3 10 177 https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Judith/Judith.jpg c8c221690cd59004a9b35970e5260957 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Judith Subject The topic of the resource The biblical heroine, Judith standing over the decapitated head of Holofernes Creator An entity primarily responsible for making the resource <a href="https://giorgionetempesta.blogspot.com/2011/04/giorgione-judith.html">Giorgione</a> Source A related resource from which the described resource is derived <ul> <li>Brine, Kevin, Elena Ciletti and Henrike Lahnemann, eds. The Sword of Judith: Judith Studies Across the Disciplines. Cambridge: Open Book Publishers, 2010.</li> <li>Dal Pozzolo, Enrico Maria and Lionello Puppi, eds. Giorgione. Milan: Skira, 2009.</li> <li>Fomicieva, T. "The History of Giorgione's 'Judith' and its Restoration." Burlington Magazine 115, no. 844 (1973): 417-21.</li> </ul> Image Source: <a href="https://www.arthermitage.org/Giorgione/Judith.html">The Hermitage Museum</a> Publisher An entity responsible for making the resource available Provenance: Collection of baron L.A. Crozat de Tierra, Paris, 1772 Date A point or period of time associated with an event in the lifecycle of the resource 1504 Contributor An entity responsible for making contributions to the resource Dana Hogan Format The file format, physical medium, or dimensions of the resource Oil on canvas, 144.0 x 68.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Hermitage Museum, St. Petersburg, Russia Description An account of the resource Giorgione’s Judith is a beautiful young widow who has already slain the Assyrian general Holofernes. In fifteenth and sixteenth-century Italy, Judith often served as an allegorical figure of Virtue triumphant, or as the victor in a number of binary oppositions such as the Church vs. the Ottoman Turks. Judith also served as an exempla virtutis for women – an example of the gendered qualities of obedience, humility, and chastity. She became a problematic figure at times: while she was a model of familial and civic virtue, she was also a woman who outsmarted a man and cut off his head. Some preachers and treatise writers warned that her example would lead unintelligent women to kill their husbands, and unflattering prints depicting her as a femme fatale were circulated throughout Europe. This Judith strikes a balance between modest, virtuous woman and symbol of power. Her eyes are averted from the viewer, cast low in a gesture of humility that was typical of portraits of women at this time. Her sword is held loosely at her side, neither bloodied nor wielded high as in other images. However, the positioning of her right arm and the shading of her gown draw the eye to the split seam and her exposed leg. Judith’s bare leg, thrust forward toward the viewer and exerting pressure on Holofernes’s severed head, shows her dominance and is suggestive of the means by which she bested Holofernes. During this time, Judith’s detractors claimed that she seduced Holofernes in order to kill him, whereas her supporters insisted that she remained chaste and won her victory as the handmaiden of God. Giorgione’s rendering leaves room for either interpretation, or further, the possibility of a heroine who embodies that is both sensual and divine. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Plaque_with_the_Personification_of_Africa_[_]/l_ps1_52150_fnt_dd_t16-tms.jpg fd71e7348881f40b0d3b4dd9f38e8fdf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Plaque with the Personification of Africa (?) Subject The topic of the resource A woman depicted as a huntress, possibly an allegorical figure representing Africa Creator An entity primarily responsible for making the resource Anonymous Venetian, Milanese, or Umbrian Source A related resource from which the described resource is derived <ul> <li>Kaplan, Paul H. D. “Isabella d’Este and Black African Women.” In Black Africans in Renaissance Europe, edited by Thomas Earle and Kate J. P. Lowe, 125-54. Cambridge: Cambridge University Press, 2005.</li> <li>Lowe, Kate. “Introduction: The Black African Presence in Renaissance Europe.” In Black Africans in Renaissance Europe, edited by Thomas Earle and Kate J. P. Lowe, 1-14. Cambridge: Cambridge University Press, 2005.</li> <li>Spicer, Joaneath. “European Perceptions of Blackness as Reflected in the Visual Arts.” In Revealing the African Presence in Renaissance Europe, edited by Joaneath Spicer, 35-60. Baltimore: The Walters Art Museum, 2012. Exhibition catalog.