3 10 177 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/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/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/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_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_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/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_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/St._Francis_in_the_Desert/download_[5].png 56a142eac7c562763f2fa955ddce0b13 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. Francis in the Desert Description An account of the resource In this painting, we see Saint Francis in the Desert after receiving stigmata, the crucifixion wounds of Jesus. Giovanni Bellini pulls the focus onto the details of the landscape in multiple ways. First, with regards to the composition of the image, Bellini scatters objects of religious and Franciscan significance throughout the painting, not giving anything for viewers to focus on and thus forcing to consider the image in its entirety to discover the meaning behind the painting. Second, he uses a variety of warm-toned pastels in the painting aside from the blue sky in the background, which creates a uniform feel to the painting and does not add specific contrast for a viewer’s eye to be drawn to. In addition, Bellini adds multiple sources of light, both in the back of the painting and on the saint’s face, which is very different from the normal beam of light that either emanates from or shines on central figures in most religious painting and moves the focus away from the saint himself to include the rest of the painting. Finally, Giovanni Bellini adds more texture in the foreground as compared to the background of the painting, which increases the viewer’s focus on the foreground and the objects in the foreground; however, there is not any particularly textured area in the foreground, diffusing the focus throughout the foreground. Now, the question becomes why would Bellini want to make the entire landscape the focus of the painting rather than Saint Francis himself? First, the painting contains lots of details that have meaning in Franciscan and religious literature; for example, the water trickling from a spot out of the stones would easily evoke to any viewers at the time comparison to the miraculous fountain brought forth from the rocks at Horeb by Moses and reminding them of the enduring miracles of the Lord [1]. Tiny details like these are scattered throughout the painting, and Bellini would want to bring attention to them, so the viewer would be able to understand the enhanced meaning of the painting. In addition, because the art was meant to be hanging in a palace, Keith Christiansen believes that the conspicuous location played into the lack of focus in the painting, forcing viewers to focus on the details of the painting and meditate on its meaning [2]. This meditation is especially important for this painting of Saint Francis as Fransiscans have the pivotal role of leadership, renewal, and prophetic purification within the church; thus, any depiction of Francis is a statement of and about the church [3]. The inclusion of the many important symbols necessitated the lack of a clear focus on the central figure as it left room for the viewer to individually understand what the meaning of the painting was, playing into the idea of personal interpretations of religion and religious art that became increasingly popular with the advent of the Renaissance. [1] Art in The Frick Collection: Paintings, Sculpture, Decorative Arts, (New York: Harry N. Abrams, 1996). [2] Keith Christiansen, "Bellini and the Meditational "poesia" in Artibus Et Historiae 34, no. 67 (Poland: IRSA, 2013): 9-20. [3] John V. Fleming, From Bonaventure to Bellini: An Essay in Franciscan Exegesis, (United States: Princeton University Press, 2017), 160. Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Bellini, Giovanni. 1476. Saint Francis In The Desert. Oil on panel. New York City: The Frick Collection. https://collections.frick.org/miradorviewer/Objects/39?json=6b641709-231c-11eb-a22c-5b1b306822b4 Christiansen, Keith. "Bellini and the Meditational "poesia"." Artibus Et Historiae 34, no. 67 (2013): 9-20. Accessed November 10, 2020. http://www.jstor.org/stable/23510240. Art in The Frick Collection: Paintings, Sculpture, Decorative Arts, New York: Harry N. Abrams, 1996. Fleming, John V.. From Bonaventure to Bellini: An Essay in Franciscan Exegesis. United States: Princeton University Press, 2017. 160. Publisher An entity responsible for making the resource available M. Zuan Michiel, Bellini, Giovanni. 