4 10 177 https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Pietro_Aretino/Untitled.png 546d53ee8b66c3fd7b916b1edcc05777 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 Pietro Aretino Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Salomon, Xavier F. “An important work by Titian has been hiding in plain sight.” Apollo Magazine, September 20, 2019. https://www.apollo-magazine.com/an-important-work-by-titian-has-been-hiding-in-plain-sight/. The Frick Collection. “Pietro Aretino.” Accessed November 10, 2020. https://www.frick.org/exhibitions/parmigianino/aretino. The Metropolitan Museum of Art. “Portrait of Pietro Aretino.” Accessed November 10, 2020. https://www.metmuseum.org/art/collection/search/662705. Image Source: The Frick Collection, accessed November 10, 2020. http://collections.frick.org/view/objects/asitem/items$0040:263. Publisher An entity responsible for making the resource available Image Source: The Frick Collection, accessed November 10, 2020. http://collections.frick.org/view/objects/asitem/items$0040:263. Date A point or period of time associated with an event in the lifecycle of the resource c. 1537 Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource Public Domain. Image Source: The Frick Collection, accessed November 10, 2020. http://collections.frick.org/view/objects/asitem/items$0040:263. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 101.9 x 85.7 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 The Frick Collection, New York, NY Subject The topic of the resource Prominent Italian author Pietro Aretino sits for a portrait. Description An account of the resource Pietro Aretino was an influential Italian author during the sixteenth century. In addition to his artistic work, however, he was a friend to countless people in power and was nicknamed “the scourge of princes” for his use of blackmail against correspondents [1]. He was keen and active in the realm of politics. In this self-titled work by Titian, Aretino dominates the frame. Although his clothes are dark and muted in color, he still is able to emerge from the background blanketed in a gray shadow. This further allows the gold chain that drapes over his neck and his fair-complexion to bring attention to his bearing over the viewer, from whom he remains aloof. He stands facing the left at a three-quarter turn, giving him additional breadth that projects power and purpose. His gaze is soft and turned upward, showing his wisdom and by extension his creativity that served as the basis for much of his work––meanwhile his graying beard implies a more insidious type of aging. The piece and the figure portrayed can be summed up by one word: presence. Although the portrait currently hangs in New York’s Frick Collection, it was commissioned for Aretino’s publisher Francesco Marcolini [2]. Another one of Titian’s portraits of Aretino (now in the Pitti Palace) was sent as a gift to Cosimo de’ Medici, a powerful and wealthy Florentine banker who ruled over a dynasty [3]. Together, the two recognize Pietro Arentino’s dominance of both the artistic and political landscape, a feat that few of his time could dare to claim. Furthermore, the use of such a prolific and recognized painter signalled great wealth and supremacy. Anyone whose eyes fell upon the portraits––either at the palace of a baron of Florence or at the office of a very well respected publisher––would know instantly the importance of both the owner and the subject. [1] “Pietro Aretino,” The Frick Collection, accessed November 10, 2020, https://www.frick.org/exhibitions/parmigianino/aretino. [2] Xavier F. Salomon, “An important work by Titian has been hiding in plain sight,” Apollo Magazine, September 20, 2019, https://www.apollo-magazine.com/an-important-work-by-titian-has-been-hiding-in-plain-sight/. [3] “Portrait of Pietro Aretino,” The Metropolitan Museum of Art, accessed November 10, 2020, https://www.metmuseum.org/art/collection/search/662705. https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Mars_and_Venus_United_by_Love/SS7731421_7731421_11764786.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 <a href="https://library.artstor.org/#/asset/SS7731421_7731421_11764786">Mars and Venus United by Love</a> Creator An entity primarily responsible for making the resource Paolo Veronese (1528 - 1588) Source A related resource from which the described resource is derived Veronese, Paolo. "Mars and Venus United by Love."Metropolitan Museum of Art. Accessed November 8, 2020. <a href="https://www.metmuseum.org/art/collection/search/437891.">https://www.metmuseum.org/art/collection/search/437891.</a> 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. 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> Salmon, Xavier F. "Veronese's Skies in S. Sebastiano." The Burlington Magazine 154, no. 1315 (2012): 712. 