</li> <li>The Walters Art Museum. “Plaque with the Personification of Africa (?)” Accessed September 30, 2020. <a href="https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/">https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/</a></li> </ul> <a href="https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/">Image Source: The Walters Art Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1550-1575 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Creative Commons License Format The file format, physical medium, or dimensions of the resource Stamped gilded iron, 14.2 x 7.2 cm Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Walters Art Gallery, Baltimore, USA Description An account of the resource The ebony, semi-nude body of a woman emerges from a gold ground, positioned in a decorative niche as an allegorical figure. She is in motion, with one foot lifted as she stands in contrapposto, one arm raised to grasp a loop of billowing drapery near her head and the other crossing her body, pointing past the cloth that curves around her hip and flutters in an imagined breeze. The voluptuous, sensuous figure depicted here is believed to represent Africa with her exotically patterned fabric, huntress’ boots [1] and gold bands around her arms, neck, and chest. It is unclear whether the gold atop her head is cloth woven into a turban or tresses styled in an elaborate European coiffure. Though she is figured as a non-European, her dynamic figure is contained by European architecture, framed by all’antica columns and a geometrically-patterned, perspectival floor. Joaneath Spicer has provided an overview of the range of functions of images of people of color in early modern European art, from status symbols to allegorical foils. This image could be categorized both as a display of the worldliness, wealth, and political power of its owner, as well as an expression of an artist’s mastery of a medium – perhaps participating in the tradition of the black Venus type. Spicer has shown that luxurious mediums with a naturally black or brown hue such as iron, onyx, black marble, bronze, and rosewood were used to depict black African bodies in a dual representation of beauty and exoticism [2]. Little is known about the circumstances of the commission of this relief, though the curators at the Walters Museum have compared it to plaques used to decorate a casket commissioned by Emperor Maximilian II [1]. Images such as this were used to celebrate the expansion of European discovery of the world, and accompanied rising investments in European hegemony and cultural narratives that positioned Europe as the refined, intellectual continent with Africa, Asia, and America as foils. While this figure image may have been intended to convey messages of European conquest and global knowledge, she also possesses power and dignity as a beautiful huntress, dominating the space prescribed for her. As an allegorical figure, she is allowed a greater range of motion and activity than a depiction of a historical European woman (see, for example, the placid, bust-length portraits of <a href="https://venice.dahvc.org/fall-2020/items/show/27">Veronica Franco</a>, <a href="https://venice.dahvc.org/fall-2020/items/show/28">Tullia d’Aragona</a>, and <a href="https://venice.dahvc.org/fall-2020/items/show/25">Cameria</a>). Her motion may be compared to that of <a href="https://venice.dahvc.org/fall-2020/items/show/26">Corisca</a>, who manages to outwit and elude her captor. [1] “Plaque with the Personification of Africa (?)” The Walters Art Museum, accessed September 30, 2020. <a href="https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/">https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/</a> [2] Joaneath Spicer, “European Perceptions of Blackness as Reflected in the Visual Arts,” in Revealing the African Presence in Renaissance Europe, ed. Joaneath Spicer (Baltimore: The Walters Art Museum, 2012), 4. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Cameria_or_Mihrimah_Sultan_as_Saint_Catherine/cameria-daughter-of-suleiman-the-magnificent.jpg f66eee5b0c9cc6a766511f4d3933fe05 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cameria, or Mihrimah Sultan as Saint Catherine Subject The topic of the resource Cameria, or Mihrimah Sultan (1522-1578), daughter of Suleiman the Magnificent Creator An entity primarily responsible for making the resource Titian (Tiziano Vecellio) Source A related resource from which the described resource is derived <ul> <li>The Courtauld Institute of Art. “Cameria, Daughter of Suleiman the Magnificent, as Saint Catherine.” Accessed October 2, 2020. <a href="http://www.artandarchitecture.org.uk/images/gallery/f2d2f159.html">http://www.artandarchitecture.org.uk/images/gallery/f2d2f159.html</a></li> <li>Humfrey, Peter. Titian. London: Phaidon, 2007.