16 10 177 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.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 Description An account of the resource Created by Paolo Veronese c. 1570, Mars and Venus United by Love tells the love story of Mars, the god of war, and Venus, the goddess of love and beauty. The two figures can be seen as being physically united in this painting, as Cupid binds them together with a love knot to symbolize their love and passion for each other – despite Venus being legally married to Hephaestus. Veronese depicts a beautifully detailed mythological scene with ties to religion, that was likely created for Emperor Maximillian II [1]. In his painting, Veronese depicts Mars and Venus in traditional clothing that would fit their roles as warrior and lover, respectively. However, Veronese skillfully shows a tamed depiction of Mars' ferocity through his clothes and mannerisms, as well as a heightened depiction of Venus' passion, conveying to the viewer that their love conquered all hindrances to it. Mars is shown in his battle uniform with full armor but is missing his helmet and sword – at this moment, he is simply Venus' lover, rather than a fighter. Venus is portrayed in pearls with her blonde hair pinned up, as milk flows from her breasts representing the passion and nurture from their love. Venus' nudity was likely very intentional, illustrating her sensual and erotic qualities as the goddess of love – Mars partially covers her, however, holding up cloth in a protective, possessive, and caring manner. Veronese continues to demonstrate how their love overcomes their drastically differing personalities, by depicting Mars' warhorse in the background, appearing docile and calm. Traditionally, the horse represents Mars' anger and violence, but in this scene reflects his true love and care for Venus [2]. The sky is shown to be dark with clouds dispersed throughout, which appears to contrast the happiness of the figures in the foreground, but works in harmony with the scene to highlight Venus and Mars and keep the focus of the painting on their love. Veronese's use of light highlights both figures, but shines especially brightly on Venus, demonstrating her purity, and Mars' armor, demonstrating his ability to protect her. In the background, Veronese paints trees in full bloom, as well as traditional architecture in the sculpture behind the figures, with his name carved into the base, identifying the creation as his own [3]. With his skillful use of lighting, clothing, and expressions to demonstrate the characteristics of each of the figures, Veronese highlights to the viewer a story of true love. [1] "Mars and Venus United by Love," Metropolitan Museum of Art, accessed November 10, 2020, https://www.metmuseum.org/art/collection/search/437891 [2] Frederick Hartt. "Mars and Venus United by Love." The Renaissance in Italy and Spain, 144–45. [3] Daniel Marx. “Mars and Venus United by Love,” accessed November 10, 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> Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived “Mars and Venus United by Love.” Metropolitan Museum of Art. Accessed November 5, 2020. https://www.metmuseum.org/art/collection/search/437891. Hartt, Frederick. “Mars and Venus United by Love.” In The Renaissance in Italy and Spain, 144–45. New York: The Metropolitan Museum of Art, 1987. 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> <div></div> “Paolo Veronese,” accessed November 10, 2020, https://www.britannica.com/biography/Paolo-Veronese Publisher An entity responsible for making the resource available Emperor Maximilian II Public Domain. Image Source: Veronese, Paolo. Mars and Venus United by Love. Metropolitan Museum of Art. Accessed November 10, 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 c. 1570 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan 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 10, 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 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 Metropolitan Museum of Art, New York City, New York https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/David_with_the_Head_of_Goliath/SCALA_ARCHIVES_1039488548.jpg a49a2cfc1306a303b70a8f715fecb386 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 David with the Head of Goliath Creator An entity primarily responsible for making the resource Michaelangelo Caravaggio (1571-1610) Source A related resource from which the described resource is derived Arenas, Amelia. "Sex, Violence and Faith: The Art of Caravaggio." Arion: A Journal of Humanities and the Classics 23, no. 3 (2016): 35-52. “Caravaggio: Naples, Malta, Sicily, Naples, Porto Ercole: 1606–10.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed November 12, 2020. https://www.britannica.com/biography/Caravaggio/Naples-Malta-Sicily-Naples-Porto-Ercole-1606-10. “David with the Head of Goliath.” Galleria Borghese. Accessed November 12, 2020. https://galleriaborghese.beniculturali.it/en/opere/david-with-the-head-of-goliath/. “David with the Head of Goliath by Caravaggio.” Borghese Gallery. August 2, 2019. https://borghese.gallery/collection/paintings/david-with-the-head-of-goliath.html. D’Errico, Lucia. "Derivative VII: How to Produce a Phantasm? Part I: Gian Lorenzo Bernini." In Powers of Divergence: An Experimental Approach to Music Performance, 88-92. Leuven (Belgium): Leuven University Press, 2018. Image Source: Michelangelo Merisi da Caravaggio. c. 1609-10. David with the Head of Goliath. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488548. Publisher An entity responsible for making the resource available Scipione Borghese Image Source: Michelangelo Merisi da Caravaggio. c. 1609-10. David with the Head of Goliath. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488548. Date A point or period of time associated with an event in the lifecycle of the resource 1610 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, 125.0 cm x 101.0 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 Galleria Borghese, Rome, Italy Description An account of the resource Michelangelo Caravaggio, born in Milan, mastered painting biblical stories in a dark and violent light [1]. Caravaggio created David with the Head of Goliath for Scipione Borghese, an Italian cardinal, as a way of asking for forgiveness for murdering Tomassoni in a duel in 1606 [2]. He created the painting as a form of repentance, begging the cardinal to forgive his sins [3]. Caravaggio depicts the classic Old Testament story of David's triumph over Goliath. He paints David holding the head of Goliath against a dark background. He looks down on the head with a sense of remorse consuming him as his face expresses shame. The source of light comes from the side as if a spotlight is hitting the figures. This in turn creates a dramatic effect as it pulls the viewer’s attention solely to David and Goliath’s head. Caravaggio utilizes a dark background to ensure that all of the focus is put on the characters. He uses a neutral color palette, with the clothes loosely hanging from David’s body painted with light colors, not overpowering the scene. The painting is composed using diagonal lines which effectively narrates this biblical story as the viewer reads the artpiece starting from David's face in the top left corner all the way down to Goliath’s head on the bottom right. It is said that Goliath’s head is a self-portrait of Caravaggio, representing his guilt for the crimes he committed [4]. He illustrates this scene in a dramatic and realistic light, rather than the typical heroic narrative. He depicts David as remorseful, highlighting the Christian idea that murder is a sin regardless. The story of David defeating Goliath represents Christian triumph over evil, yet Caravaggio takes a deeper look into this dichotomy of hero versus villain, providing the perspective that maybe David is not the hero he is made out to be in the Bible. Through David with the Head of Goliath, he visualizes the idea that David is still a sinner by killing his opponent, paralleling with his guilt for killing Tomassoni. Caravaggio created the painting with the purpose of underscoring Christian morality and the relationship between sin and remorse while also retelling and illustrating this Biblical story. [1] “David with the Head of Goliath by Caravaggio,” Borghese Gallery, Accessed August 2, 2019, https://borghese.gallery/collection/paintings/david-with-the-head-of-goliath.html. [2] “David with the Head of Goliath,” Galleria Borghese, Accessed November 12, 2020, https://galleriaborghese.beniculturali.it/en/opere/david-with-the-head-of-goliath/. [3] “Caravaggio: Naples, Malta, Sicily, Naples, Porto Ercole: 1606–10,” Encyclopædia Britannica, Accessed November 12, 2020, https://www.britannica.com/biography/Caravaggio/Naples-Malta-Sicily-Naples-Porto-Ercole-1606-10. [4] Amelia Arenas, "Sex, Violence and Faith: The Art of Caravaggio," Arion: A Journal of Humanities and the Classics 23, no. 3 (2016): 40 https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/St._Francis_in_the_Desert/AMICO_FRICK_103804828.jpg 40c1f45bebecb0370d29ba896dd086e2 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 Creator An entity primarily responsible for making the resource Giovanni Bellini Date A point or period of time associated with an event in the lifecycle of the resource ca. 1476-78 Contributor An entity responsible for making contributions to the resource Jackson Huether Source A related resource from which the described resource is derived “The Ecstasy of St. Francis (1480).” Art Encyclopedia. ENCYCLOPEDIA OF ART EDUCATION. Accessed November 11, 2020. http://www.visual-arts-cork.com/famous-paintings/ecstasy-of-saint-francis.htm. Janson, Horst W, and Anthony F Janson. History of Art: The Western Tradition. Upper Saddle River, NJ: Pearson/Prentice-Hall, 2004. The Frick Collection. “St. Francis in the Desert.” The Frick Collection. Accessed November 11, 2020. https://collections.frick.org/objects/39/st-francis-in-the-desert. Image Source: Giovanni Bellini, European; Southern European; Italian, c.1430-1516. c. 1480. St. Francis in the Desert. Paintings. Place: The Frick Collection, New York, New York, USA, Purchased, 15.1.3, http://www.frick.org/. https://library.artstor.org/asset/AMICO_FRICK_103804828. Publisher An entity responsible for making the resource available Giovanni Michiel Image Source: Giovanni Bellini, European; Southern European; Italian, c.1430-1516. c. 1480. St. Francis in the Desert. Paintings. Place: The Frick Collection, New York, New York, USA, Purchased, 15.1.3, http://www.frick.org/. https://library.artstor.org/asset/AMICO_FRICK_103804828. Rights Information about rights held in and over the resource This image was provided by The Frick Collection for use in connection with the ARTstor Digital Library. For any uses of this image beyond those permitted in the ARTstor Digital Library License Agreement and the ARTstor Terms and Conditions of Use, please contact Kathrine Gerlough, Head, Retail Sales and Information, The Frick Collection, 1 East 70th Street, New York, NY 10021, (212) 547-0670 (ph), (212) 628-4417 (fax),gerlough@frick.org. Image Source: Giovanni Bellini, European; Southern European; Italian, c.1430-1516. c. 1480. St. Francis in the Desert. Paintings. Place: The Frick Collection, New York, New York, USA, Purchased, 15.1.3, http://www.frick.org/. https://library.artstor.org/asset/AMICO_FRICK_103804828. Format The file format, physical medium, or dimensions of the resource Oil on panel, 124.6 x 1412.0 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 Frick Collection, New York, United States Description An account of the resource The oil on panel work was commissioned by an esteemed Venetian bishop by the name of Giovanni Michiel. The dominating subject of the work, located in the foreground and positioned slightly to the right, is Saint Francis of Assisi. The scene depicted in the image has often been compared