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> 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 Seamus Harding Rights Information about rights held in and over the resource This image was provided by The Metropolitan Museum of Art. Contact information: The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028, <a href="http://www.metmuseum.org/">http://www.metmuseum.org/</a> 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> 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. 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, New York City, New York, USA Description An account of the resource Mars and Venus United by Love was painted by Paolo Veronese (Paolo Caliari) in the 1570s. Veronese was most likely commissioned by Emperor Maximilian II to create this mythological masterpiece. Before the Metropolitan Museum of Art received this painting in 1909-1910, several European royalties owned this painting, starting with Emperor Rudolf II in Prague by 1621. [1] This painting has been in several different exhibits over the last hundred years in the Metropolitan Museum of Art. Veronese displays the Roman gods’ Mars and Venus in a beautiful landscape with their son, Cupid, placed in the lower-left corner. Cupid is tying a love knot around his parents, symbolizing a happy marriage. Both parents are looking at their son; Venus is smiling, and Mars has a straight face. Mars is wearing his war uniform, referring to his status as the god of war in ancient mythology. He is not wearing a helmet, but his armor is decorated in gold with lion faces in the design. He also has a lavender cape that he is holding with his left hand. He is shown with brown curly hair and a full beard, comforting his wife. Venus, the goddess of love, is painted with her blonde hair pinned up, pearls around her neck, and one bracelet on either wrist. She has a blue and gold strap wrapped around her upper right side of her body. It has the same gold lions as Mars’s armor. Venus is nude with the right breast covered by her right hand, her left breast covered by Mars’s head, and her lower body is covered by the other side of Mars’s cape, which is a deep blue color. There appears to be a drop of milk coming from Venus’s breast, which may be an allusion to chastity transformed by love into charity. [2] They appear to be up against the side of a piece of architecture. There is a beautiful landscape with trees and leaves of various colors. You see leaves with green, yellow and brown. The brightness of this painting is very bright, and there is not much shade. Behind the happy family appears another Cupid guarding Mars’s horse with his sword, symbolizing restrained passion [3]. The peaceful horse is portraying the opposite of Mars because Mars is considered an angry god. In the painting, it appears that Mars can be intimate and loving towards his wife. The sky is ombré colored with blue hues of azurite and smalt with various clouds throughout the painted sky [4]. [1] Mars and Venus United by Love,” Metropolitan Museum of Art, accessed November 8, 2020, <a href="https://www.metmuseum.org/art/collection/search/437891.">https://www.metmuseum.org/art/collection/search/437891.</a> [2] 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. [3] 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> [4] Salmon, Xavier F. "Veronese's Skies in S. Sebastiano." The Burlington Magazine 154, no. 1315 (2012): 712. Publisher An entity responsible for making the resource available Emperor Maximilian II 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> https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Pope_Paul_III_with_his_Grandsons/ARTSTOR_103_41822000645323.jpg a58dd8d7b55bf6384226d6ebc73ceaef 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 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, 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 Pope Paul III with his Grandsons Subject The topic of the resource Titian's painting Pope Paul III with his Grandsons was commissioned by the pope himself who asked Titian personally for a portrait due to his immense fame.[1] In this picture Pope Paul III is pictured with his two sons Cardinal Alessandro Fernese and Ottavio Fernese. Pope's did not traditionally and were not supposed to have families, but after the fall of the Roman Empire some Pope's were corrupt and sacrilegious. Later in his life, Pope Paul III was charged with nepotism to punish him for propelling his family members' careers forward.