</li> <li>Sotheby's. "Cameria, or Mihrimah Sultan (1522-1578), Daughter of Suleyman the Magnificent." Lot 216, Arts of the Islamic World & India including Fine Rugs and Carpets, 10 June 2020. https://www.sothebys.com/en/buy/auction/2020/arts-of-the-islamic-world-india-including-fine-rugs-carpets/cameria-or-mihrimah-sultan-1522-1578-daughter-of</li> </ul> Image Source: https://artuk.org/discover/artworks/cameria-daughter-of-suleiman-the-magnificent-as-saint-catherine-207525 Date A point or period of time associated with an event in the lifecycle of the resource ca. 1560 Rights Information about rights held in and over the resource The Samuel Courtauld Trust, The Courtauld Gallery, London. Relation A related resource <a href="http://www.nationaltrustcollections.org.uk/object/996348">Copy after Titian by Pieve di Cadore</a> <a href="https://www.sothebys.com/en/buy/auction/2020/arts-of-the-islamic-world-india-including-fine-rugs-carpets/cameria-or-mihrimah-sultan-1522-1578-daughter-of">Copy after Titian (Private Collection)</a> http://www.nationaltrustcollections.org.uk/object/960194 Format The file format, physical medium, or dimensions of the resource Oil on canvas, 99.3 x 71.5 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Courtauld Gallery, London, England Contributor An entity responsible for making contributions to the resource Dana Hogan Description An account of the resource Cameria, the daughter of Suleiman the Magnificent, faces the viewer in a three-quarter pose, her expression still and confident as she makes direct eye-contact. Her left hand rests lightly on the wheel of Saint Catherine of Alexandria, a choice that has been attributed to the Ottoman Empire’s possession of Alexandria at the time [1]. Her headdress flows from a jeweled turban around her hair to a high, pointed structure of gold, pearls, rubies and emeralds culminating in a waterfall of white drapery. The cut and fabric of her tunic appear to be typical of Ottoman dress of the time, with a high neck and intricate patterns of flowers and curvilinear forms, contrasting with the low-cut gowns of lace, velvet, satin and silk favored by Venetian noblewomen. Like <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/89%20">Caterina Cornaro</a>, Cameria is shown in this state portrait as a virtuous, learned princess. However, while Cameria is shown in Ottoman costume, she has been somewhat Italianized by the artist through her association with a popular Christian saint and the depiction of her facial features conforming to Venetian ideals of beauty with soft, rounded curves and a pale complexion with rosy overtones. Compare this image of a historic figure of the Near East with the <a href="https://venice.dahvc.org/fall-2020/items/show/28">allegorical figure of Africa</a>, each made from an Italian perspective, most likely for a European audience. [1] “Cameria, Daughter of Suleiman the Magnificent, as Saint Catherine,” The Courtauld Institute of Art, accessed October 2, 2020. <a href="http://www.artandarchitecture.org.uk/images/gallery/f2d2f159.html">http://www.artandarchitecture.org.uk/images/gallery/f2d2f159.html</a> https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Corisca_and_the_Satyr/1920px-Corisca_and_the_Satyr_by_Artemisia_Gentileschi.jpg 81be598ca012142bea954fb13c89981f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Corisca and the Satyr Subject The topic of the resource Corisca, a nymph in Battista Guarini's Il Pastor Fido, evades a satyr through deception Creator An entity primarily responsible for making the resource Artemisia Gentileschi (with Massimo Stanzione) Date A point or period of time associated with an event in the lifecycle of the resource ca. 1630-1635 Contributor An entity responsible for making contributions to the resource Dana Hogan Format The file format, physical medium, or dimensions of the resource Oil on canvas, 155.0 x 210.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Luciano Pedicini Collection, Naples, Italy Description An account of the resource In this painting, we see a young woman fleeing a satyr seated upon the ground. Gentileschi highlights Corisca's movement through the figure's spatial dominance of the picture plane and her billowing garments with highly articulated drapery. Her figure leans diagonally away from the satyr, who parallels her motion, leaning forward to reach for her. Corisca's bright white, gold, purple and green clothes draw the viewer’s eye and position her as the protagonist of the scene through their contrast with the dark, monotonous landscape. The satyr recedes into the background, the lower half of his body barely distinguishable from the dark ground. With his body mainly cast in shadow, the light on his forehead and left shoulder draw attention to his enlarged, pointed ear which marks him as Other. Further creating contrast between the two figures are the exposed expanses of their skin: the satyr's muscular brown torso and arms, and Corisca's bared arms, chest, and front foot, lit by an unidentified source. The differences in their coloring may have been used as tropes of light and dark to communicate their information about the characters' virtue to an early modern audience. Artemisia Gentileschi collaborated with fellow painter Massimo Stanzione to create this image – their individual contributions may be identified through the differing brushstrokes used to depict the figures