. Both Peace and Prosperity are surrounded by the white glowing hue, and appear healthy and well, signifying Venice's thriving nature under Doge Priuli's rule. Tintoretto's original four canvases in this collection were created for Atrio Quadrato of the Doge's Palace, and meant to accompany Tintoretto's portrait of Doge Priuli. In Atrio Quadrato, the paintings would have been met with reverence from all foreign leaders and ambassadors who came to the palace. These paintings were eventually moved to the Sala dell'Anticollegio, where they hang today. Creator An entity primarily responsible for making the resource Jacopo Tintoretto 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). Accessed September 13, 2020. https://library.artstor.org/asset/SS7730878_7730878_10448088 “Save Venice Inc.: Dedicated to Preserving the Artistic Heritage of Venice.” Accessed September 13, 2020. https://www.savevenice.org/project/mercury-and-the-three-graces-the-forge-of-vulcan-minerva-mars-and-peace-bacchus-ariadne-and-venus. “Venezia - Palazzo Ducale - Tintoretto - Gelatina/ Vetro.” n.d. Www.Archiviodellacomunicazione.It. Accessed September 13, 2020. http://www.archiviodellacomunicazione.it/sicap/Fotografie/91324/?WEB=MuseiVE. Minerva Sending Away Mars from Peace and Prosperity by TINTORETTO. Accessed September 14, 2020. https://www.wga.hu/html_m/t/tintoret/4a/1antico2.html. 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 Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 148cm x 168cm Type The nature or genre of the resource Oil Painting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Minerva Sending Away Mars from Peace and Prosperity Description An account of the resource Minerva Sending Away Mars from Peace and Prosperity is a single painting in a cycle of four paintings that include, Three Graces and Mercury, Bacchus, Ariadne and Venus, Minerva Rejecting Mars and the Forge of Vulcan. [1] These pieces were created from 1576 to 1577 by Jacopo Tintoretto for a commission by one of his patrician patrons, Doge Girolamo Priuli (reg. 1559-67). [1] This work was originally created for the Atrio Quadrato but was later moved to the Sala dell’Anticollegio in the Ducal Palace. [1] The pieces of this cycle, including Minerva Sending Away Mars from Peace and Prosperity, are political allegories that highlight two vital factors of Venice’s government and culture. It illuminates the serene and peaceful nature of the Venetian republic as well as utilizes Renaissance classical revival to convey that Venice is protected by the gods. Specifically, it depicts Venice’s protection from the pagan goddess Minerva by showing the story of Minerva, the goddess of wisdom, protecting the female depictions of Peace and Prosperity, from the approaching god of War, Mars. The subject matter and manner of style of this painting are directly related to the purpose this piece played in the two rooms it was housed in. Both the Atrio Quadrato and the Sala dell’Anticollegio were intended to be lavishly decorated rooms that would give the space a sense of richness as well as convey Venice’s importance and impress the foreign dignitaries that would visit the Doge’s residence. The use of various richly pigmented blues and numerous hues of white, cream, yellows, and browns draw the viewers’ eyes into the painting and adds a level of depth and detail to this piece. Furthermore, this piece was complemented by the ornately decorated relief-like frames that held it. [1] By combining both factors, this piece appeared highly grandiose to viewers and inspires a sense of awe and wonder. This, in turn, impressed the foreign dignitaries who visited the palace and reminded them of the wealth and power that the republic of Venice possessed. Furthermore, Tintoretto uses heavy forms set in a forward plane in order to control the spatial recession of this piece. This detail helped dramatize the story being conveyed in this piece. This emphasis works in conjunction with Tintoretto’s manipulation of light. Specifically, he casts the figures of Minerva acting as a divine protector with bright, vibrant light and colors as well as the figures of Peace and Prosperity but depicts Mars with shadows and darkness. Tintoretto’s drama through the piece's spatial organization as well as his interplay of light shows viewers, both modern and of the time, the values that the Venetian republic holds dear and the protection given to the city. Tintoretto combines various stylistic elements to fulfill two main roles in order to influence the viewers of this piece. The first was to impress the viewers of this piece by conveying Venice’s wealth through the grandeur of the piece. The second role was to illuminate the values of the Venetian republic, which were peace and prosperity over the idea of war, as well as remind viewers of Venice’s continual divine protection. [1] Thomas Nichols, “Tintoretto Family [Robusti],” Grove Art Online, (July 2012): 2-3. Creator An entity primarily responsible for making the resource Jacopo Tintoretto (1519-1594) Source A related resource from which the described resource is derived <ul> <li>Nichols, Thomas. "Tintoretto family [Robusti]." Grove Art Online, (July 2012): 2-3. <a href="https://doi.org/10.1093/gao/9781884446054.article.T085169">https://doi.org/10.1093/gao/9781884446054.article.T085169</a>.