[2] The painting was not finished because of the clear depiction of the ongoing feud in the family. [3] Description An account of the resource Titian's portrait of the Pope and his grandsons is filled with rich tones of red and maroon along with dark brown, black and skin toned tan accented with white and silver. Seated in the focal point of the painting is Pope Paul III dressed in a white fur and silk robe with a velvet vestment. He is also wearing a traditional pope's cap. His left hand is gripping the arm of the chair symbolizing his power and strength. His head is turned slightly to the right to address his one grandson Ottavio. Ottavio is bowing slightly next to the pope in reverence and as a polite gesture. He is wearing a black shirt with a brown sash that holsters a knife. His high white socks accent the ouline of his figure from the wooden backdrop. The pope's other grandson stands slightly behind the left side of the pope's chair. He is adorned in red cardinal vestments looking directly at the viewer, but with his body positioned as if he is ready to assume the throne. In the background of the painting faint outlines of detailed wood can be seen, but since the painting is not finished the details are not fully fleshed out. There is a red banner that flows very naturally, showcasing Titian's skill in Renaissance art. [1] Phillips-Court, Kristin. “Emblematic Narrative in Caro's Gli Straccioni (with an Eye to Titian's Paul III).,” 2004. [2] Murphy, Francis Xaiver. “The Council of Trent.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 20, 2020. [3]Wethey, Harold E. “Titian.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 23, 2020. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Murphy, Francis Xaiver. “The Council of Trent.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 20, 2020. https://www.britannica.com/biography/Paul-III/The-Council-of-Trent. Phillips-Court, Kristin. “Emblematic Narrative in Caro's Gli Straccioni (with an Eye to Titian's Paul III).,” 2004. https://link.gale.com/apps/doc/A120702683/AONE?u=duke_perkins&sid=AONE&xid=28639a9d. Titian. “Pope Paul III with His Grandsons.” ARTSTOR. JSTOR, 2020. Museo e gallerie nazionali di Capodimonte. Naples, Italy. https://library.artstor.org/#/asset/ARTSTOR_103_41822000645323. Wethey, Harold E. “Titian.” Encyclopædia Britannica. Encyclopædia Britannica, inc., August 23, 2020. https://www.britannica.com/biography/Titian. Publisher An entity responsible for making the resource available Data from: University of California, San Diego Pope Paul III Date A point or period of time associated with an event in the lifecycle of the resource 1545-1546 Contributor An entity responsible for making contributions to the resource Darien Sansosti Rights Information about rights held in and over the resource Titian, ca. 1488-1576. 1545-46. Pope Paul III with his Grandsons. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/ARTSTOR_103_41822000645323. Format The file format, physical medium, or dimensions of the resource 200 x 174 cm Type The nature or genre of the resource Oil painting on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo e gallerie nazionali di Capodimonte Naples, Italy https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Mars_and_Venus_United_by_Love/DP167124.jpg c6bbf7af79b0dcac8f470e6380a91be8 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 (1528 - 1588) Publisher An entity responsible for making the resource available Emperor Maximilian II Public Domain. Image Soruce: Veronese, Paolo. Mars and Venus United by Love. Metropolitan Museum of Art. Accessed November 4, 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 1570s Contributor An entity responsible for making contributions to the resource Carmel Falek 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 4, 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 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 Description An account of the resource Paolo Veronese was most likely commissioned by Emperor Maximilian II to create a painting of the Roman mythological gods Venus and Mars [1]. Born in Verona (where his name stems from) to a family of artists, Veronese studied the works of those before him, like Raphael and Michelangelo. During the time he painted Mars and Venus United by Love, he also created other works centered on Roman mythology, such as The Choice of Hercules, diving into the theme of Christian morality [2]. In the painting, Veronese details the union of the Roman gods Mars and Venus. Cupid, their child, binds them together with a love knot, representing the joyous and happy matrimony. Mars is depicted in his battle uniform, alluding to his role as the god of war in ancient mythology. Venus has her arm around Mars, showing affection and compassion towards her loved one, and is adorned with pearls around her neck and hair. Milk is flowing from her breasts, representing nurture and care, important aspects of love [3]. In the background, Veronese details a dark and cloudy sky with trees covering the view. Mars’s warhorse is in the back restrained and at ease with the baby cherub holding a sword. The calm horse contrasts the typical depiction of Mars as an angry god, showcasing how he can be intimate and caring for the woman he loves. Veronese incorporates classical architecture with a rusticated building and sculpture in the background, and his last name carved on the bottom, signifying that the painting is his creation. He composes this artwork by separating the main characters from the background, in order to clearly narrate this story of the ideal matrimony for the viewer. Veronese utilizes light colors when depicting Venus, highlighting her purity as an ideal wife. She is the source of brightness in the painting. Mars’s battle uniform is