to Francis receiving the stigmata, which are Christ’s wounds from his crucifixion, on the Feast of the Holy Cross in 1224 [1]. However, later scholars have identified the scene as an illustration of Francis’ Hymn of the Sun, based on a period of his annual fast where he could not bear sunlight and was plagued by rodents [1]. Nonetheless, Francis is pictured having emerged from a dark cave directly behind him, with a source of light beaming on him from above creating a radiance or glow around his whole body. His upper torso is slightly slanted so that he gazes upwards, possibly looking towards the heavens or Christ. There is an immediate focus on Francis’ awe and his figure is made intentionally small to stress his insignificance compared to the divine power of God’s creation [2]. Pictured throughout the scene are various creatures, a connection to St Francis’ love of animals and his role as a patron saint [2]. In the background a shepherd is attending to his sheep, and towards the front are a donkey, heron, and a rabbit. The sky is composed of a rich set of different shades of blue, with puffy white clouds establishing a sense of depth. The urban complex follows the curvature of the hills and mountains, with some buildings built into the sides of the landscape. Instead of tearing down the landscape, it appears the man made structures work in conjunction with nature in a harmonious relationship. Furthermore, the urban structures are miniscule in comparison to the vast amounts of grass, rock, and shrubbery which correlate the divine power and reign of nature. Other objects included in the panel are designed to improve the realism and figurative connotations of the work. The skull on the top of the reading desk alludes to Golgotha as well as the mortal nature of human life in contrast with the eternal nature of the divine [2]. The sandals behind St. Francis recall an encounter between God and Moses, as detailed in the Holy Bible [3]. The dead, thin tree can initially be regarded as a symbol of Christ’s cross and crucifixion [3]. However, further intuition can relate the tree to the Burning Bush from the Book of Exodus [3]. In conclusion, the panel presents the permeation of divine power into the mortal lives of God’s people. [1] Horst Janson and Anthony Janson, History of Art: The Western Tradition (Upper Saddle River, NJ: Pearson/Prentice-Hall, 2004), 58. [2] “The Ecstasy of St. Francis (1480),” Art Encyclopedia, Encyclopedia of Art Education, Accessed November 11, 2020, http://www.visual-arts-cork.com/famous-paintings/ecstasy-of-saint-francis.htm. [3] “St. Francis in the Desert,” The Frick Collection, The Frick Collection, Accessed November 11, 2020, https://collections.frick.org/objects/39/st-francis-in-the-desert. https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Mars_and_Venus_United_by_Love/Mars_and_Venus_United_by_Love.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 Mars and Venus United by Love Description An account of the resource Depicted in this painting are Venus and Mars, looking down as a putti ties their legs together, symbolizing unity through marriage. Mars dons golden armor with high-quality rose colored drapery, almost indicative of movement and animation. On the other hand, Venus is nearly naked, only adorning fine jewelry, specifically pearls, which match the color of her skin tone. The gazes of Mars and Venus, in addition to the line created by their body position, directs the viewer’s attention towards the putti, thus emphasizing the main theme of the painting: unity through love/marriage--as indicated by the title. This concept is further solidified by the shape of the figures’ bodies: together, the figures create an outline of a heart, with the point of the heart meeting where their legs intersect. In addition, the painting doesn’t merely portray the theme of marriage--it develops it, characterizing marriage as a concept that builds upon sacrifice, strength, fertility, and transparency. In the middle ground of the painting, another putti presents Mars’ sword to a calm and tranquil horse. Here we see the concept of sacrifice: it is assumed that Mars forgoes his violence for Venus’s love, symbolized through the actions of the second putti, as well as the tether to which Mars’ horse remains bound to.¹ Returning to the main subject matter, we see the concept of transparency through the white cloth hanging behind Venus. Rather than covering herself for Mars, Venus exposes herself, allowing Mars to see her completely. In addition, we see fertility--Venus cups her right breast, allowing milk to flow--and strength--Mars is sat upon a stone slab with Veronese’s signature, allowing support for himself and Venus who rests upon his shoulder. Unlike many other paintings including representations of Venus which focus on extreme eroticism intended to evoke strong responses, this painting uses Venus, characterized by her lack of clothing as well as the putti, to show the civilizing nature of love.² As mentioned before, even Mars--the Roman god of war and violence--puts down his weapons for love. In addition to Venus’ representation of love, one may argue that Venus serves to represent the role of a wealthy woman in Venetian marriage: although it has been claimed that no amount of female wealth or power could dissolve the male control over Venetian social institutions, the very opposite may be true in private relationships. Despite strong relationships and loyalty to the family of origin, strong bonds in marriage often overpower older, stronger relationships. However, men in Venetian society often found themselves walking a thin line, maintaining a balance between familial relationships and the matrimonial relationship.³ <ol> <li style="font-weight:400;">Richard Cocke, ”Wit and Humour in the Work of Paolo Veronese," Artibus Et Historiae 11, no. 21 (1990): 138-39. Accessed November 9, 2020. doi:10.2307/1483387.