2 10 177 https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/St._Mark_Preaching_in_Alexandria/SCALA_ARCHIVES_1039614920.jpg 34c69f5b81cb9a85e214f1b81926da53 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 St. Mark Preaching in Alexandria Creator An entity primarily responsible for making the resource Gentile Bellini and Giovanni Bellini Contributor An entity responsible for making contributions to the resource Jackson Huether Format The file format, physical medium, or dimensions of the resource Oil on canvas, 347.0 x 770.0 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 di Brera, Milan, Italy Date A point or period of time associated with an event in the lifecycle of the resource ca. 1504-1507 Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Image Source: Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. Description An account of the resource Upon the death of Gentile Bellini in 1507, it was prescribed in his will that his younger brother, Giovanni Bellini, would complete the work St. Mark Preaching in Alexandria commissioned by the Scuola Grande di San Marco [1]. Giovanni’s continuation of the work was confirmed by the Scuola only a few days after his death [1]. The work was a part of a restoration project after a fire had destroyed the Scuola’s hall in 1485 [2]. Saint Mark, the patron saint and esteemed figurehead of Venice, is located preaching on the left side of the scene as members of the confraternity stand behind him [2]. To the right are a group of white veiled Arab women and Turbaned men which dominate the crowd Saint Mark is preaching to [2]. Their clothing exhibits a peculiar attention to detail and texture, as the white fabric seems to flow off of their heads and the robes of the Turbaned men are brightly colored, possibly an illustration of their wealth, success, or commercial prowess. The inclusion of the distinctly Eastern clothing and cultural elements is a reflection of Gentile’s travels to the eastern region, specifically from when he spent time in Constantinople [1]. In the background stands Saint Marks basilica, but it is surrounded by high-walled buildings and minarets [2]. Camels and giraffes in the background further allude to the notion that this scene is of Egyptian origin [2]. The surrounding architecture is used to frame the scene and provide a stage for the unfolding events. They draw the viewer’s attention to Saint Mark in the foreground, highlighting his importance and power as a saintly figure. Saint Mark Preaching in Alexandria represents a reimagination or refitting of Venetian painting. As a direct inspiration of the Procession in the Piazza San Marco, it illustrates the application of Veneitan places, styles, and ideas onto the Islamic “Other” [3]. However, the serene nature of the scene (groups gathered peacefully, linear order among the participants, and clear skies) can allude to the establishment of peace between Venice and its Muslim neighbors [2]. While Gentile’s original contributions to the work were of mainly Eastern style, Giovanni picked up and finished the work applying, more heavily, a Venetian lens. [1] “'Mark Preaching in Alexandria' by Gentile and Giovanni Bellini,” warfare.ga, accessed November 18, 2020, http://warfare.ga/16/Bellini-Mark_Preaching_in_Alexandria.htm?i=1. [2] “St Mark Preaching in Alexandria,” www.giovannibellini.org, 2018, http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. [3] Carol Richardson, Locating Renaissance Art (New Haven, CT: Yale University Press, 2007), 243. Source A related resource from which the described resource is derived “'Mark Preaching in Alexandria' by Gentile and Giovanni Bellini.” warfare.ga. Accessed November 18, 2020. http://warfare.ga/16/Bellini-Mark_Preaching_in_Alexandria.htm?i=1. Richardson, Carol M. Locating Renaissance Art. New Haven, CT: Yale University Press, 2007. “St Mark Preaching in Alexandria.” www.giovannibellini.org, 2018. http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. Image Source: Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Image Source: Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Sisyphus/01sisyph.jpg f8167885c68359229ccf7c666efd9b64 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 October 14: Prado Museum (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Nacional del Prado, Madrid, Spain 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 Sisyphus Subject The topic of the resource The mythical figure Sisyphus––forever condemned to the depths of Tartarus––struggles to push a boulder up a hill. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Falomir, Miguel. "The 'Furias': From Titian to Ribera." Museo del Prado. Last modified 2014. <a href="https://www.museodelprado.es/en/whats-on/exhibition/the-furias-from-titian-to-ribera/5421b042-69b8-4345-8e6f-11ea4ced0823">https://www.museodelprado.es/en/whats-on/exhibition/the-furias-from-titian-to-ribera/5421b042-69b8-4345-8e6f-11ea4ced0823</a>. Jansen, Sharon L. The Monstrous Regiment of Women: Female Rulers in Early Modern Europe. London: Palgrave Macmillan, 2002. Morford, Mark; Lenardon, Robert J. Classical Mythology. Oxford: Oxford University Press, 1999. Image Source: World Gallery of Art, accessed November 17, 2020. https://www.wga.hu/html_m/t/tiziano/09/01sisyph.html. Publisher An entity responsible for making the resource available Image Source: World Gallery of Art, accessed November 17, 2020. https://www.wga.hu/html_m/t/tiziano/09/01sisyph.html. Date A point or period of time associated with an event in the lifecycle of the resource 1548-1549 Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource Public Domain. Image Source: World Gallery of Art, accessed November 17, 2020. https://www.wga.hu/html_m/t/tiziano/09/01sisyph.html. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 237.0 x 216.0 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 Museo del Prado, Madrid, Spain Description An account of the resource In Greek mythology, Sisyphus is the founder and first sovereign ruler of modern Corinth (which was then Ephyra). After numerous attempts to trick the gods and cheat death, the gods finally catch up to him and punish him. Sisyphus’ sentence is to roll a rock up a hill, where each time he nears the top it rolls back to the bottom so he can start again––the definition of futility to which he lends his name [1]. Despite employing a limited palette of earthy hues such as browns and grays, Titian is able to achieve a tremendous amount of depth and color––a hallmark of the Venetian emphasis on colorito. This technique casts a dull, muted light over the subject that brings a grim feeling upon the viewer. This is only added to by the rock’s shadow that casts his face in anonymity. This signals the hardship, pain, and suffering that Sisyphus is forced to endure for his sins. The intense attention to detail on the figure’s veins and muscles also underscore his strain from an eternity of physical labor. Much like its surviving sister painting, Tityus, Sisyphus was commissioned for Mary, Queen Consort of Hungary and Bohemia to hang in the Great Hall of her Binche Palace [2]. As a myth, Sisyphus warned Greeks of how dangerous and wrong it was to resist the gods (and those who had their blessings, which more often than not meant the powerful elite). Furthermore, it pushed the idea of a universal definition of justice––one that reflected some higher moral order. Mary––who had a difficult time asserting authority as a woman in power during the 16th century––needed to send a message [3]. Placing this work in the room in which she received guests, she could do exactly that. Mary all but explicitly defined herself as a figure of justice who must never be questioned––a powerful ruler who continued the legacy of the gods of ancient Greece. [1] Mark Morford and Robert J. Lenardon, Classical Mythology (Oxford: Oxford University Press, 1999), 491. [2] Miguel Falomir, "The 'Furias': From Titian to Ribera," Museo del Prado, last modified 2014. <a href="https://www.museodelprado.es/en/whats-on/exhibition/the-furias-from-titian-to-ribera/5421b042-69b8-4345-8e6f-11ea4ced0823">https://www.museodelprado.es/en/whats-on/exhibition/the-furias-from-titian-to-ribera/5421b042-69b8-4345-8e6f-11ea4ced0823</a>. [3] Sharon L. Jansen, The Monstrous Regiment of Women: Female Rulers in Early Modern Europe (London, Palgrave Macmillan, 2002), 99. https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/David_with_the_Head_of_Goliath/SCALA_ARCHIVES_1039488548.1.jpg 2b3f52f50ddd93cbbc60a2206541d820 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 Description An account of the resource Created by Michelangelo Caravaggio c. 1606-1610, David with the Head of Goliath was created as a gift for the papal court of Rome, specifically for Scipione Borgehese. Caravaggio was accused of murdering Tomassoni in May 1606, and fled from Rome, but spent his time creating this painting as petition for pardon so he could return to Rome. Caravaggio was indeed granted pardon, however, he unfortunately died before word of the pardon reached him [1]. Caravaggio was well-known for his mastery of biblical stories in a