gold, a color of power and riches, and covered by a silk pink cloth with detailed shadows and folding. The color of the sky in the background is intricate in itself, with Veronese utilizing various shades of blue and teal, creating an almost ombré effect [4]. Paolo Veronese in his allegorical painting Mars and Venus United by Love illustrates the ideal relationship, ultimately showcasing his views on Christian morality. He highlights the key aspects of any holy matrimony, such as unity, intimacy, love, and affection. His purpose is to display to the viewer what it means to be in a healthy and loving partnership through the allegory of Mars and Venus. [1] “Mars and Venus United by Love,” Metropolitan Museum of Art, accessed November 5, 2020, https://www.metmuseum.org/art/collection/search/437891. [2] “Paolo Veronese,” Encyclopedia Britannica, accessed November 5, 2020, https://www.britannica.com/biography/Paolo-Veronese [3] Patricia Simons, "The Incubus and Italian Renaissance Art," Source: Notes in the History of Art 34, no. 1 (2014): 8 [4] Xavier F. Salomon, "Veronese's Skies in S. Sebastiano," The Burlington Magazine 154, no. 1315 (2012): 712 Source A related resource from which the described resource is derived Crastre, Francois, and Frederic Taber Cooper. Veronese. New York, NY: Frederick A. Stokes Company, 1912. “Mars and Venus United by Love.” Metropolitan Museum of Art. Accessed November 5, 2020. https://www.metmuseum.org/art/collection/search/437891. “Paolo Veronese.” The Editors of Encyclopaedia Britannica. Accessed November 5, 2020. https://www.britannica.com/biography/Paolo-Veronese. Rosand, David. "The Passion of Adonis." Arion: A Journal of Humanities and the Classics 21, no. 3 (2014): 5-27. Salomon, Xavier F. "Veronese's Skies in S. Sebastiano." The Burlington Magazine 154, no. 1315 (2012): 711-12. Simons, Patricia. "The Incubus and Italian Renaissance Art" Source: Notes in the History of Art 34, no. 1 (2014): 1-8. Image Source: Veronese, Paolo. Mars and Venus United by Love. Metropolitan Museum of Art. Accessed November 4, 2020. https://www.metmuseum.org/art/collection/search/437891. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/The_Golden_Age/1586871792354752-9.zucchi.oro.jpg 70d10c6e5cef43e0a67b3bcd35217912 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 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, 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 The Golden Age Source A related resource from which the described resource is derived Pillsbury, Edmund. "Drawings by Jacopo Zucchi." Master Drawings 12, no. 1 (1974): 3-88. Accessed November 5, 2020.http://www.jstor.org/stable/1553219. Puttfarken, Thomas “Golden Age and Justice in Sixteenth-Century Florentine Political Thought and Imagery: Observations on Three Pictures by Jacopo Zucchi.” Journal of the Warburg and Courtauld Institutes 43 (1980):130.https://doi.org/10.2307/751192. “The Golden Age | Artworks | Uffizi Galleries.” Accessed November 7, 2020. https://www.uffizi.it/en/artworks/the-golden-age. Image Source: Zucchi, Jacopo“The Golden Age | Artworks | Uffizi Galleries.” Accessed November 4, 2020. https://www.uffizi.it/en/artworks/the-golden-age. Description An account of the resource The Golden age is part of a cycle of three paintings in the Uffizi, including the other two representations of the Ages of Silver, and Iron. The cause or context the cycle of Zucchi was commissioned is not known based on the limited historic documentary, but the circle could be seen as serving the role of portrait covers. [1]In its appearance, the golden age is the ideal and fantastic period of time when human life is full of happiness and peace in the everlasting spring. It’s emphasized in the painting with the blooming flowers, pervasive soft grasses, streams of water, and vibrant plants in the background landscapes. People don’t know the definition of evil and receive harvest without the need for cultivation, as it can be reflected in the exaggerated plump grapes the male figure holding in the foreground. “O bell’anni dell’oro” on the top of the painting is the name of a song, a reference to a musical interlude performed for the festivities of the nuptials of Cosimo I and Eleonora di Toledo. It’s the motto in the painting that emerges in the parchment displayed by two angel figures hovering in the air, and that motto lays the foundation of the cycle’s close connection with the Medici family. [1] The Golden Age myth has proven to be as convincing and effective as ideology in fulfilling the needs of a particular political environment. The Golden Age had gone beyond a period of primordial prosperity for the classical authors. It emphasizes creating the condition of universal morality and justice without punishment or judges. It also celebrates reproduction and breeding of descendants, alluding to the “natural law”, with the painting’s focus on subjects of the pleasant family scene, and depiction of children and animals. How the illusion of the Golden Age helps with political ambitions was to