</li> <li style="font-weight:400;">Catherine Belsey, "The Myth of Venus in Early Modern Culture," English Literary Renaissance 42, no. 2 (2012): 179-202. Accessed November 9, 2020. <a href="http://www.jstor.org/stable/43607524">http://www.jstor.org/stable/43607524</a>.</li> <li style="font-weight:400;">Stanley Chojnacki, Women and Men In Renaissance Venice: Twelve Essays On Patrician Society, (Baltimore: Johns Hopkins University Press, 2000) <a href="https://hdl.handle.net/2027/heb.04157">https://hdl.handle.net/2027/heb.04157</a>. EPUB.</li> </ol> Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived <ul> <li>Journal Article I: BELSEY, CATHERINE. "The Myth of Venus in Early Modern Culture." English Literary Renaissance 42, no. 2 (2012): 179-202. Accessed November 9, 2020. <a href="http://www.jstor.org/stable/43607524">http://www.jstor.org/stable/43607524</a>.</li> </ul> <ul> <li>Journal Article II: Cocke, Richard. "Wit and Humour in the Work of Paolo Veronese." Artibus Et Historiae 11, no. 21 (1990): 138-39. Accessed November 9, 2020. doi:10.2307/1483387.</li> </ul> <ul> <li>Book: Chojnacki, Stanley. Women and Men In Renaissance Venice: Twelve Essays On Patrician Society. Baltimore: Johns Hopkins University Press, 2000. <a href="https://hdl.handle.net/2027/heb.04157">https://hdl.handle.net/2027/heb.04157</a>. EPUB.</li> </ul> <ul> <li>Museum: “Mars and Venus United by Love.” metmuseum.org, 2020. <a href="https://www.metmuseum.org/art/collection/search/437891">https://www.metmuseum.org/art/collection/search/437891</a>.</li> <li>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>.</li> </ul> Publisher An entity responsible for making the resource available Possibly commissioned by Emperor Maximilian II 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 Muhib Methani 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. 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 https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/St._Francis/St._Francis.png 0fe9992c555f3e32245dacd6f550baaf 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 Creator An entity primarily responsible for making the resource Giovanni Bellini Date A point or period of time associated with an event in the lifecycle of the resource C. 1480 Contributor An entity responsible for making contributions to the resource Olivia Migli Description An account of the resource Giovanni Bellini’s St. Francis is known by many names including The Ecstasy of St. Francis, St. Francis in the Desert, and The Stigmatization of St. Francis [1]. All of these given names could describe the piece well as it is a depiction of St. Francis receiving the stigmata, or wounds of Christ, and who appears to be overwhelmed in joy as he stands in a dry landscape. The biblical scene Bellini is portraying is that of St. Francis of Assisi as he receives the stigmata as it believed that he did in 1224 during a retreat on Mount Alverna [2]. Bellini’s masterpiece is very different from traditional religious pieces of the Renaissance. He does not use the normal props of divinity such as golden rays and halos of light around religiously important figures, he is adapting to the new naturalistic way of interpreting Biblical moments seen more in Netherlandish Renaissance art [3]. He uses light to frame the religious moment, Bellini does this by showing St. Francis throwing his head back and looking upwards to the sun, and presumably to the heavens. The transcendental light illuminates him as well as the rocky mountainside behind him. His masterful use of color, trademark of Venetian art in this time period, allows Bellini to create shadows and highlights to give this painting depth and the illusion of the divinity occurring simultaneously. Bellini’s attention to detail is astounding in this piece as well. The landscape is littered with animals, birds, a castle, a skull and book, and rolling hills. The animals around him and the shepard with his flock remain oblivious to the divine occurrence happening around them but instead represent his love and patronage of animals [4]. His attention to detail, realsitic landscape, and naturalistic stlye all contribute to making this Bellini piece a special work of art. 1. “GIOVANNI BELLINI'S ST. FRANCIS,” <a href="https://www.jstor.org/publisher/neripozza">Neri Pozza Editore S.p.a.</a>, <a href="https://www.jstor.org/stable/43139926">https://www.jstor.org/stable/43139926</a>. 2. Giovanni Bellini, “St. Francis in the Desert,” – Works – collections.frick.org, accessed November 11, 2020, <a href="https://collections.frick.org/objects/39/st-francis-in-the-desert">https://collections.frick.org/objects/39/st-francis-in-the-desert</a>. 3. Dr. Beth Harris and Dr. Steven Zucker, Dr. Beth Harris, and Dr. Steven Zucker, “Giovanni Bellini, St. Francis in the Desert (or St. Francis in Ecstasy),” Smarthistory, November 18, 2015, <a href="https://smarthistory.org/bellini-st-francis-in-the-desert-st-francis-in-ecstasy/">https://smarthistory.org/bellini-st-francis-in-the-desert-st-francis-in-ecstasy/</a>. 4. “St. Francis of Assisi,” The Humane Society of the United States, accessed November 11, 2020, https://www.humanesociety.org/resources/st-francis-assisi. Source A related resource from which the described resource is derived Bellini, Giovanni. “St. Francis in the Desert.” – Works – collections.frick.org. Accessed November 11, 2020. https://collections.frick.org/objects/39/st-francis-in-the-desert. Dr. Beth Harris and Dr. Steven Zucker, Dr. Beth Harris, and Dr. Steven Zucker. “Giovanni Bellini, St. Francis in the Desert (or St. Francis in Ecstasy).” Smarthistory, November 18, 2015. https://smarthistory.org/bellini-st-francis-in-the-desert-st-francis-in-ecstasy/. Giovanni Bellini, European; Southern European; Italian, c.1430-1516. c. 1480. St. Francis in the Desert. Paintings. Place: The Frick Collection, New York, New York, USA, Purchased, 15.1.3, http://www.frick.org/. https://library.artstor.org/asset/AMICO_FRICK_103804828. Meiss, Millard. "GIOVANNI BELLINI'S ST. FRANCIS." Saggi E Memorie Di Storia Dell'arte 3 (1963): 9-146. Accessed November 11, 2020. http://www.jstor.org/stable/43139926. “St. Francis of Assisi.” The Humane Society of the United States. Accessed November 11, 2020. https://www.humanesociety.org/resources/st-francis-assisi. Publisher An entity responsible for making the resource available Image Soruce: Giovanni Bellini, European; Southern European; Italian, c.1430-1516. c. 1480. St. Francis in the Desert. Paintings. Place: The Frick Collection, New York, New York, USA, Purchased, 15.1.3, http://www.frick.org/. https://library.artstor.org/asset/AMICO_FRICK_103804828. Rights Information about rights held in and over the resource This image was provided by The Frick Collection for use in connection with the ARTstor Digital Library. For any uses of this image beyond those permitted in the ARTstor Digital Library License Agreement and the ARTstor Terms and Conditions of Use, please contact Kathrine Gerlough, Head, Retail Sales and Information, The Frick Collection, 1 East 70th Street, New York, NY 10021, (212) 547-0670 (ph), (212) 628-4417 (fax), gerlough@frick.org. You also may need to contact other applicable copyright owners for permission to use this image beyond those permitted in the ARTstor Digital Library License Agreement and the ARTstor Terms and Conditions of Use. Format The file format, physical medium, or dimensions of the resource Tempera and oil on poplar panel, 124.4 x 141.9 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, New York, USA https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Allegory_of_Virtue_and_Vice_[The_Choice_of_Hercules]/AMICO_FRICK_103804848.jpg e7969c7d8374e7aa64490f006612331e 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 Allegory of Virtue and Vice (The Choice of Hercules) Description An account of the resource This work, Allegory of Virtue and Vice (The Choice of Hercules) depicts a man, Hercules, making the choice between two women, who symbolize Vice and Virtue [1]. Veronese was the last of Venice’s three great painters of the sixteenth century, after Titian and Tintoretto [2]. The three shared common elements in styles, subjects, and mediums, all of which were revolutionary for the time. The strong use of color in this painting is one of those styles, called colorito, is most obvious in the clothing of the two female figures. Virtue is seen in a rich green, and wears much simpler clothing than her counterpart, Vice, who wears far fancier garments in blue and orange. The use of mythological scenes as the subjects of paintings is also a common trend, and one that was very different than the religious subjects of the fifteenth century [2]. Finally, the use of oil on canvas as a medium was revolutionized and mastered by these three artists, and the impressive uses of color and detail are obvious in this work. The figure of Vice is seen moving towards Hercules, her clawed hand reaching out to him. Behind her is a figure of a sphinx, and in front of it a knife, which were symbols of both lust and death in the Renaissance [3]. With blonde hair and elegant clothing, she is clearly meant to be the more beautiful figure by Venetian standards of the time. This depiction of Vice shows her allure – a life of beauty and fun, even if it leads to ultimate demise. Hercules has clearly had previous interactions with this figure, and it can be assumed the torn fabric on his calf is a result of her claws. In this scene however, he has moved towards Virtue, who promises a life of work that leads to true happiness [3]. The message the figures depict visually is stated in writing on the statue behind them, reading “Honor and Virtue Flourish After Death” [1]. This is the choice Hercules has made, to commit his life to work and virtue for the eventual happiness it will provide him. [1] “The Choice Between Virtue and Vice.” The Frick Collection. Accessed November 11, 2020. https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice. [2] Ilchman, Frederick, and Linda Borean. Titian, Tintoretto, Veronese: Rivals in Renaissance Venice. Farnham: Lund Humphries, 2009. [3] MacDonald, Deanna. “Paolo Veronese: The Choice Between Virtue and Vice.” Great Works of Western Art - The Choice Between Virtue and Vice. Accessed November 11, 2020. http://www.worldsbestpaintings.net/artistsandpaintings/painting/21/. Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Paolo Veronese (Paolo Caliari), European; Southern European; Italian, c.1528-1588. c. 1580. Allegory of Virtue and Vice (The Choice of Hercules). Paintings. Place: The Frick Collection, New York, New York, USA, Purchased, 12.1.129, http://www.frick.org/. https://library.artstor.org/asset/AMICO_FRICK_103804848. Publisher An entity responsible for making the resource available “The Choice Between Virtue and Vice.” The Frick Collection. Accessed November 11, 2020. https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice. Ilchman, Frederick, and Linda Borean. Titian, Tintoretto, Veronese: Rivals in Renaissance Venice. Farnham: Lund Humphries, 2009. MacDonald, Deanna. “Paolo Veronese: The Choice Between Virtue and Vice.” Great Works of Western Art - The Choice Between Virtue and Vice. Accessed November 11, 2020. http://www.worldsbestpaintings.net/artistsandpaintings/painting/21/. Paolo Veronese (Paolo Caliari), European; Southern European; Italian, c.1528-1588. c. 1580. Allegory of Virtue and Vice (The Choice of Hercules). Paintings. Place: The Frick Collection, New York, New York, USA, Purchased, 12.1.129, http://www.frick.org/. https://library.artstor.org/asset/AMICO_FRICK_103804848. Date A point or period of time associated with an event in the lifecycle of the resource c. 1580 Contributor An entity responsible for making contributions to the resource Jacey Curd Rights Information about rights held in and over the resource New York, The Frick Collection Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 219 x 169.5 cm Type The nature or genre of the resource Oil on Canvas Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Frick