and the background. While Corisca and the satyr are painted with seamless, virtuosic strokes, the tree, hills and sky behind them are more painterly, that is, the brushstrokes themselves are more visible. This contrast was likely intentional as the narrative depicted belongs to a play: the realistic figures could be understood as interacting in an artificial setting as actors on a stage. In the early 1630s when this painting is believed to have been produced, Artemisia Gentileschi was working for the Duke of Alcala, the Spanish Viceroy of Naples. Prior to Naples, Artemisia had spent four years in Venice, though no known work from this period has survived [1]. It was likely in Venice that she encountered Battista Guarini's play Il Pastor Fido, which became extremely popular throughout Europe and was reprinted multiple times after 1585 [2]. In the scene depicted, the nymph Corisca tricks the satyr by wearing a wig, enabling her to escape his sexual advances while he is left grasping at the wig, surprised to have lost his prey. In early modern Italy this narrative was often understood as a moralizing message for men to beware the wiles of women. Mary Garrard has reinforced the narrative’s connection to Venetian literary circles and reads it as a political statement of an active woman capable of outsmarting a man [3]. [1] Jesse Locker, Artemisia Gentileschi: The Language of Painting (New Haven: Yale University Press, 2015), 4, 85. [2] Jesse Locker, “Artemisia Gentileschi: The Literary Formation of an Unlearned Artist,” in Artemisia Gentileschi in a Changing Light, ed. Sheila Barker (Turnhout: Harvey Miller, 2017), 97. [3] Mary D. Garrard, “Identifying Artemisia: The Archive and the Eye,” in Artemisia Gentileschi in a Changing Light, ed. Sheila Barker (Turnhout: Harvey Miller, 2017), 31. Source A related resource from which the described resource is derived <ul> <li>Garrard, Mary D. “Identifying Artemisia: The Archive and the Eye.” In Artemisia Gentileschi in a Changing Light, edited by Sheila Barker, 11-40. Turnhout: Harvey Miller, 2017.</li> <li>Locker, Jesse. Artemisia Gentileschi: The Language of Painting. New Haven: Yale University Press, 2015.</li> <li>Locker, Jesse. “Artemisia Gentileschi: The Literary Formation of an Unlearned Artist.” In Artemisia Gentileschi in a Changing Light, edited by Sheila Barker, 89-102. Turnhout: Harvey Miller, 2017. Image Source: Art Tribune, January 2012. http://www.artribune.com/wp-content/uploads/2012/01/ART_24_bassa_1.jpg</li> </ul> Publisher An entity responsible for making the resource available Image Source: Art Tribune, January 2012. http://www.artribune.com/wp-content/uploads/2012/01/ART_24_bassa_1.jpg Rights Information about rights held in and over the resource Public Domain. Image Source: Art Tribune, January 2012. http://www.artribune.com/wp-content/uploads/2012/01/ART_24_bassa_1.jpg https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Portrait_of_a_Lady_[Veronica_Franco_]/VeronicaFranco.jpg 9a288f2ac35f5e15f8133a3c88a1935d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of a Lady (Veronica Franco?) Subject The topic of the resource Portrait of a woman believed to be Veronica Franco Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived <ul> <li>Catalogue of All the Principal and Most Honored Courtesans of Venice. Venice, 1570. </li> <li>King, Margaret. Women of the Renaissance. Chicago: University of Chicago, 1991.</li> <li>Smarr, Janet Levarie. Joining the Conversation: Dialogues by Renaissance Women. Ann Arbor: University of Michigan Press, 2005. </li> </ul> Image Source: https://dornsife.usc.edu/veronica-franco/portraits-of-franco/ Date A point or period of time associated with an event in the lifecycle of the resource ca. 1575 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Oil on canvas, 87.0 x 78.7 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Worcester Art Museum, Worcester, MA, USA https://worcester.emuseum.com/objects/20316/portrait-of-a-lady Description An account of the resource Unlike the supposed portrait of fellow poet-courtesan <a href="https://venice.dahvc.org/fall-2020/items/show/28%20">Tullia d’Aragona</a>, Franco’s eyes are averted from the viewer, so she poses no direct challenge to her audience. Her face recedes into shadow, partially hidden from the viewer, leaving her expression unreadable. The circles under her eyes give the impression of weariness and worldly knowledge, contrasting with the youthful glow in her pink cheeks and her vibrant red hair. Her left hand, asymmetrically-hung cloak, and diagonal line of jewels guide the viewer to a conspicuous expanse of her breast, a hint of nipple striking between her creamy skin and bright white chemise. Either as a visual pun or as an attempt to champion her character, the artist has depicted Franco wearing a strand of pearls, symbolic of chastity and purity. Like d'Aragona, Franco used her poems to defend her special