1476. Saint Francis In The Desert. Oil on panel. New York City: The Frick Collection. https://collections.frick.org/miradorviewer/Objects/39?json=6b641709-231c-11eb-a22c-5b1b306822b4 Date A point or period of time associated with an event in the lifecycle of the resource 1476-78 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource Copyright © 1998-2020 The Frick Collection. All Rights Reserved. Format The file format, physical medium, or dimensions of the resource Oil on panel, 124.6 x 142 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Frick Collection, New York City, United States of America https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Mars_and_Venus_United_by_Love/main-image.1.jpg 8b55e84525f32ce428bb87027a0b3102 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mars and Venus United by Love Creator An entity primarily responsible for making the resource Paolo Veronese Publisher An entity responsible for making the resource available Emperor Maximilian II Image Source: Paolo Veronese (Paolo Caliari), Italian, Venetian, 1528-1588. Mars and Venus United by Love. Place: The Metropolitan Museum of Art, http://www.metmuseum.org. https://library.artstor.org/asset/MMA_IAP_10310749724. Date A point or period of time associated with an event in the lifecycle of the resource 1570s Rights Information about rights held in and over the resource The person who associated a work with this deed has dedicated the work to the public domain by waiving all of his or her rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. This image was provided by The Metropolitan Museum of Art. Contact information: The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028, Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 205.7 cm x 161 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art, New York City, New York, USA Contributor An entity responsible for making contributions to the resource Raj Kumar Description An account of the resource Paolo Veronese, an Italian Renaissance painter, was known for his vivid use of color and naturalist style, which he developed from Titian. He created paintings with striking, colorful settings and was admired for the grandeur and sensibility of his brushwork [1]. Veronese’s Mars and Venus United by Love illustrates a peaceful, quiet scene where two mythological subjects are being united by love. On the left, the naked goddess of Venus is seen with her arm around Mars, taming him from his fighting endeavors. The nudity of Venus displays her sensual and erotic power. Her other arm is cupping her right breast, from which milk flows, which denotes attributes of nourishment and fertilization [2]. These attributes soften the image and represent central aspects of love and family. Meanwhile, Mars is depicted in armor and typical solider uniform with a lavender cape draped around most of his body. This cape creates a soft texture in the painting showing his passionate side, displaying him as the lover and not the warrior. On the right side of the painting, a baby cupid can be seen taming a war horse of Mars. This symbolizes the subduction of Mars’s fighting passion for his love for Venus. On the left side of the painting, a second cupid is scene binding the two figures with a love knot, symbolizing their unification through hard times and times of war. The use of two cupids emphasizes how Mars and Venus are putting aside all other hindrances to unify in an eternal state of happiness and accord [2]. The entire scene takes place in a grove and creates a mood of peace and love [3]. The grove gives a sense of an idyllic landscape environment, where this type of impossible engagement can survive. The painting has a very calm tone with a hint of rough texture shown by the sword and war horse, which helps create a balanced composition. The landscape is filled with beautiful trees and leaves of all colors contributing to the mood of prosperity and happiness. The deep blue sky, filled with some clouds, creates a serene atmosphere where these two “lovebirds” can forget about everything and just embrace each other [3]. Overall, Veronese creates an undisturbed composition filled with color to show the “forbidden” love affair by two mythological figures. [1] Rodolfo Pallucchini, Paolo Veronese (Encyclopedia Britannica, 1972) 1, 2. [2] Emil Kren, Mars and Venus United by Love (Web Gallery of Art), 1. [3] Xavier Solmon, Veronese's Skies in S. Sebastiano, (The Burlington Magazine 154, no. 1315, 2012), 711. Source A related resource from which the described resource is derived Pallucchini, Rodolfo. “Paolo Veronese.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 1972. Accessed November 10, 2020. https://www.britannica.com/biography/Paolo-Veronese. Salomon, Xavier F. "Veronese's Skies in S. Sebastiano." The Burlington Magazine 154, no. 1315 (2012): 711-12. Accessed November 10, 2020. http://www.jstor.org/stable/41812820. Kren, Emil. “Mars and Venus United by Love.” Mars and Venus United by Love by VERONESE, Paolo, 2013. https://www.wga.hu/html_m/v/veronese/10/1allego2.html. Bayer, Andrea. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." The Metropolitan Museum of Art Bulletin 63, no. 1 (2005): 20. Accessed November 10, 2020. Paolo Veronese (Paolo Caliari), Italian, Venetian, 1528-1588. Mars and Venus United by Love. Place: The Metropolitan Museum of Art, http://www.metmuseum.org. <a href="https://library.artstor.org/asset/MMA_IAP_10310749724">https://library.artstor.org/asset/MMA_IAP_10310749724</a>. https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/The_Choice_Between_Virtue_and_Vice/Paolo_veronese_[boucher]_-_hercules_na_encruzilhada.jpg 8e21d3fd252321bf2bd73b0c546202e5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Choice Between Virtue and Vice Creator An entity primarily responsible for making the resource Paolo Veronese Publisher An entity responsible for making the resource available Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1565 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource The Frick Collection Format The file format, physical medium, or dimensions of the resource Oil on canvas, 219.1 x 169.5 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Frick Collection, New York City, New York, USA Description An account of the resource Though the patron of this piece may be unknown, the moral lesson shown is clear, which is offered in the form of a story with Hercules at a crossroads. He must choose between Vice, the woman facing away from the viewer and clothed in bright fabrics, who offers him a life of ease and pleasure, or Virtue, who looks more dim and haggard, but points towards the rugged ascent to true happiness. [1] In the piece, Hercules has favored Virtue, but the figure of Vice has ripped his stockings and has a jagged knife that leans against the breast of a sphinx under her skirt as Hercules shields himself from Virtue who, in turn, protects him. [1] The lesson in this piece was conveyed to viewers in conjunction with the painting’s partner piece Allegory of Wisdom and Strength, which was originally hung to the right of The Choice Between Vice and Virtue. [1] This piece is also accompanied with an inscription, located on the entablature at the upper left, which states that “Honor and Virtue flourish after Death.” [1] In The Choice between Vice and Virtue, also known as The Choice of Hercules, [2] Veronese has used his signature style of vivid coloring and detailing in a new direction that results in more intense detailing and complex development. [2] For instance, the painter has used light and color in a flipped symbolism that sets it apart from the traditional use of light and color as symbols in paintings. The figure of Virtue is dull, plain, and cast in shadows, whereas the figure of Vice is bright and illuminated as she is garbed in beautiful and richly colored clothing. However, he reminds the viewers that initial looks may be deceptive by using the symbolism of duplicity associated with the Sphinx as well as the placement of a knife under Vice’s skirt. Though the figure of Vice appears far more attractive, Hercules has chosen the path of Virtue as seen by the spatial positioning in this piece. The white-clothed figure of Hercules can be seen reaching for Virtue as Virtue holds to him and tries to shield him from Vice’s continued attacks, which can be seen in the layout of this piece as Vice continues to reach for him. Through the use of symbolism, light, and spatial organization, Veronese hopes to teach his viewers a moral lesson through this piece, though he does so in a unique manner. Traditionally, the elements of light and bright colors were used to indicate the divine, good, or just. However, Veronese, in this piece, has turned this symbolism to show that what may appear good may not, in reality, be good. This furthers the moral lesson Veronese is conveying through his story because he shows viewers, both contemporary and of his time, that the choice for true happiness and virtue may not be as glamorous as individuals hope for and that it is easy to be trapped in the allure of vice. [1] “The Choice Between Vice and Virtue,” The Frick Collection, accessed November 6, 2020, <a href="https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice;jsessionid=5F4ED9F5E888E0A7D067364109DBECF3?ctx=2d203f6b-ee1c-4f5a-9e91-dc71fb66a6c9&idx=0">https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice;jsessionid=5F4ED9F5E888E0A7D067364109DBECF3?ctx=2d203f6b-ee1c-4f5a-9e91-dc71fb66a6c9&idx=0</a>. [2] Diana Gisolfi, “Veronese [Caliari], Paolo,” Grove Art Online, July 2013: 13. Source A related resource from which the described resource is derived <ul> <li>The Frick Collection. “The Choice Between Vice and Virtue.” Accessed November 6, 2020, <a href="https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice;jsessionid=5F4ED9F5E888E0A7D067364109DBECF3?ctx=2d203f6b-ee1c-4f5a-9e91-dc71fb66a6c9&idx=0">https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice;jsessionid=5F4ED9F5E888E0A7D067364109DBECF3?ctx=2d203f6b-ee1c-4f5a-9e91-dc71fb66a6c9&idx=0.</a></li> <li>Gisolfi, Diana. “Veronese [Caliari], Paolo”. Grove Art Online (July 2013): 13. <a href="https://doi.org/10.1093/gao/9781884446054.article.T089003">https://doi.org/10.1093/gao/9781884446054.article.T089003</a>.</li> <li>Brook, Irene. "Veronese," Renaissance Studies 30, no. 3 (2015): 457. </li> <li>Cocke, Richard. 2005. Veronese. London, England: Chaucer Press.</li> <li>Salomon, Xavier F. 2014. Veronese. London, England: National Gallery Company.</li> </ul>