demonstrate to the public that Medici would return along with a return of faith and military strength, as well as artistic accomplishments about liberty, morality, and prosperity. It also reminds the public of the glorious age that people experienced during the previous govern period of the Medici family. [2] Under the perfect justice, the theme of the painting is also closely associated with internal peace, the “Quiet” and “Tranquillity” associated with Medici’s iconography. [2]The emphasis on peace can be reflected in the depiction of actions in the painting----- a group of women and children dancing in a circle on the right side, another group of women gathering and communicating on the lake bank, and young figures picking and sharing flowers and fruits in the foreground, etc. As subjects mainly about private life and family happiness, they form an overall relaxing and undisturbed tone in the wonderland. Jacopo Zucchi had studied under Italian artist Vasari and later became his collaborator and work for the Medici. [3] His theme shows a near resemblance to the Metamorphoses by Ovid, a work that the painter is likely to have had the interpretation of his own, integrating the iconographic elements from the literature source. The painting includes some of the artist’s distinctive styles. It shows his inspiration for composition from Vasari, depicting groups of figures scattered along with the steam. The structure of the painting lays its base from the bottom and construct diagonally to create the depth of the space. [1] The gestures of figures are dynamic, distinct, and at the same time rhythmically guiding the viewers’ focus to perceive the painting as a whole. [1]“The Golden Age | Artworks | Uffizi Galleries.”, Uffizi Galleries, Accessed November 3, 2020. <a href="https://www.uffizi.it/en/artworks/the-golden-age">https://www.uffizi.it/en/artworks/the-golden-age</a>. [2] Thomas Puttfarken, “Golden Age and Justice in Sixteenth-Century Florentine Political Thought and Imagery: Observations on Three Pictures by Jacopo Zucchi.” Journal of the Warburg and Courtauld Institutes 43 (1980): 130. [3] Edmund Pillsbury, "Drawings by Jacopo Zucchi." Master Drawings 12, no. 1 (1974): 3 Creator An entity primarily responsible for making the resource Jacopo Zucchi Publisher An entity responsible for making the resource available Uffizi Galleries Zucchi, Jacopo“The Golden Age | Artworks | Uffizi Galleries.” Accessed November 4, 2020. https://www.uffizi.it/en/artworks/the-golden-age. Date A point or period of time associated with an event in the lifecycle of the resource 1575 c. Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Pictures are propriety of the Gabinetto Fotografico delle Gallerie degli Uffizi. Format The file format, physical medium, or dimensions of the resource Oil on panel, 50 x 38.5 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 Uffizi Galleries, Florence, Italy https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae/SCALA_ARCHIVES_10310197960.jpg f837e48854974b3d268be8ba42c47f8e 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 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, 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 Danaë Description An account of the resource In this painting Titian exhibits his use of colorito, which is when color is used in a dominating manner in the work. The color helps depict the story of the painting, which involves Jupiter seducing Danaë. The story explains how Danaë was locked in a tower by herself, which led to a life of loneliness and obscurity. Jupiter, the king of gods, came upon her and used his divinity to impregnate her. This eventually led to her giving birth to Perseus. [2] Titian was known for his mythological story-telling with his artwork, and this is clearly no exception. [3] Jupiter is represented in this work as a cloud of gold, possibly to represent his mysticality. Gold was also a color that represents power and wealth. Furthermore, the clean, white sheets represent the innocence and purity of Danaë. Additonally, the distant background also serves as a disconnect between Danaë and society. Titian uses a beautiful blue to represent the serenity of the outside world, but the implementation of perspective also shows how distant Danaë is from society. Another interesting idea about this painting is that it is rumored by scholars to visually quote Michelangelo. Titian was known to be a continuous studier of the motifs and subjects in the works of Michelangelo. [1] This provides a connection between painting in Rome and painting in Venice. [1] Freedman, Luba. "Apelles, Giovanni Bellini, and Michelangelo in Titian's Life and Art. [2] “Danae.” Artble, August 10, 2017. [3] Terisio Pignatti, and David Piper. Titian. Source A related resource from which the described resource is derived “Danae.” Artble, August 10, 2017. https://www.artble.com/artists/titian/paintings/danae. Terisio Pignatti, and David Piper. Titian. New York, New York: Rizzoli, 1981. Freedman, Luba. "Apelles, Giovanni Bellini, and Michelangelo