Collection, New York, USA https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/St._Francis_in_the_Desert/AMICO_FRICK_103804828.1.jpg 40c1f45bebecb0370d29ba896dd086e2 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 This painting was done by Giovanni Bellini in 1480. Bellini was known to bring humanistics and religious qualities into a naturalistic painting. [2]. This work is no excpetion as it a provides a beautiful landscape that almost seems like a photograph of this instance in time. This painting articulates the love of nature that St. Francis has.The dark, rich shades of blues and greens that make up the sky and vegetation enhance the naturalistic, divine beauty this work has. Additionally, the background includes numerous animals in the landscape, which helps translates the viewer's understanding of St. Francis into the artwork. The painting radiates a soft warm glow, which reinforces the idea of man and nature in harmony. [1] Furthermore, this painting seems to provide a strong connection between religion and nature. St Francis has his arms spread wide and his head is thrown back as he looks up to the sky. The ecstasy he experiences as he looks up to the heavens, suggested by scholars, is from receiving the stigmata. The stigmata, signs of the wounds inflicted on Jesus during the crucifixion, are reputed to have miraculously appeared on the hands and feet of St Francis. [3] Clearly, St. Francis is a religious symbol, but one can also see a book, which is potentially the bible, in this painting. This book is a vivid red color, which allows it to stand out in the painting because it provides a strong contrast with the cooler colors within the work. I also thought it was quite notable that Bellini still managed to incorporate Venetian architecture into the deep background of his piece. This painting provides a blend of the common motifs seen in typical Venetian works. [1] Marilyn Aronberg Lavin, Jinyu Liu, and Adam Gitner, "The Joy of St. Francis: Bellini's Panel in the Frick Collection," Artibus Et Historiae 28, no. 56 (2007): 231-56. [2] Daniel Wallace Maze. "Giovanni Bellini: Birth, Parentage, and Independence." Renaissance Quarterly 66, no. 3 (2013): 783-823. [3] “The Ecstasy of St. Francis (1480).” Ecstasy of St. Francis, Giovanni Bellini: Analysis. (2020) Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Lavin, Marilyn Aronberg, Jinyu Liu, and Adam Gitner. "The Joy of St. Francis: Bellini's Panel in the Frick Collection." Artibus Et Historiae 28, no. 56 (2007): 231-56. Accessed November 10, 2020. http://www.jstor.org/stable/20067174. Maze, Daniel Wallace. "Giovanni Bellini: Birth, Parentage, and Independence." Renaissance Quarterly 66, no. 3 (2013): 783-823. Accessed November 10, 2020. doi:10.1086/673583. “The Ecstasy of St. Francis (1480).” Ecstasy of St. Francis, Giovanni Bellini: Analysis. Accessed November 10, 2020. http://www.visual-arts-cork.com/famous-paintings/ecstasy-of-saint-francis.htm. Image: Giovanni Bellini, European; Southern European; Italian, c.1430-1516. c. 1480. St. Francis in the Desert. Paintings. Place: The Frick Collection, New York, New York, USA, Purchased, 15.1.3, http://www.frick.org/. https://library.artstor.org/asset/AMICO_FRICK_103804828. Publisher An entity responsible for making the resource available Giovanni Bellini, European; Southern European; Italian, c.1430-1516. c. 1480. St. Francis in the Desert. Paintings. Place: The Frick Collection, New York, New York, USA, Purchased, 15.1.3, http://www.frick.org/. https://library.artstor.org/asset/AMICO_FRICK_103804828. Date A point or period of time associated with an event in the lifecycle of the resource 1480 Contributor An entity responsible for making contributions to the resource Jared Kreis Rights Information about rights held in and over the resource ARTstor Digital Library License Agreement Format The file format, physical medium, or dimensions of the resource 124.4 x 141.9 cm, tempera and oil on poplar panel 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 Frick Collection, New York City, New York https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/St.Francis_in_the_Desert/AMICO_FRICK_103804828.jpg 40c1f45bebecb0370d29ba896dd086e2 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 Subject The topic of the resource St.Francis in the Desert by Giovanni Bellini creates a visual representation of the saint from Assisi by placing him in a wilderness landscape. Bellini uses religious themes in this work in alternate ways. The subject matter of this piece is constantly debated by scholars. The three main ideas for the theme of this painting is the stigmatization of St. Francis, St.Francis looking into the rapture of the sky and singing, and that the saint is being portrayed as the Angel of the Sixth Seal.[1] Two things that support the first theme are the rays of light coming from the upper left corner of the painting and the red marks of the stigmatization on St. Fracis' hands. This painting is most likely meant to be showing this theme since St.Francis was once marked with these wounds before. Description An account of the resource St.Francis stands barefoot at the focal point of this painting adorned in tanish brown Catholic monk robes. His arms are extended out to his sides in a fashion similar to depictions of Christ showing his crucifixion wounds.