rather violent and somber tone, as shown in his creation of David with the Head of Goliath [2]. In this scene, Carvaggio interprets the traditional Old Testament story of David's battle, and ultimate victory, over Goliath. The painting depicts David with a sword holding the severed head of Goliath by his hair – David looks down at the head with a hardened look of remorse, but soft eyes, potentially expressing his pity at what he was forced to do. David's entire figure, as well as Goliath's head, are both highlighted in a bright tone, while the background is entirely dark. With this highlight, Caravaggio emphasizes the focus on the two main characters, and simultaneously creates a sense of David entering a lighted area – potentially showing him emerging from the darkness in the past, into a better era of light and happiness now that he has slain Goliath. While the painting is a fairly graphic interpretation of the story, the painting still elicits a sentiment of hope and relief. His illustration of David as remorseful suggests that Caravaggio is aware that murder is a sin in the Christian faith, no matter the circumstances. Caravaggio is believed to be projecting his own sentiments about his crimes and his exile onto the painting. David's remorse is reflective of his own regret about his sins, while Goliath's head is said to be a self-portrait of Caravaggio, encompassing his guilt into the punishment of Goliath [3]. While Caravaggio frequently represented Biblical stories in a dark and twisted light, this scene is shown in a more realistic tone, emphasizing Caravaggio's acceptance and apology of his sins, and hope for pardon. [1] "David with the Head of Goliath by Caravaggio", Borghese Gallery, Accessed November 17, 2020, https://borghese.gallery/collection/paintings/david-with-the-head-of-goliath.html. [2] "Caravaggio: Naples, Malta, Sicily, Naples, Porto Ercole: 1606-1610," Encyclopædia Britannica, Accessed November 17, 2020, https://www.britannica.com/biography/Caravaggio/Naples-Malta-Sicily-Naples-Porto-Ercole-1606-10. [3] Andrew Graham-Dixon, "David with the Head of Goliath," Caravaggio: a Life Sacred and Profane, 2011, 103-107 Creator An entity primarily responsible for making the resource Michelangelo Merisi da Caravaggio Source A related resource from which the described resource is derived Graham-Dixon, Andrew, "David with the Head of Goliath." In Caravaggio: a Life Sacred and Profane, 103-107. New York: W.W. Norton, 2011. <div> “Caravaggio: Naples, Malta, Sicily, Naples, Porto Ercole: 1606–10.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed November 17, 2020. https://www.britannica.com/biography/Caravaggio/Naples-Malta-Sicily-Naples-Porto-Ercole-1606-10. “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.</div> 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 c. 1606-1610 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 125 cm x 101 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 Galleria Borgehese, Rome, Italy https://venice.dahvc.org/fall-2020/files/original/Castelfranco_Madonna/Castelfranco_Madonna.png bad53bd60b1c3732df6b361e8c3da721 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 Castelfranco Madonna Description An account of the resource Castelfranco Madonna is an altarpiece commissioned by Tuzio Constanzo, a condottierio or warlord, and was made in memory of his son, Matteo, who had passed away most likely while serving under his father in war [1]. The Madonna is featured while holding baby Christ and they are accompanied by St. Francis of Assisi and St. Nicasius. The commissioner may have inspired the armored figure and the other martyred saint - relating to the war in which is son had died and religion important to the ideals of the Italian Renaissance [2]. The scene has a backdrop, typical to Giorgione’s style, a rural backdrop of an Italian landscape. The elements of this altarpiece are traditional to "sacra conversazione" or holy conversation in which the Virgin and baby Christ are surrounded surrounded [3]. The Madonna and Christ are elevated on a throne with a downcast gaze. This expresses the sorrowful mood of the painting, perhaps to express the grievance of losing a son. The green drape helps to compositionally connect the two figures atop the throne and the two saints below. The nature, architecture, and figures create a detailed piece that harmoniously unites the three. 1. Henry Zaidan, “01 Work, RELIGIOUS ART - Interpretation of the Bible, With Footnotes - 130,” January 1, 1970, <a href="https://painting-mythology.blogspot.com/2019/03/01-work-religious-art-interpretation-of.html">https://painting-mythology.blogspot.com/2019/03/01-work-religious-art-interpretation-of.html</a>. 