in Titian's Life and Art." Artibus Et Historiae 34, no. 67 (2013): 251-73. Accessed November 4, 2020. http://www.jstor.org/stable/23510254. Image: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Publisher An entity responsible for making the resource available Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Date A point or period of time associated with an event in the lifecycle of the resource 1544 Contributor An entity responsible for making contributions to the resource Jared Kreis 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 117 x 69cm, Oil on canvas Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo e gallerie nazionali di Capodimonte, Naples, Italy Creator An entity primarily responsible for making the resource Titian https://venice.dahvc.org/fall-2020/files/original/Pope_Paul_III_and_His_Grandsons/pope_paul.jpg 9e8b4c142699911b94cf7e6f6a8dec03 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 Pope Paul III and His Grandsons Description An account of the resource Pope Paul III and His Grandsons is a painting painted by Titian, who was commissioned by the Farnese family. This was one of Titians' finest works Initially looking at this painting you see the three men of different ages. Pope III is sitting in his chair wearing a red suit while his two grandsons are on each side of him. The Pope appears to be very old and ill and positioned very low in this scene. Despite his positioning, the body language from the grandsons shows the great respect they have for him. The Pope also appears to be wearing a cap to most likely cover up any balding or receding hairline. Overall the Pope is visually aging and knows his time is almost up. He is looking at his grandson grinning at him foreshadowing that this grandson will be the successor of the Pope. The brushstrokes of this painting appear to be done very heavily making the atmosphere very tense. The color red is used generously throughout the whole scene. First off, the Pope has red on the upper half of his body and his shoes. One of his grandsons is wearing a full red suit including a red cap. The table next to these two is red too. On the red table, there is a candle illuminating this darkroom making the colors pop. The overall use of the color red adds to this tension Titian intended to illustrate in this painting. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Pope Paul III and His Grandsons, by Titian, www.titian.org/pope-paul-iii-with-his-grandsons-alessandro-and-ottavio-farnese.jsp. Date A point or period of time associated with an event in the lifecycle of the resource 1545-1546 Contributor An entity responsible for making contributions to the resource Ryan Smith Rights Information about rights held in and over the resource Pope Paul III and His Grandsons, by Titian, www.titian.org/pope-paul-iii-with-his-grandsons-alessandro-and-ottavio-farnese.jsp. Format The file format, physical medium, or dimensions of the resource 210cm × 176cm 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 Capodimonte Museum, Naples https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae/570px-Tizian_011.jpg cbbf9725cc681774773374d509e89bcf 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 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, 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 Danaë Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived “Danae, 1545 by Titian.” Titian.org. Accessed November 4, 2020. https://www.titian.org/danae.jsp. “Titian's Danaë .” National Gallery of Art, June 19, 2014. https://www.nga.gov/press/exh/3951.html. Zarucchi, Jeanne Morgan. "The Gentileschi "Danaë": A Narrative of Rape." Woman's Art Journal 19, no. 2 (1998): 13-16. Accessed November 4, 2020. doi:10.2307/1358400. Image Source: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Publisher An entity responsible for making the resource available Image Source: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Date A point or period of time associated with an event in the lifecycle of the resource 1544 Contributor An entity responsible for making contributions to the resource Rafael Salazar-Paranhos 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, 117 x 69cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo e gallerie nazionali di Capodimonte, Naples, Italy Description An account of the resource The painting Danaë, by Titian, was made in 1544 and is located in the Capodimonte Museum in Naples, Italy. The painting was made for Cardinal Alessandro Farnese’s bedroom and is representative of his own mistress. The painting was made for the Cardinal during a visit by Titian to Rome, and it represents both his highly respected side as a distinguished patron along with his womanizer personality [1]. The painting is in fact a mythical interpretation of Ovid’s Metamorphoses text by Titian, much like his other work later in his life. In addition, this is once again a very specific, “love” commission similar to other paintings from the artist, such as Bacchus and Ariadne which had a very particular