[2] His head is upturned towards the heavens and his face has a wide grin across it. To the right of the saint is a small structure, partially built inside of a cave, with a roof of light-green leaves. Inside the structure sits a seemingly new wooden table with sandals at its legs, which for some reason St.Francis did not put on before going outside, as if he was rushed. On the desk sits a closed red book and a glimmering skull. These two objects show interest in reading and learning and also a fascination with the human body, specifically the mind. The landscape surrounding St.Francis is one that encompases the natural world along with the urban environment that is beginning to form. The city that sits off in the distance is one of the most convincing depictions of an Italian city in almost 150 years. The grey stone that surrounds St.Francis mutes the envornment that he is in of color, but creates a contrast with the background that makes the natural expanse that continues on behind St.Francis seem more appealing. In the grassfield near the cave stands a mule and an egret, looking in the same direction as the saint, as if there is something to see. They stand on green and brown grass and are surrounded by barren trees. They stand near a cliff that is a light tan stone. The grassland that extends behind the two animals holds livestock that seem to be horses. Behind the herd lies a traditional Italian city with high walls and even higher towers made of a tan stone and with red roofs. The mountain that sits in the distance is crowned with a fortress and its side is covered with colorful fertilized fields. One thing that is not entirely clear to scholars is how this background relates to the rest of the painting.[3] The sky is rather small, but is one of the most important parts of the piece. The sky has a light blue to dark blue transition from the horizon to the top of the painting and is littered with while clouds that are stretched out across the sky. In the sky, in the top left corner, is a difference in light that creates rays that move down towards St.Francis and seem to make the tree on the left hand side of the painting bend towards the Earth as if it is bowing. This painting, although its subject matter is undecided, clearly deals with religious matters and serves to pay homage to Saint Francis of Assisi. [1]Anthony F. “The Meaning of the Landscape in Bellini's ‘St. Francis in Ecstasy’.” Artibus Et Historiae 15, no. 30 (1994): 41–54. [2]Lavin, Marilyn Aronberg, Jinyu Liu, and Adam Gitner. “The Joy of St. Francis: Bellini's Panel in the Frick Collection.” Artibus et Historiae 28, no. 56 [3]Christiansen, Keith. “Bellini and the Meditational ‘Poesia’.” Artibus Et Historiae 34, no. 67 (2003): 10–20. Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Bibliography Christiansen, Keith. “Bellini and the Meditational ‘Poesia’.” Artibus Et Historiae 34, no. 67 (2003): 10–20. https://www.jstor.org/stable/23510240. Jansen, Anthony F. “The Meaning of the Landscape in Bellini's ‘St. Francis in Ecstasy’.” Artibus Et Historiae 15, no. 30 (1994): 41–54. https://doi.org/10.2307/1483472. Lavin, Marilyn Aronberg, Jinyu Liu, and Adam Gitner. “The Joy of St. Francis: Bellini's Panel in the Frick Collection.” Artibus et Historiae 28, no. 56 (1994): 231–56. https://doi.org/10.2307/20067174. Giovanni Bellini, European; Southern European; Italian, c.1430-1516. c. 1480. St. Francis in the Desert. Paintings. Place: The Frick Collection, New York, New York, USA, Purchased, 15.1.3, http://www.frick.org/. https://library.artstor.org/asset/AMICO_FRICK_103804828. Publisher An entity responsible for making the resource available Giovanni Bellini, European; Southern European; Italian, c.1430-1516. c. 1480. St. Francis in the Desert. Paintings. Place: The Frick Collection, New York, New York, USA, Purchased, 15.1.3, http://www.frick.org/. https://library.artstor.org/asset/AMICO_FRICK_103804828. Date A point or period of time associated with an event in the lifecycle of the resource c. 1480 Contributor An entity responsible for making contributions to the resource Darien Sansosti Rights Information about rights held in and over the resource This image was provided by The Frick Collection for use in connection with the ARTstor Digital Library. For any uses of this image beyond those permitted in the ARTstor Digital Library License Agreement and the ARTstor Terms and Conditions of Use, please contact Kathrine Gerlough, Head, Retail Sales and Information, The Frick Collection, 1 East 70th Street, New York, NY 10021, (212) 547-0670 (ph), (212) 628-4417 (fax), gerlough@frick.org. You also may need to contact other applicable copyright owners for permission to use this image beyond those permitted in the ARTstor Digital Library License Agreement and the ARTstor Terms and Conditions of Use. Format The file format, physical medium, or dimensions of the resource 124.4 x 141.9 cm Type The nature or genre of the resource tempera and oil on poplar panel (cradled) 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, New York, USA https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Sacred_and_Profane_Love/06bad0f253f90c7f4322cf6c76aad61a.jpg b7d394986871820d07f1ae2d8e0ae1e2 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 Sacred and Profane Love Creator An entity primarily responsible for making the resource Titian Date A point or period of time associated with an event in the lifecycle of the resource 1515 Contributor An entity responsible for making contributions to the resource Riya Mohan Relation A related resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, cm 118x278 Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome, Italy Publisher An entity responsible for making the resource available Members of the Aurelio and Bagaretto families Description An account of the resource Sacred and Profane Love was painted by Titian for the occasion of the marriage of Laura Bagarotto and the Secretary of Venice’s Council of Ten, Niccolò Aurelio, both of whom have their family’s coat of arms included in this piece. [1] This piece uses the two women in this piece, the young woman on the left and the nude depiction of Venus on the right, to celebrate the importance of marriage and fertility, respectively. [2] This piece’s celebration of marriage and fertility is indicative of the appreciation and value Venetian’s placed on these two concepts. Though there are many stylistic elements that point towards the idea of marriage in this piece, it is the numerous instances of nuptial symbolism that allows the viewer to understand the nature and content of