</li> <li>Goy, Richard, et al. "Venice." Grove Art Online, (2003). https://doi.org/10.1093/gao/9781884446054.article.T088612.</li> <li>Palazzo Ducale. “Venezia - Palazzo Ducale - Tintoretto - Gelatina/ Vetro.” accessed September 12, 2020. http://www.archiviodellacomunicazione.it/sicap/Fotografie/91324/?WEB=MuseiVE.</li> </ul> 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 circa 1576 - 1577 Contributor An entity responsible for making contributions to the resource Riya Mohan 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 Room dell'Anticollegio, Palazzo Ducale, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Paradise/SCALA_ARCHIVES_10310195577.jpg c14883bc07d012d93ad0988caa514ea8 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 Paradise Creator An entity primarily responsible for making the resource Jacopo Tintoretto (1518-1594) and Domenico Tintoretto (1560-1635) Publisher An entity responsible for making the resource available Signoria of Venice Image Source: Jacopo Tintoretto. After 1588. Paradise. painting. Place: Palazzo ducale (Venice, Italy). https://library.artstor.org/asset/SCALA_ARCHIVES_10310195577. Date A point or period of time associated with an event in the lifecycle of the resource 1588-1592 Contributor An entity responsible for making contributions to the resource Carmel Falek Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 700.0 cm x 2200.0 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 Description An account of the resource The Venetian government, the Signoria, created a contest to see who would create a painting modeled after Dante’s Paradise on the wall of the Great Council Hall after the destruction of the fire of 1577. At first, Veronese was chosen to create the new artwork, but as a result of his death, Tintoretto was placed in charge of the commission. Tintoretto, a Venice native, was born into a family of textile workers. It is unclear who he trained under, however, it is noted that his techniques draw inspiration from Michelangelo and Titian [1]. While creating Paradise, Tintoretto suddenly died from a fever, leading to his son Domenico to continue the painting his father started along with the rest of the workshop. As mentioned previously, Paradise was modeled after Dante’s work and depicts over 800 figures, including the Four Evangelists, Archangels Michael and Gabriel, the Four Doctors of the Church, Old Testament figures, Saints, and Jesus and the Virgin Mary on top. Tintoretto and his son composed the piece to draw the viewer’s attention to Mary and Christ at the top. The painting curves with the center focusing on the two figures. As Kinga Lipinska points out, Tintoretto designed Paradise in a linear fashion, with rows of biblical figures forming an arc [2]. The characters are painted as if they are floating in midair, like they are in heaven. The painting is composed to be chaotic with free space only existing around Mary and Christ in order to focus on them. The father and son utilized a dark and subdued color palette for the painting in order to draw the viewer’s attention to the source of light at the top radiating from the two figures’ heads. Tintoretto and his son aimed to depict the ideal state of heaven, or in other words, paradise. They utilize light, an arc structure, and a busy composition to create the feeling as if one is in heaven. He creates this painting with the idea of inviting the viewer to this ideal state. As Tom Nichols puts it, Paradise fuses the concepts of government and heaven to create the sense that the Venetian Senate was created under divine forces [3]. Venice, in the eyes of Tintoretto, is a result of God and heaven above. [1] "Cavallini to Veronese - Italian Renaissance Art", Accessed September 10, 2020, https://cavallinitoveronese.co.uk/general/view_artist/79. [2] Kinga Lipinska, “Tintoretto's Vision of Paradise,” Liturgical Arts Journal, June 11, 2019, https://www.liturgicalartsjournal.com/2019/06/tintorettos-vision-of-paradise.html [3] Tom Nichols, "Tintoretto: Tradition and Identity," London: Reaktion Books, 1999 Source A related resource from which the described resource is derived Lipinska, Kinga. “Tintoretto's Vision of Paradise.” Liturgical Arts Journal, June 11, 2019. https://www.liturgicalartsjournal.com/2019/06/tintorettos-vision-of-paradise.html. Nichols, Tom. Tintoretto: Tradition and Identity. London: Reaktion Books, 1999. "Tintoretto.” Cavallini to Veronese - Italian Renaissance Art. Accessed September 10, 2020. https://cavallinitoveronese.co.uk/general/view_artist/79. Tietze, Hans. "The Tintoretto Exhibition at Venice." The Burlington Magazine for Connoisseurs 71, no. 414 (1937): 133-35. Image Source: Jacopo Tintoretto. After 1588. Paradise. painting. Place: Palazzo Ducale (Venice, Italy). https://library.artstor.org/asset/SCALA_ARCHIVES_10310195577. https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/St._George_and_the_Dragon/Vittore_carpaccio_san_giorgio_e_il_drago_01.jpg 6594c4e02ac70f5963d6529cd69e289b 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 9: Scuole Painting Cycles Description An account of the resource Painted in 1495, Vittore Carpaccio's "Dream of Saint Ursula" is a part of his series depicting the tale of Saint Ursula, titled "Stories from the Life of Saint Ursula". "Dream of Saint Ursula" was Carpaccio's