meaning for Alfonso d’Este. The story of Danaë is quite complex. It involves very detailed parts which Titian is able to perfectly depict. In the image, we can clearly see the main subject Danaë as she lays under a shower of gold. This shower is representative of Zeus and Jupiter, as he disguises himself into Danaë’s locked chamber in order to impregnate her and give her a son in Perseus [2]. The painting not only shows Titian’s ability to adapt stories into visual depictions, but also his talent of manipulating colors and shades. The composition is made up of a carefully calculated Danaë, as she is positioned in a relaxed manner on her bed. She is dressed in white representing her purity and the scene looks to be getting light from an outside source, which mainly highlights the woman, and creates a shadow in the middle of the painting. The gold is also now made more vivid through these shadows which highlights the symbolism of Zeus and shows Danaë’s openness to the situation. This strategy is key to making the woman the center of attention for Titian’s patron Farnese [3]. There is also a baby cupid that lays near her feet, which of course represents love and, in this case, it has done its job as Zeus has made his way into the room. As can be seen, Danaë shows Titian’s ability to control color and utilize symbols to transform a mythological story into a visual representation. He is able to conform to his patron, Farnese, while also displaying his artistic skills with his creative freedom. [1] “Titian's Danaë,” National Gallery of Art (June 19, 2014) [2] Jeanne Morgan Zarucchi, "The Gentileschi "Danaë": A Narrative of Rape," Woman's Art Journal 19, no. 2 (1998): 13-16. [3] “Danae, 1545 by Titian,” Titian.org (2020) https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/The_Penitent_Magdalene/SCALA_ARCHIVES_1039489004.jpg 910acd61d536e5fddb760d20eea6429e 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 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, 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 The Penitent Magdalene Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian. c. 1533-35. Saint Mary Magdalene in Penitence, The Penitent Magdalen. painting. Place: Galleria Palatina. https://library.artstor.org/asset/SCALA_ARCHIVES_1039489004. Aikema, Bernard. "Titian's Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and Its Critics." Journal of the Warburg and Courtauld Institutes 57 (1994): 48-59. Accessed November 4, 2020. doi:10.2307/751463. Cole, Bruce. Titian And Venetian Painting, 1450-1590. N.p.: Taylor & Francis, 2018. "The Penitent Magdalene By Titian | Artworks | Uffizi Galleries". 2020. Uffizi.It. https://www.uffizi.it/en/artworks/saint-mary-magdalene. Publisher An entity responsible for making the resource available Artstor. Titian. c. 1533-35. Saint Mary Magdalene in Penitence, The Penitent Magdalen. painting. Place: Galleria Palatina. https://library.artstor.org/asset/SCALA_ARCHIVES_1039489004. Date A point or period of time associated with an event in the lifecycle of the resource 1533-35 Contributor An entity responsible for making contributions to the resource Rhea Niyyar 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 panel, 84 x 69.2 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 Pitti Palace, Florence, Italy Description An account of the resource In this painting, we see a penitent Mary Magdalene worshipping the heavens. Titian portrays Mary Magdalene realistically in multiple ways. First, with regards to the composition of the image, Titian places an ointment jar right next to her, providing a realistic scale for the viewer to use to estimate her size. Second, Titian, rather than using a uniform tone to represent Magdalene’s skin, makes her skin look fleshy, infusing pinks into her otherwise golden skin-tone. In addition, Titian layers the paints on her eyes, making them seem glossy and filled with tears, which adds emotion and expression to her face. In addition, Titian uses shadows to show the heavenly light being reflected on Magdalene, realistically creating shadows around the edge of her figure and adding emphasis for the viewer on the more realistic aspects of the painting, specifically her face. In addition, Titian layers gold in order to create texture in Magdalene’s hair, which is frizzy and adds dimension to the painting, making her seem more alive. Finally, nothing separates the viewer from Magdalene, the main character, creating a connection between God and the viewer, making the viewing experience more personal. Now, the question becomes why would Titian want to make Magdelene more realistic? First the lifelike nature of Magdalene’s portrayal enhances the sensuality of her appearance. Titian adds lots of femininity to the painting by using thick, concentrated brushstrokes and warm tones, highlighting the eyes, soaked in crystalline tears, and the copper blonde hair that covers her bare breasts [1]. In addition, Bruce Cole believes that Titian derived Magdalene’s pose from Venus Pudica, highlighting not