this piece. For instance, the small crown of myrtle that the woman on the left is holding as well as the buckle of her dress were both considered attributes and symbols of marital love. [1] Furthermore, the idea of fertility can be derived from the inclusion of symbolic elements as well. For instance, on the left side of the piece, there are small depictions of rabbits that have been included. Rabbits, to Venetian culture, were considered as symbols of fertility. The background of this marriage portrait also contributes to this piece in terms of its celebration of marriage and fertility because it depicts a lush, natural landscape that is filled with fertile trees and vividly green grass. The fertility of the environment the two women have been set in is indicative of the fertility celebrated in this piece. Finally, in terms of symbolism, the water in the sarcophagus that is flowing out through a spout in the front of the sarcophagus is also indicative of fertility because water, as the food of life, is yet another symbol of fertility. Beyond symbols of fertility and marriage, Titian utilizes light to connect the two women. Though the type of clothing that each woman wears sets her apart greatly from the other, Titian re-establishes their similarity by casting both of them with bright light and vivid color. By illuminating the two women in this manner, he is emphasizing their importance as respective symbols of nuptials and potency. Through the numerous instances of marital symbolism in this piece, Titian is able to convey the importance that marriage and fertility played with Venetians. With the drastically different depictions of the young woman and Venus in this piece, Titian is reminding viewers of the important role that women played in Venice as wives and mothers as well as how highly these two concepts were valued in the culture. [1] “Sacred and Profan Love,” Galleria Borghese, accessed November 14, 2020, <a href="https://galleriaborghese.beniculturali.it/en/opere/sacred-and-profan-love/">https://galleriaborghese.beniculturali.it/en/opere/sacred-and-profan-love/</a>. [2] Cecil Gould, “Titian”, Grove Art Online, (2003): 2-3. Source A related resource from which the described resource is derived <ul> <li>Humfrey, Peter. Titian. London: Phaidon, 2007.</li> <li>Zuffi, Stefano. Titian. Milan: Arnoldo Mondadori Arte, 1991.</li> <li>Gould, Cecil. "Titian." Grove Art Online. (2003).</li> <li>Galleria Borghese. "Sacred and Profan Love." accessed November 14, 2020. https://galleriaborghese.beniculturali.it/en/opere/sacred-and-profan-love/.</li> </ul> https://venice.dahvc.org/fall-2020/files/original/The_Origin_of_the_Milky_Way/Jacopo_Tintoretto_-_The_Origin_of_the_Milky_Way_-_Google_Art_Project.jpg cc34d770a97d43a41dacf3dfdffc6963 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 Origin of the Milky Way Creator An entity primarily responsible for making the resource Jacopo Tintoretto Publisher An entity responsible for making the resource available Rudolf II, Holy Roman Emperor Date A point or period of time associated with an event in the lifecycle of the resource circa 1577–1578 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource ©The National Gallery, London National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996 Format The file format, physical medium, or dimensions of the resource Oil on canvas, 149.4 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 National Gallery of Art, London, UK Description An account of the resource The Origin of the Milky Way is one of four pieces created by Jacopo Tintoretto for the Holy Roman emperor circa 1577 to 1578. [1] Tintoretto utilizes his signature dramatized style to convey a sense of active dynamism in the mythological story portrayed in this piece. The narrative of this piece is one between Jupiter and his wife. Jupiter, who is known for his marital indiscretions, has fathered a child, Hercules, with a mortal woman. In order to give the child the gift of immortality, Jupiter has secretly brought the child to suckle at Juno’s breast. However, Juno wakes up and, in her shock and anger, pushes away the child and the milk from her breast shoots up to create stars in the sky. [1] One of the most notable features of this piece is how Tintoretto has created a foreshortened form with the figures of the individuals in this piece. Furthermore, from the figure of Jupiter to that of Juno and the cherubs around them, are organized in a manner that breaks the traditional lateral plane that most individuals are depicted on. By having the figures appear as if they are floating, Tintoretto not only emphasizes the figures by giving them a dynamic sense of movement, but also gives this piece an otherworldly and mystical quality. By utilizing vivid blues in the sky, rich red in the fabric, and a bright yellow for the stars, he bolsters the mystical beauty of this piece. Another important manipulation that Tintoretto made is creating an emphasis on the figure of Juno as the main figure of this piece. In terms of form, he makes her form appear much larger, even larger than that of Jupiter. This draws the viewers to her and establishes her as the main figure of this piece. Furthermore, the figures of all the other individuals in this piece also point towards her, which furthers the notion that she is the central, important figure. In this piece, Tintoretto uses numerous stylistic elements to remind the viewer of the power and might that Juno controls. He uses form to emphasize her figure, then proceeds to use factors like color and spatial organizations to add to the grandeur of the piece. As a result, it reminds viewers that Juno has the power to create, protect, and give immortality. [1] Thomas Nichols, “Tintoretto Family [Robusti],” Grove Art Online, (July 2012): 2-3. Source A related resource from which the described resource is derived <ul> <li>Nichols, Thomas. "Tintoretto Family [Robusti]." Grover 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> </ul>