honor above other courtesans by showcasing her intellect and network of powerful connections [1]. In her poetry, she responds to men who attack her in their verses as a prostitute, explicitly stating her worthy character and inviting admiration [2]. This portrait shows a woman who is likewise inviting admiration, acknowledging her profession but not defined by it. Tintoretto, however, has omitted attributes such as quills, letters, and books that would portray her in the intellectual persona she worked to craft for herself. [1] Janet Levarie Smarr, Joining the Conversation: Dialogues by Renaissance Women (Ann Arbor: University of Michigan Press, 2005), 24. [2] Margaret King, Women of the Renaissance (Chicago: University of Chicago, 1991), 216. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Portrait_of_Tullia_d_Aragona_as_Salome/830px-Moretto_da_Brescia_-_Portrait_of_Tullia_d_Aragona_as_Salome_-_WGA16230.jpg 8b07082e453a922688fb58944e6ec237 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Tullia d'Aragona as Salome Subject The topic of the resource Portrait of Tullia d'Aragona as Salome Creator An entity primarily responsible for making the resource Moretto da Brescia Date A point or period of time associated with an event in the lifecycle of the resource ca. 1537 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Web Gallery of Art Format The file format, physical medium, or dimensions of the resource Oil on panel, 56.0 x 39.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Pinacoteca Tosio Martinengo, Brescia, Lombardy Description An account of the resource A centrally-positioned woman gazes directly at the viewer, her head cocked to the side as she reclines on a stone wall bearing an inscription. This inscription identifies one level of the figure’s identity as the biblical femme fatale Salome: "QVAE SACRV[M IOANIS] CAPVT SALTANDO OBTINVIT," which translates from Latin to “I won John’s head with a sacred dance.” John’s head is not shown here, nor is Salome engaged in dance, her infamous act of seduction. She is in repose, coolly and regally eyeing her audience, richly dressed in lace, fur, and velvet with an elaborate, jeweled coiffure. The scepter lazily held in her hand demonstrates both her power and her confidence in her authority (compare to Judith’s sword). In the late nineteenth century, Guido Biagi presented this portrait as a faithful likeness of Tullia d’Aragona – a sixteenth-century philosopher, poet, and courtesan – as a type of Muse in the guise of Salome [1]. This portrait has been dated to c. 1537, when d’Aragona was living in Ferrara, where she inspired legendary passion in the literary men at court. In 1547, d’Aragona’s philosophic Dialogue on the Infinity of Love and volume of poetic exchanges were published by the Venetian printing house Giolito. Years earlier, her home in Venice had functioned as literary salon and became the setting for Sperone Speroni’s Dialogue on Love, written in 1537 and published in 1542. D’Aragona’s dialogue responds directly to Speroni’s, as Speroni included Tullia as a character who was unflatteringly associated with irrational, animalistic, carnal love. In her own dialogue, Tullia again appears as a character, but one who controls the conversation and establishes parity between men and women in sensual and intellectual love. If this portrait is indeed of d’Aragona, it alludes to the power of her beauty and sexuality, and her ability to corrupt men. The circumstances of this commission are unknown, though it is unlikely that d’Aragona would have chosen to represent herself this way. In her writings, d’Aragona skillfully crafts her persona, and her self-representation consciously creates distance from her occupation as courtesan. While this image projects the image of refinement that d’Aragona strove for, it lacks any allusion to her learning or cultural production, and emphasizes the very aspect of her identity that she struggled to subsume. This image shows her as she might have been viewed by a man who lusted after her, but not as she wished to be perceived. [1] Guido Biaggi, Un’etera romana: Tullia d’Aragona (con ritratto) (Florence: R. Paggi, 1897), 3-4. Source A related resource from which the described resource is derived <ul> <li>Biaggi, Guido. Un’etera romana: Tullia d’Aragona (con ritratto). Florence: R. Paggi, 1897.</li> <li>d'Aragona, Tullia. Dialogue on the Infinity of Love. Venice: Giolito, 1547.