only the Renaissance idea of relying on classicism but also the carnal nature of the painting [2]. Bernard Aikema speculates that the reason for this erotic portrayal of Magdalene was as a result of influence from the writings of Saint John Cassian. Cassian believed that temptation should be seen as a test for believers of Christ; therefore, Titian’s work served as a temptation for male viewers who had to overcome their temptations in order to view the religious nature of the work [3]. This realistic and erotic approach makes viewers have a religious and moral battle with themselves, thus increasing their connection with the painting and the significance of the religious scene to them. [1] "The Penitent Magdalene By Titian | Artworks | Uffizi Galleries," (2020), Uffizi.It. <a href="https://www.uffizi.it/en/artworks/saint-mary-magdalene">https://www.uffizi.it/en/artworks/saint-mary-magdalene. </a> [2] Bruce Cole, Titian And Venetian Painting, 1450-1590 (N.p.: Taylor & Francis, 2018), 113. [3] Bernard Aikema, "Titian's Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and Its Critics" in Journal of the Warburg and Courtauld Institutes 57 (1994): 48-59. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Venus_of_Urbino/SCALA_ARCHIVES_1031314662.1.jpg e836b7a1454507a3e4c570fecb51c97a 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 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, 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 Venus of Urbino Description An account of the resource The oil on canvas painting was commissioned for Guidobaldo II, who was designated one year later as the duke of Urbino [1]. Contrary to the description provided by the title, the primary subject matter of the image is a representation of an Italian woman in her bedchamber [1]. The work was intended to be a piece for Guidobaldo’s private enjoyment, a symbol of female beauty, and the qualities he looked for in a spouse [1]. The driving theme of the painting is its sexual nature and seductive tones. The woman is framed front and center, resting legs crossed on a bed with a set of white sheets underneath her nude body and pillows supporting her upper body. The whiteness of the sheets produces a monolithic effect, accentuating her skin and its luminous quality. Directly underneath the sheets is a crimson red bed cushion [2]. The red coloring of the furniture signals an association with passion, desire, and love, standard emotive connections with the color [2]. She is lying in a relaxed position with her gaze directed towards the viewer. It appears the woman could be looking at her lover, who had just entered the room, awaiting his arrival in a flirtatious manner. Her left-hand rests over her pubic region, designating the pelvic area as the focus of the image. Titian employs this positioning from ancient Greek and Roman sculptures of Venus, where she is similarly represented [2]. However, Titian’s illustration is much more erotic. Under these circumstances, the image intends to please the viewer with an ideal depiction of the female body. Also included in the work are various other smaller symbols that relate further meaning. The sleeping dog on the bed is possibly symbolizing marital fidelity [3]. In the background, two maids are at the service of the woman, one searching in the chest and the other holding a luxurious ceremonial gown over her shoulder [3]. The maids represent the woman's high esteem and prestige and how her needs were carefully attended to as a member of a wealthy household. [1] Helen Gardner and Fred S. Kleiner, Gardner's Art Through the Ages: The Western Perspective (Boston, MA: Wadsworth/Cengage Learning, 2010), 488. [2] James R. Jewitt, “Titian, Venus of Urbino,” Smarthistory, August 2020, https://smarthistory.org/titian-venus-of-urbino/. [3] “Venus of Urbino by Titian,” Uffizi, The Uffizi Gallery, Accessed November 3, 2020, https://www.uffizi.it/en/artworks/venus-urbino-titian. Creator An entity primarily responsible for making the resource Titian (Tiziano Vecelli) Source A related resource from which the described resource is derived Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. Boston, MA: Wadsworth/Cengage Learning, 2010. Jewitt, James R. “Titian, Venus of Urbino.” Smarthistory, August 2020. https://smarthistory.org/titian-venus-of-urbino/. “Venus of Urbino by Titian.” Uffizi. The Uffizi Gallery. Accessed November 3, 2020. https://www.uffizi.it/en/artworks/venus-urbino-titian. Image Source: Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314662. Publisher An entity responsible for making the resource available Image Source: Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314662. Date A point or period of time associated with an event in the lifecycle of the resource 1538 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Image Source: Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314662. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 119.2 x 165.5 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 Uffizi Gallery, Florence, Italy