2. “Castelfranco Madonna,” Artble, July 19, 2017, https://www.artble.com/artists/giorgione/paintings/castelfranco_madonna. 3. “Castelfranco Madonna,” Castelfranco Madonna by Giorgione, accessed November 17, 2020, http://www.giorgione.net/castelfranco-madonna/. Creator An entity primarily responsible for making the resource Giorgione Source A related resource from which the described resource is derived “Castelfranco Madonna.” Artble, July 19, 2017. https://www.artble.com/artists/giorgione/paintings/castelfranco_madonna. “Castelfranco Madonna.” Castelfranco Madonna by Giorgione. Accessed November 17, 2020. http://www.giorgione.net/castelfranco-madonna/. Giorgione, 1477-1511. c.1500-5. Enthroned Madonna and Child, Castelfranco Altarpiece. https://library.artstor.org/asset/ARTSTOR_103_41822000567584. Zaidan, Henry. “01 Work, RELIGIOUS ART - Interpretation of the Bible, With Footnotes - 130,” January 1, 1970. https://painting-mythology.blogspot.com/2019/03/01-work-religious-art-interpretation-of.html. Publisher An entity responsible for making the resource available Commissioned by Tuzio Costanzo. Image Source: Giorgione, 1477-1511. c.1500-5. Enthroned Madonna and Child, Castelfranco Altarpiece. https://library.artstor.org/asset/ARTSTOR_103_41822000567584. Date A point or period of time associated with an event in the lifecycle of the resource c.1500-5 Contributor An entity responsible for making contributions to the resource Olivia Migli 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 Panel, 200 cm x 152 cm. Type The nature or genre of the resource Altarpiece Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Castelfranco Cathedral, Veneto, Italy https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Sacred_and_Profane_Love/SCALA_ARCHIVES_10310195612.jpg 37a77c66fee494774ba4fe0ae5397c9b 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 <a href="https://library.artstor.org/#/asset/SCALA_ARCHIVES_10310195612" title="Sacred and Profane Love">Sacred and Profane Love</a> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Barolsky, Paul. "Sacred and Profane Love." Source: Notes in the History of Art 17, no. 3 (1998): 25. Cantelupe, Eugene B. "Titian's Sacred and Profane Love Re-examined." The Art Bulletin 46, no. 2 (1964): 219. Goffen, Rona. "Titian's Sacred and Profane Love: Individuality and Sexuality in a Renaissance Marriage Picture." Studies in the History of Art 45 (1993): 124. “Sacred and Profane Love, 1514 by Titian,” Assessed November 16, 2020. <a href="https://www.titian.org/sacred-and-profane-love.jsp">https://www.titian.org/sacred-and-profane-love.jsp</a>. “Sacred and Profane Love by Titian,” Assessed November 16, 2020. <a href="https://borghese.gallery/collection/paintings/sacred-and-profane-love.html">https://borghese.gallery/collection/paintings/sacred-and-profane-love.html</a>. Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1515 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Image Rights: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612</a>. Format The file format, physical medium, or dimensions of the resource Oil on canvas; 118 x 279 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 Titian painted Sacred and Profane Love in circa 1515. It was commissioned by Niccoló Aurelio in 1514, a superb chancellor in Venice's city government, on behalf of his matrimony to Laura Bagarotto of Padua [1]. In 1613, this composition was described as "beauty adorned and beauty unadorned," and both figures recommend kinship because they are the identical figure painted twice. If these depicted goddesses actually expressed the idea of Sacred and Profane Love, the left Venus is profane love, and the nude Venus is sacred love. Titian creates two identical Venuses with a Cupid sitting on a sarcophagus shaped fountain in a forest landscape. The sister Venuses, each dominating one half of the painting, express two levels of love, the human and the divine. Each of the elements specifying them contributes to the articulation of this hierarchical relationship [2]. Venus on the left is dressed in a beautiful, baby blue gown with a pink sleeve on her right arm. She is richly dressed, and her gown is commonly recognized as bridal clothing, although in the past, they were said to be typical of a courtesan [3]. She is blonde, sitting on the fountain very peacefully and staring right at the viewer. Venus on the right is nude with a red drape hanging off her