</li> <li>Gombosi, György. Moretto da Brescia. Basel: Holbein-Verlag, 1943. Image Source: Pinacoteca Tosio Martinengo</li> </ul> https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Minerva_Sending_Away_Mars_from_Peace_and_Prosperity/download-2.jpg 44b9cebfa23ee64f570914413a52a7d7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Minerva Sending Away Mars from Peace and Prosperity Description An account of the resource Painted by Jacopo Tintoretto for Doge Priuli, "Minerva Sending Away Mars from Peace and Prosperity" was created in 1576 and is located in the Room dell'Anticollegio. This painting is part of four paintings in a series by Tintoretto that additionally includes "Bacchus, Venus, and Ariadne", "Vulcan's Forge", and "Mercury and the Graces", and is meant to celebrate and draw attention to the prestigious government of Doge Gerolamo Priuli. Jacopo Tintoretto's art is known for its dramatic lighting and animation between characters interacting. Influenced by Titian's use of color, Tintoretto uses bright and dark colors to contrast moods, personalities, and more. In this painting, Minerva can be seen shielding Peace and Prosperity from Mars. Minerva is portrayed in light hues, with a halo-like aura around her, contrasted severely against Mars, who is dressed in dark armor and appears agitated. This painting signifies Minerva, the Virgin, as the protector of Venice and the serenity of the city, sending Mars, who signifies battle, far away from her guarded nation. In the left of the image, Peace can be seen holding Minerva's arm, while Prosperity's head pokes out in the corner. Both Peace and Prosperity are surrounded by the white glowing hue, and appear healthy and well, signifying Venice's thriving nature under Doge Priuli's rule. Tintoretto's original four canvases in this collection were created for Atrio Quadrato of the Doge's Palace, and meant to accompany Tintoretto's portrait of Doge Priuli. In Atrio Quadrato, the paintings would have been met with reverence from all foreign leaders and ambassadors who came to the palace. These paintings were eventually moved to the Sala dell'Anticollegio, where they hang today. Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived Tintoretto, Jacopo (Venetian painter, 1519-1594). Work: 1576 - 1577, Era: CE, Image: 1967. Minerva Sending Away Mars from Peace and Prosperity, Peace, Harmony and Minerva banishing Mars, general view. painting (visual works). Accessed September 13, 2020. https://library.artstor.org/asset/SS7730878_7730878_10448088 “Save Venice Inc.: Dedicated to Preserving the Artistic Heritage of Venice.” Accessed September 13, 2020. https://www.savevenice.org/project/mercury-and-the-three-graces-the-forge-of-vulcan-minerva-mars-and-peace-bacchus-ariadne-and-venus. “Venezia - Palazzo Ducale - Tintoretto - Gelatina/ Vetro.” n.d. Www.Archiviodellacomunicazione.It. Accessed September 13, 2020. http://www.archiviodellacomunicazione.it/sicap/Fotografie/91324/?WEB=MuseiVE. Minerva Sending Away Mars from Peace and Prosperity by TINTORETTO. Accessed September 14, 2020. https://www.wga.hu/html_m/t/tintoret/4a/1antico2.html. Publisher An entity responsible for making the resource available Doge Girolamo Priuli Date A point or period of time associated with an event in the lifecycle of the resource 1576-1577 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 148cm x 168cm Type The nature or genre of the resource Oil Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Room dell'Anticollegio, Ducale Palace, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Scala_dei_Giganti/Scala_dei_Giganti.jpg 1c44e5e8cff95742bfc25f4e762cad06 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Scala dei Giganti Creator An entity primarily responsible for making the resource Antonio Rizzo Source A related resource from which the described resource is derived Fenlon, Iain, Piazza San Marco, (Cumberland: Harvard University Press, 2009), Accessed September 13, 2020, ProQuest Ebook Central. Muir, Edward, "Images of Power: Art and Pageantry in Renaissance Venice," The American Historical Review 84, no. 1 (1979): 16-52, doi:10.2307/1855658. Rizzo, Antonio, (Italian architect and sculptor, born before 1440, died 1499 or after) sculptors. 1486-1497 (creation). Scala dei Giganti, View: full, View from inside the passage. stairs. Place: Palazzo Ducale (Venice, Italy)Venice, Venezia, Veneto, Italy. https://library.artstor.org/asset/HUCB_SHARE_109913123485. Wiebke Pohlandt, "Antonio Rizzo," Jahrbuch Der Berliner Museen 13, (1971): 162-207, doi:10.2307/4125724. Wolters, Wolfgang, "Rizzo, Antonio," Grove Art Online, 2003; Accessed 13 Sep. 2020. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000072338">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000072338</a>. Publisher An entity responsible for making the resource available Doge Foscari Date A point or period of time associated with an event in the lifecycle of the resource c. 1486-1497 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource © Loren Partridge Format The file format, physical medium, or dimensions of the resource Limestone and colored marble, originally partially gilt Type The nature or genre of the resource Sculpture/Architecture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice, Italy Description An account of the resource The Scala dei Giganti, which is depicted, is an entrance to the Doge’s Palace. Made of