fifth painting out of a total of eight in the series, and continued his tendency to paint religious scenery. The legend of Saint Ursula from the north was very popular throughout the Middle Ages, and Carpaccio was commissioned by the Confraternity of Saint Ursula in Venice to tell her story. The legend describes Saint Ursula, a martyr who led 11,000 virgin maidens through travel, all of whom were brutally massacred by the Huns in Cologne. "The Dream of Saint Ursula" in particular depicts Saint Ursula in her bed, and is meant to show her dreaming of the angel who informs Saint Ursula of her impending death and martyrship. Carpaccio is widely praised for his close attention to detail, which he demonstrates magnificently in this painting, showing the room with beautiful ceilings, plants on the windows, a dog laying next to the bed, and the shadowy figures around the room that cast a mysterious and dreamy vibe throughout the painting. Creator An entity primarily responsible for making the resource Carpaccio, Vittore Source A related resource from which the described resource is derived Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula: det.: windows. https://library-artstor org.proxy.lib.duke.edu/asset/ARTSTOR_103_41822001712643 Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926. Ruskin, John. Saint Ursula: I. The Story of St. Ursula. II. The Dream of St. Ursula. Duke Libraries . New York: The Devin-Adair Company, 1912. Det:https://find.library.duke.edu/catalog/DUKE008071078?utm_campaign=bento&utm_content=bento_result_link&utm_source=library.duke.edu&utm_medium=referral Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926 Gronau, Georg. "An Unknown Work by Vittore Carpaccio." The Burlington Magazine for Connoisseurs 44, no. 251 (1924): 59-65. Accessed September 8, 2020. http://www.jstor.org/stable/862109. Publisher An entity responsible for making the resource available The University of California, San Diego Date A point or period of time associated with an event in the lifecycle of the resource 1495 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas – 273cm x 267cm 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 di Venezia, Venice, Italy 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 St. George and the Dragon Description An account of the resource The painting shows the first of the three episodes dedicated to St. George's life: the other two are the Triumph of St. George and the Baptism of the Selenites. The works date to Carpaccio's mature period when he was commissioned by the "Scuola" (guild or corporation) of the Schiavoni (Dalmatians) to execute a cycle of nine paintings narrating the stories of their patron saints (George, Jerome, Augustine, and Tryphon). Vittore Carpaccio was one of Venice's leading narrative painters of the late 15th and early 16th centuries, whose richly detailed canvases relating the lives of saints once adorned the city's "scuole," or lay confraternities' meeting places. The story of George is directly inspired by the medieval hagiographical texts of the martyrs, especially by the Passions. The epic of the Holy Martyr on horseback in the act of defeating the dragon and saving the maiden, with the fortified town standing in the background, has been a recurring iconographic theme since ancient times. St. George is portrayed while riding a horse above a wide background, his lance piercing the dragon's head. On the right is a praying princess. A diagonal line connects the princess head, passing through the lance, to the twisted tail of the dragon. The canvases of St. George and St. Tryphon are elongated as if to emphasize the character of the epic story. St. George and the Dragon comes from the island of San Giorgio Maggiore while providing a vigorous image of the knight killing the monster, is also dense with references specific to the Benedictine monastery for which it was made. Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Morabito, Pasquale Maria. "Saint George and the Dragon: Cult, Culture, and Foundation of the City." Contagion: Journal of Violence, Mimesis, and Culture 18 (2011): 135-153. doi:10.1353/ctn.2011.0007. St George and Dragon by Vittore Carpaccio (1465-1525, or ca 1526), tempera on wood, 141x360 cm,San Giorgio degli Schiavoni School, Venice, 1502." In Bridgeman Images: DeAgostini Library, edited by Bridgeman Images. Bridgeman, 2014. http://proxy.lib.duke.edu/login?url=https://search.credoreference.com/content/entry/bridgemandeag/st_george_and_dragon_by_vittore_carpaccio_1465_1525_or_ca_1526_tempera_on_wood_141x360_cm_san_giorgio_degli_schiavoni_school_venice_1502/0?institutionId=2558 Valcanover, Francesco (2007). "Vittore Carpaccio". Pittori del Rinascimento. Florence: Scala. ISBN 88-8117-099-X. Warnke, Martin. ‘Carpaccio, Vittore’. In Religion Past and Present. Accessed September 9, 2020. doi:http://dx.doi.org/10.1163/1877-5888_rpp_SIM_02768. Publisher An entity responsible for making the resource available Sts. George, Jerome, and Tryphon, joined by St. Matthew Date A point or period of time associated with an event in the lifecycle of the resource 1502 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource Oil on canvas, 141 x 360 cm Language A language of the resource English 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 Venice, Scuola Grande Di San Rocco, Italy