shoulder, exposing her body with a white garment across her lap. She is also blonde, holding her weight up with her right hand, and her feet are crossed. She is staring at the other Venus with a pleasant expression on her face. The protagonists are separated by Cupid staring into the fountain and a rose bush in front of the fountain. The center of the painting, containing the two Venuses and Cupid, is more illuminated than the rest of the landscape. The separation of the two Venuses also shows a lighting difference in the background. The background's left side is a cityscape, dark, and crowded; The right side is a pastoral landscape, bright and spacious [4]. The sky is very cloudy, with different shades of blues, and you can see the array of oranges and yellows, depicting a sunset. On this sarcophagus shaped fountain, you can see how the objects carved into the fountain appear to be popping out, expressing a 3D effect. It was noticed a long time ago that Venetian Niccoló Aurelio's coat of arms appears on this sarcophagus, hinting at the commission [5]. [1] Barolsky, Paul. "Sacred and Profane Love." Source: Notes in the History of Art 17, no. 3 (1998): 25. [2] “Sacred and Profane Love, 1514 by Titian,” Assessed November 16, 2020. <a href="https://www.titian.org/sacred-and-profane-love.jsp">https://www.titian.org/sacred-and-profane-love.jsp</a>. [3] “Sacred and Profane Love by Titian,” Assessed November 16, 2020. <a href="https://borghese.gallery/collection/paintings/sacred-and-profane-love.html">https://borghese.gallery/collection/paintings/sacred-and-profane-love.html</a>. [4] Cantelupe, Eugene B. "Titian's Sacred and Profane Love Re-examined." The Art Bulletin 46, no. 2 (1964): 219. [5] Goffen, Rona. "Titian's Sacred and Profane Love: Individuality and Sexuality in a Renaissance Marriage Picture." Studies in the History of Art 45 (1993): 124. Publisher An entity responsible for making the resource available Commissioned by Niccoló Aurelio Image Rights: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612.">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612.</a> https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Sacred_and_Profane_Love/Tiziano_-_Amor_Sacro_y_Amor_Profano_[Galeri_a_Borghese_Roma_1514].jpg a2292fce8f059435b77959bde12d4ef0 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 Source A related resource from which the described resource is derived Boston College. “Niccolo Aurelio.” Mapping Titian. Accessed November 16, 2020. http://www.mappingtitian.org/glossaries/22. Galleria Borghese. “Sacred and Profane Love.” Accessed November 16, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Jaffé, David. Titian. London: The National Gallery Company/Yale University Press, 2003. Image Source: Galleria Borghese, accessed November 16, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Publisher An entity responsible for making the resource available Image Source: Galleria Borghese, accessed November 16, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Date A point or period of time associated with an event in the lifecycle of the resource 1514 Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource Public Domain. Image Source: Galleria Borghese, accessed November 16, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 118.0 x 279.0 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 Subject The topic of the resource Two women sit on the edge of a sarcophagus with baby Cupid in between them. Description An account of the resource This early oil painting by Titian features a pastoral setting with a lake and luscious green rolling hills. To one side we can see a church with a grand steeple while the other side is flanked by a castle-like fortification overlooking a village. In the foreground we see two women, one of whom wears a typical Venetian wedding dress while the other is draped with a sheet but largely appears in the nude [1]. The former of these two figures is proper yet composed, the depiction of “profane love.” The latter––”sacred love”–– on the other hand has one arm raised and is contorted, showing her freedom and earthiness. They sit on a sarcophagus that is ornately decorated and that has been converted into a water basin. A depiction of baby Cupid plays with the water between them. Titian employs soft hues to frame his delicate work involving the Venetian standard of beauty: a fair complexion with curly, red hair. It promotes peace and calmness in the audience. But while the majority of the piece uses these tones, they are noticeably interrupted by the harsh whites