limestone and marble, this staircase is one of many representations of Venetian power and wealth. Although the staircase itself was commissioned to Antonio Rizzo, it is important to recognize that its title is derived from the two sculptures that stand tall at the top of the staircase. Translated into English, Scala dei Giganti literally means “staircase of giants” and refers to the two mythological figures at the top. Standing at the base of the staircase, immediately the quatrefoil design in the base in front of the steps is noticed. When approaching the staircase as depicted in the image, it is important to recognize the role of the two statues at the top: Mars and Neptune. While their symbolic meaning is important, we shall focus on the image for now. Both sculptures create vertical lines, creating a space in between in which the viewer’s eyes follow. As the viewer climbs the steps, the eyes follow the railing of the staircase (which are embedded with high relief imagery) to the two arches flanking the staircase that are below the feet of the sculptures. In their own niches, a coat of arms is shown on each arch, with two divine figures pointing to the coat of arms in high relief. Upon reaching the top of the flight, the viewer is overcome by the two sculptures, Mars (left) and Neptune (right), which stand in contrapposto, another characteristic of Roman art that had made its way into Venetian culture. Mars, the Roman god of war, is depicted as muscular, with a shield behind his right leg and a Roman war helmet on his head. Adjacent to him stands Neptune, the god of the sea, who is also depicted as muscular, with great detail being put into his hair, almost giving the sculpture and sense of animation and fluidity. Both vertical lines of the sculptures lead up to a sculpture of St. Mark’s lion, embedded into the arcade behind the two Roman gods. Each arch has a mixture of high and low relief motifs that lead down towards the doric pilasters which are assimilated into the facade. Given that Venice was an expanding state, with its foreign interests ranging from Milan to the Eastern Mediterranean, it was important that Venice built on this concept of power and righteousness. By incorporating the Roman gods--Mars and Neptune--not only does Venice make the statement that they are powerful on both land and sea, but Venice also makes the statement that they have a seat at the international table with just as much, if not more, authority and power than Rome. This, in conjunction with the fact that this staircase was used for royal processions as well as welcoming honorary guests from foreign lands, serves as strong evidence for the self-promotion of the Venetian state. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/The_Lion_of_the_St._Mark/Lion_of_St._Mark.jpeg 41a00b5b0b29fdf01b6aebe515cce364 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Lion of the St. Mark Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Benezit Dictionary of Artists. "Carpaccio, Vittore." Last modified October 31, 2011. https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00032555. Cook, Albert. "Carpaccio's Animals." The Centennial Review 27, no. 4 (1983): 224-43. http://www.jstor.org/stable/23739724. Fortini-Brown, Patricia. Venetian Narrative Painting in the Age of Carpaccio. New Haven: Yale University Press, 1994. Grasman, Edward. "A Salute to You: Expansion under the Wings of Saint Mark." Artibus Et Historiae 33, no. 66 (2012): 121-31. http://www.jstor.org/stable/23509747. Image Source: Artstor, accessed September 15, 2020. https://library.artstor.org/asset/ARTSTOR_103_41822000478501. Publisher An entity responsible for making the resource available Image Source: Artstor, accessed September 15, 2020. https://library.artstor.org/asset/ARTSTOR_103_41822000478501. Date A point or period of time associated with an event in the lifecycle of the resource 1516 Contributor An entity responsible for making contributions to the resource Vik Manocha Format The file format, physical medium, or dimensions of the resource Tempera on canvas, 130.0 x 368.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice, Italy Rights Information about rights held in and over the resource Public Domain. Image Source: Artstor, accessed September 15, 2020. https://library.artstor.org/asset/ARTSTOR_103_41822000478501. Description An account of the resource Vittore Carpaccio (c. 1465 – c. 1520) painted The Lion of St. Mark in 1516 on commission for the Palazzo dei Camerlenghi near the Rialto district [1]. It features a large lion in its center––which represents the Republic’s patron saint St. Mark and therefore the Republic itself––holding a book inscribed with the message “Peace unto you, Mark my evangelist” [2]. Behind the beast is a detailed landscape of Venice, showing key centers of power like the Ducal Palace (home of Venice’s leader, the Doge), St. Mark’s Campanile, and the Arsenal of the city. This painting serves a two-fold purpose, which we can analyze with aid from the location at which it was originally displayed as well as the historical context. Its first layer of meaning comes from its placement in the Palazzo dei Camerlenghi. The large building was not a personal residence but rather a set of offices used for clerical purposes. Thus, the vast size of the work gave all visitors an impression of the sheer power of the family that commissioned it––and whose coat of arms can be seen clearly below the lion’s front foot. The self-promotion of power, however, was not limited to just that of the administrative sense. It also projected the power of Venice. To understand the true intent of Carpaccio’s piece, we have to look at the events directly preceding it. In 1509, several political and religious powers formed the League of Cambrai to counter Venice’s growing influence in the region [3]. Through a series of wars, the Republic had lost much of its territorial holdings and so desperately needed to reassert its dominance or risk collapse [4]. Thus, the Lion of St. Mark––which appears to be coming out of the sea (its traditional area of strength) and onto the land––expresses its desire to have dominion over both. It at the same time reinforces the myth of Venice: although the ships behind it flex its military might, the book’s inscription emphasizes its divine protection as the holiest city in Italy. [1] "Carpaccio, Vittore," Benezit Dictionary of Artists, last modified October 31, 2011. https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00032555. [2] Albert Cook, "Carpaccio's Animals," The Centennial Review 27, no. 4 (1983): 238. [3] Edward Grasman, "A Salute to You: Expansion under the Wings of Saint Mark," Artibus Et Historiae 33, no. 66 (2012): 122. [4] Patricia Fortini-Brown, Venetian Narrative Painting in the Age of Carpaccio (New Haven: Yale University Press), 1994, 54. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Return_of_Jacob_with_His_Family/12jacob1.jpg 3a514023d55669e4d60dd86790d01297 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Return of Jacob with His Family Creator An entity primarily responsible for making the resource Jacopo Bassano Date A point or period of time associated with an event in the lifecycle of the resource Circa 1580 Contributor An entity responsible for making contributions to the resource Olivia Migli Format The file format, physical medium, or dimensions of the resource Oil on canvas, 150 x 205 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice Source A related resource from which the described resource is derived Nichols, Tom. “Jacopo Bassano, Regionalism, and Rural Painting.” Shibboleth Authentication Request. Accessed September 14, 2020. https://web-a-ebscohost-com.proxy.lib.duke.edu/ehost/detail/detail?vid=30. Christiansen, Keith. “Jacopo Dal Ponte, Called Bassano (Ca. 1510–1592).” metmuseum.org, March 2009. https://www.metmuseum.org/toah/hd/bass/hd_bass.htm. Web Gallery of Art, searchable fine arts image database. Accessed September 14, 2020. https://www.wga.hu/index1.html. Description An account of the resource This painting was painted by Jacopo Bassano, a young man who trained at the cosmopolitan workshop of Bonifacio de’Pitati, circa 1580. This particular painting is apart of the collection of the Sala del Anticollegio in the Palazzo Ducale. Seen in the painting is the biblical story of Jacob, later renamed Israel, and his family's journey back to Canaan. Bassano was known to use the allegory of biblical travel to describe the wandering in search of salvation which is exemplified in the Return of Jacob and His Family. Bassano uses light colors to shine a light on the foreground of the painting. The herd of animal and people are the spotlight along with a brightly lit sky behind a mountain off in the distance. The herd consist of sheep, mule, a horse, and some cow. Darker colors make up the middle ground and edges of the rural landscape in the painting. The trees and forest are all very dark browns, grays, and black. The simplicity of the background makes the detail of the people and animals even more prominent. The sky surrounding the one bright spot looks stormy and cloudy. The contrasting colors lead the gaze of the audience through the painting, which allowed Bassano to effectively tell this story. It is showing the journey of Jacob and his family and of the salvation waiting ahead of them in Canaan, symbolized by the bright spot in the distance, as if salvation is lying ahead waiting for them. The rural landscape is very similar to his other works, as he’s well known for his depiction of domestic animals and peasant-like people at work. The collection of house hold items cluttered around the image are also a telltale sign of Bassano’s work. Publisher An entity responsible for making the resource available https://www.wga.hu/art/b/bassano/jacopo/2/12jacob1.jpg