and boisterous reds of the fabrics, symbols of purity and passion. Thus, it naturally follows that this painting is a celebration of a marriage––namely one that is wholesome and pious yet powerful and strong. The coat of arms highlighted on the sarcophagus reveals that it was commissioned by Niccolò Aurelio, a powerful and elite statesman of Venice, for his bride Laura Bagarotto [2]. Bagarotto was the daughter and former wife of Paduan politicians who were executed for treason by the Republic [3]. Thus this painting, which was completed by one of the most prominent artists in Venice capitalizes on symbols typical of it, reaffirming the loyalty of the new couple to the city and projecting their power onto it. [1] David Jaffé, Titian (London: The National Gallery Company/Yale University Press, 2003), 94. [2] “Sacred and Profane Love,” Galleria Borghese, accessed November 16, 2020, https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. [3] “Niccolo Aurelio,” Boston College, Mapping Titian, accessed November 16, 2020, http://www.mappingtitian.org/glossaries/22. https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Sacred_and_Profane_Love/sacred_and_profane.png 3e62cad0d103ba02e597409a899feb31 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 Publisher An entity responsible for making the resource available Commissioned by Niccolò Aurelio. Image Source: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612. Date A point or period of time associated with an event in the lifecycle of the resource c. 1515 Contributor An entity responsible for making contributions to the resource Olivia Migli 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, 118 x 279 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 Sacred and Profane Love is a piece done by Titian circa 1515 for Niccolò Aurelio [1]. Niccolò Aurelio, secretary of the Venice Council of Ten, commissioned this painting for his marriage to Laura Bagarotto [2]. The painting itself depicts two ladies, the one on the left sitting lower than the one on the right who sits up straight and gazes over to the lady on the left. These two figures are believed to be a bride on the left, adorned in traditional, ceremonial wedding clothes and the almost nude figure on the right illustrates Venus [3]. Venus’ loin is covered by a white cloth and a large, red cloth is draped over her shoulders. Accompanying the bride and Venus is Cupid, who sits in between, and playfully reaches his hand into the fountain shaped sarcophagus staring down into the watery bath. Behind the bride is a hilly landscape that leads up to a castle-like structure off in the distance. On Venus’s side the composition is much less filled and consists of a more serene landscape that includes a blue lake and a hazy village structure. Erwin Panofsky suggests that the subject of this piece relate to the Platonic philosophies seen in many Renaissance works. He suggests that Cupid stirring the water, a source of life, suggests love as the intermediary between heaven and earth [4]. These representative of heaven, Venus, and of earth, the bride, are together and allude to a celebration of love, most likely celebrating the new love of Aurelio and Bagarotto. 1. Titian. Sacred and Profane Love. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612</a>. 2. “Sacred and Profane Love, 1514 by Titian,” Sacred and Profane Love, 1514 by Titian, accessed November 14, 2020, <a href="https://www.titian.org/sacred-and-profane-love.jsp">https://www.titian.org/sacred-and-profane-love.jsp</a>. 3. Author: Titian, “Sacred and Profane Love by Titian,” Galerie Borghèse, August 4, 2019, <a href="https://borghese.gallery/collection/paintings/sacred-and-profane-love.html">https://borghese.gallery/collection/paintings/sacred-and-profane-love.html</a>. 4. Erwin Panofsky, Studies in Iconology; Humanistic Themes in the Art of the Renaissance (New York: O.U.P., 1939). Source A related resource from which the described resource is derived Panofsky, Erwin. Studies in Iconology; Humanistic Themes in the Art of the Renaissance. New York: O.U.P., 1939. Sacred and Profane Love, 1514 by Titian. Accessed November 14, 2020. https://www.titian.org/sacred-and-profane-love.jsp. Titian, Author: “Sacred and Profane Love by Titian.” Galerie Borghèse, August 4, 2019. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. https:// library.artstor.org/asset/SCALA_ARCHIVES_10310195612. 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> 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/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