4 10 177 https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace/35/1200px-Jacopo_Tintoretto_-_Minerva_Sending_Away_Mars_from_Peace_and_Prosperity_-_WGA22619.jpg 80afb82095cb64ab8fcf6d358ba5a57f 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 Jacopo Tintoretto was an Italian painter born in Venice whose art was characterized by uniqueness in composition and handling. His painting “Minerva Sending Away Mars from Peace and Prosperity” is part of a group of four extraordinary square paintings that include “Bacchus, Venus, and Adriane,” “Vulcan’s Forge,” and “Mercury and the Graces.” These four paintings were made to celebrate the successful government of Doge Girolamo Priuli. The paintings include mythological and allegorical figures that are meant to emphasize ideas of prosperity and power during Doge Girolamo Priuli’s reign. The four paintings were originally on the walls of the Atrio Quadrato in the Palazzo Ducale, but they are now arranged symmetrically in the Sala dell'Anticollegio in the Palazzo Ducale. In “Minerva Sending Away Mars from Peace and Prosperity,” Tintoretto uses contrasting colors and mythological figures to depict his story. Minerva is seen protecting Peace (wearing an olive wreath crown) and Prosperity (who is partially appearing in the scene to fill her bowl with fruit) from Mars (God of War). As one can see, Tintoretto makes the left side of the painting that includes Minerva, Peace, and Prosperity bright by using light colors in skin, clothes, and accessories. Meanwhile, Tintoretto depicts the right side of the painting that includes Mars as dark, which can be seen through the black armor and lack of bright paint colors. The painting is showing how Minerva is shielding Venice from war in order to keep peace and prosperity in Venice. The lightness on the left side of the painting displays the serene nature of Venice and its success. Peace and Prosperity appear to be glowing in the picture, and this glow can be associated with the thriving nature of Venice under Doge Girolamo Priuli. Creator An entity primarily responsible for making the resource Tintoretto, Jacopo 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). https://library.artstor.org/asset/SS7730878_7730878_10448088. "A Portrait by Jacopo Tintoretto." The Burlington Magazine for Connoisseurs 83, no. 487 (1943): 254-56. Accessed September 14, 2020. http://www.jstor.org/stable/868738. Rearick, W. R. "Venice. Palazzo Ducale and Libreria Marciana." The Burlington Magazine 123, no. 944 (1981): 699-703. Accessed September 14, 2020. http://www.jstor.org/stable/880557. Brooke, Caroline. "The Re-Use of Drawings in the Workshop of Jacopo Tintoretto." The Burlington Magazine 150, no. 1267 (2008): 677-80. Accessed September 14, 2020. http://www.jstor.org/stable/40479903. Cessi, Roberto, and Denis E. Cosgrove. “Cultural Heritage: the Myth of Venice,” April 23, 2020. Accessed September 14, 2020. https://www.britannica.com/place/Venice/Cultural-heritage-the-myth-of-Venice. 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 Raj Kumar Rights Information about rights held in and over the resource © Rector and Visitors, University of Virginia Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 148 x 168 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Sala dell’Anticollegio, Ducal Palace, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace/Venice_Enthroned_with_Justice_and_Peace/2ceilin2.jpg 51aee900263e72216101a2ababed9c30 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 Venice Enthroned with Justice and Peace Description An account of the resource The painting Venice Enthroned with Justice and Peace is located on one of the ceilings of the Sala del Collegio in Doge Palace. As a result, you would be looking up towards this painting rather than straight ahead at it. The image consists of Venice being enthroned, and dressed in extremely fancy and sophisticated clothing. She is represented by a prominent female figure, as that is how many artists during this time represented her in paintings. She is looking down below with two different female figures in between her that represent Justice and Peace, two of the most important systems of beliefs that were present in Venice. Justice is the figure on the left and she holds a sword at her hand representing strength and virtue while Peace is on the right hand side of the image holding onto an olive branch, which is a symbol for peace and victory. Below these two figures there is also a lion in the dark, which could represent the fact that Justice and Peace are overpowering strength and courage, as the angel figures are what is most important in the city of Venice. Finally, Justice also holds onto a scale, which symbolizes the idea of balance and equality that the city of Venice stands for. This is one of many ceiling paintings, and it is significant for building up a message that is then reflected on the main wall of the palace to celebrate Doge Venier. The Doge Palace incorporated multiple ceiling paintings as a complement to the rest of the artwork. However, while this is a ceiling painting, it is extremely significant for representing the values and beliefs of the Republic of Venice. It was clearly a very fair and just time period, and the political allegory that is shown by this painting is a perfect representation of that. Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Veronese, Paolo (Italian painter and draftsman, 1528-1588) painters (artists). 1575-1578 (creation). Ceiling of the Sala del Collegio, View: full, Venice Enthroned w/Justice, Peace & the Lion of St. Mark. paintings (visual works). Place: Palazzo Ducale (Venice, Italy)Venice, Venezia, Veneto, Italy. https://library.artstor.org/asset/HUCB_SHARE_109913108135. Paolo Veronese, “Venice Enthroned with Justice, Peace, and the Lion of Saint Mark,” Venetian Art, accessed September 14, 2020, http://library.bc.edu/venetianart/items/show/1819. Veronese, Paolo. “Venetia between Justitia and Pax.” Accessed September 14, 2020. https://www.wga.hu/html_m/v/veronese/08/collegio/2ceilin2.html. Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online. 2003; Accessed 14 Sep. 2020. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. Publisher An entity responsible for making the resource available Signoria of Venice Date A point or period of time associated with an event in the lifecycle of the resource 1575-1578 Contributor An entity responsible for making contributions to the resource Rafael Salazar-Paranhos Rights Information about rights held in and over the resource © Loren Partridge Format The file format, physical medium, or dimensions of the resource Oil on canvas, 252 x 180 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) https://venice.dahvc.org/fall-2020/files/original/Venice_Ruling_with_Justice_and_Peace/Venice_with_Justice_and_Peace.jpg 1198f545bcf11960b3d1a60877043adc 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 Venice Ruling with Justice and Peace Creator An entity primarily responsible for making the resource Paolo Veronese Date A point or period of time associated with an event in the lifecycle of the resource 16th C Contributor An entity responsible for making contributions to the resource Julia Curd Format The file format, physical medium, or dimensions of the resource 252 x 180 cm, 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 Palazzo Ducale, Venice, Italy Description An account of the resource Venice, Justice, and Peace are all personified as women in this painting. Venice sits up on a throne, above Justice and Peace, dressed in expensive and stylish clothing. Venice was often personified as a maiden, as she was described so in written works until the age of romanticism. Justice is seen to the left of Venice, holding her scales and sword. She is portrayed with these objects many times around the Piazza de San Marco, on the side of the Doge's Palace as well as on the Bell Tower. On Venice's other side is the representation of Peace, holding an olive branch. These two values, Justice and Peace, were symbolized by the city. Justice was considered the "highest civic virtue", while Peace was important for the city to thrive economically and politically. Below Venice, the lion that symbolizes St. Mark is seen. St. Mark is the patron saint of Venice, and is also seen in many places around the Piazza. The winged lion is seen on one of the two columns of the Piazza, as well as with the Doge on the side of the palace. Veronese was commissioned for this work through a competition among artists to see who would be selected to create the works on the ceiling of the Doge's palace. He was selected with another artist, Francesco Bassano. This work is one of many paintings on the ceiling of the Doge's palace, this one specifically representing the values and symbols of the city of Venice. Publisher An entity responsible for making the resource available Signoria de Venice Rights Information about rights held in and over the resource Data from: University of California San Diego Source A related resource from which the described resource is derived Veronese, 1528-1588. 16th C. Venice Ruling with Justice and Peace. Place: Palazzo ducale (Venice, Italy). https://library-artstor-org.proxy.lib.duke.edu/asset/ARTSTOR_103_41822000920403. Gisolfi, Diana. “Veronese [Caliari], Paolo.” Grove Art Online, 2003. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. Wordsworth, William. “On the Extinction of the Venetian Republic by...” Poetry Foundation. Poetry Foundation. Accessed September 15, 2020. https://www.poetryfoundation.org/poems/45539/on-the-extinction-of-the-venetian-republic. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Procession_in_St._Mark_s_Square/Procession_in_Piazza_San_Marco.jpg 0b9548841362dd363869f786b3d8694d 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 Procession in St. Mark's Square Description An account of the resource Gentile Bellini painted the famous painting, Procession in Piazza San Marco. Gentile was born in a well-known family for art in Venice. His father was a painter, both he and his bother was inspired and took lesson under his father, Jacopo Bellini. [1] Gentile's painting mainly focused on possessions and scenes of daily life. He is also known for the Doges' official portrait artist and produced some of the most quality arts. Unfortunately, the fire that destroyed the Doge's Palace took away many of his works. [1] Although the name of this painting is called " The Procession of St. Marks,", the artwork draws most of our attention to the various details throughout the painting. When we first look at the painting, we will notice the crowds on the reddish bricks. The massive details the Bellini gives each person is incredible, from each person's articles of clothing to their body gesture. Almost every person he painted is unique to themselves. He focused on not only the people but also the buildings. The building that would first come to our eyes is the St. Marks Basilica. Under Bellini's brush stoke, he clearly presented every tile and marble to our eyes and how the sunlight reflects, especially on the green dome. Bellini further enhances the three-dimensional perspective by emphasizing the structure and alignment of the buildings to achieve a realistic effect and capture the moment in time back in the Renaissance age. [1] Kuiper, Kathleen. The 100 Most Influential Painters & Sculptors of the Renaissance. Britannica Educational Publishing, 2010. Creator An entity primarily responsible for making the resource Gentile Bellini Source A related resource from which the described resource is derived Rodini, E. (1998), Describing Narrative in Gentile Bellini’s Procession in Piazza San Marco. Art History, 21: 26-44. doi:10.1111/1467-8365.00091 COLE, ALPHAEUS P. "DEVELOPMENT OF REALISM IN VENETIAN ART." The American Magazine of Art 20, no. 10 (1929): 571-83. http://www.jstor.org/stable/23931226. Oonops. “Mheu, Historical Museum of the Urban Environment.” Procession of the True Cross Piazza San Marco, Venice | Musée historique de l'environnement urbain", 2009. Accessed September 12, 2020. http://www.mheu.org/en/timeline/procession-cross-piazza-san-marco.htm. Kren, Emil, and Daniel Marx. “Procession in Piazza San Marco.” Procession in Piazza San Marco by BELLINI, Gentile, 2007. Accessed September 12, 2020. https://www.wga.hu/html_m/b/bellini/gentile/miracl1.html. Kuiper, Kathleen. The 100 Most Influential Painters & Sculptors of the Renaissance. Britannica Educational Publishing, 2010. Publisher An entity responsible for making the resource available Created by Emil Krén and Daniel Marx Date A point or period of time associated with an event in the lifecycle of the resource 1496 Contributor An entity responsible for making contributions to the resource Emily Song Rights Information about rights held in and over the resource © Web Gallery of Art, use for educational purpose only Format The file format, physical medium, or dimensions of the resource Tempera and oil on canvas, 367 x 745 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 Gallerie dell'Accademia, Venice https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace/Portrait_of_Doge_Mocenigo/SCALA_ARCHIVES_1039778348.jpg 5b21fa0c6feabf17e931bf9fe8ef8175 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 Portrait of Doge Mocenigo Creator An entity primarily responsible for making the resource Gentile Bellini Source A related resource from which the described resource is derived Giovanni Bellini and Gentile Bellini. Portrait of Doge Mocenigo. painting. Place: Museo Correr. https://library.artstor.org/asset/SCALA_ARCHIVES_1039778348. Plaut, James S. "An Unknown Portrait of a Doge by Gentile Bellini." The Burlington Magazine for Connoisseurs 70, no. 409 (1937): 155-57. Accessed September 15, 2020. http://www.jstor.org/stable/866746. Carboni, Stefano. 2007. Venice And The Islamic World. New York: Metropolitan Museum of Art. Pignatti, Terisio. "A Rediscovered Portrait by Gentile Bellini." The Burlington Magazine 95, no. 600 (1953): 93-95. Accessed September 16, 2020. http://www.jstor.org/stable/871019. Publisher An entity responsible for making the resource available SCALA, Florence/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource 1478-1479 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 tempera painting, 63 x 46 cm Type The nature or genre of the resource painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Correr, Italian and other European Art, Venice. Italy Description An account of the resource This tempera painting was created as one of Gentile Bellini’s many portraits throughout his lifetime. Bellini, a reputable artist even in his early career, became known for his portraiture skills, and this painting can be considered a masterful example of his signature style. According to Terisio Pignatti, this is an early, unfinished work of Bellini’s, likely a private commission from the doge that was cut short by a visit to Constantinople due to the commonality of the cloak worn by the doge and the bare background and lack of defined details in his clothing. Many scholars had attributed the work to Giovanni Bellini; however, once cleaned, the painting showed the world-renowned human characterization and formal qualities of Gentile Bellini. Bellini expertly used the glaze and paint to carve out key aspects of the unerring, quiet, and powerful nature of the Doge, from his angular profile to his clear gaze. This painting also allows us to see how Bellini’s trip to Constantinople to profile the Sultan influenced his painting styles through comparison of the two, painted just one or two years after the portrait of the Doge. According to Stefano Carboni, in the painting of Mocenigo, Bellini employs the more impersonal profile view, while with the Sultan he used the three-quarters view, hinting at Bellini’s later usage of the full frontal view, the most intimate view of all. In addition, Mocenigo’s painting utilized a neutral background, shifting the focus onto the Doge and his character, whereas Mehmet II’s portrait showcases his status and military accomplishments in the background. Both of these key differences seem to showcase the effect his visit to Constantinople had on him. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Madonna_and_Child_[Madonna_col_Bambino]/AKRESS_10312336627.jpg d2b04a894b35a6fcaac57b5777d99e94 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 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Madonna and Child (Madonna col Bambino) Creator An entity primarily responsible for making the resource Bartolomeo Vivarini Source A related resource from which the described resource is derived Scholarly Article: Borenius, Tancred. "Three Paintings by Bartolomeo Vivarini." The Burlington Magazine for Connoisseurs 19, no. 100 (1911): 192-98. Accessed September 15, 2020. http://www.jstor.org/stable/858767. Publisher An entity responsible for making the resource available Image and original data provided by the Samuel H. Kress Foundation: http://www.kressfoundation.org/ Iconographical subjects provided by the J. Paul Getty Trust's Provenance Index Database: http://www.getty.edu/research/conducting_research/provenance_index Date A point or period of time associated with an event in the lifecycle of the resource Mid 15th Century (1465–1470) Contributor An entity responsible for making contributions to the resource Jared Kreis Rights Information about rights held in and over the resource Bartolomeo Vivarini (Bartolomeo da Murano), Italian, c. 1432-1499. c. 1475. Madonna and Child. Painting. Place: Seattle Art Museum, Seattle, WA. https://library.artstor.org/asset/AKRESS_10312336627. Format The file format, physical medium, or dimensions of the resource 50.2 x 41.9 centimeters Type The nature or genre of the resource Egg tempera on wood panel. Also uses gold leaf. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Seattle Art Museum, Seattle, WA Description An account of the resource Bartolomeo Vivarini was born in 1432 in Venice and was an avid painter for nearly 50 years. One of his most prominent paintings, Madonna and Child, is shown here. It was apart of our virtual tour of the Correr Museum. This painting represents the current trends in Venice during the period. In Florence we are familiar with the competitive, individualistic painting styles. This painting, however, demonstrated the family workshop dynamic of the Vivarini’s in Venice. The painting is clearly religious in nature due to the portrayal of baby Jesus enthroned. The background of the painting is gold leaf, which is very Byzantine in nature. The use of the stippling with the halos above Jesus and Madonna gives this painting more pop by adding a 3D effect. I also find the red and black colors schemes very interesting. Typically red represents war, power, bloodshed, etc and the color black usually refers to death and trauma. It is interesting to see these colors merged, especially with such religious figures such as Madonna and child, which makes me curious if Vivarini for potentially alluding to some sort of religious conflict or violence, Additionally, Jesus has a Contrapposto stance, which is typically reserved for leaders, especially those addressing their troops during battle. This may serve as a representation for how much power the Venetian people put into religion. Overall, Bartolomeo succeeded in infusing into the picture a tender and reposeful sentiment which gives it great charm; and in its beautiful old frame it has something of the effect of a stained glass in a Gothic cathedral. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Venice_Enthroned_with_Justice_Peace_amp_the_Lion_of_St._Mark/HUCB_SHARE_109913108135.jpg 6d2d67cffec55a5a091696583f2f08fb https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Venice_Enthroned_with_Justice_Peace_amp_the_Lion_of_St._Mark/0bb903a7aacd4d52e65b08fa283eb8e9.jpg 1198f545bcf11960b3d1a60877043adc 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 <a href="https://library.artstor.org/public/HUCB_SHARE_109913108135">Venice Enthroned with Justice, Peace & the Lion of St. Mark</a> Description An account of the resource The name of this painting is called Venice Enthroned with Justice, Peace & the Lion of St. Mark. It was painted by Paolo Veronese from 1575-1576 and is painted on the ceiling of the Sala del Collegio. It is categorized under a collection with works of Veronese himself and Jacopo Tintoretto. Veronese was born in Verona to a stonecutter and an illegitimate daughter of a nobleman. He moved to Venice in the 1550s and stayed there ever since. He studied under Antonio Badile from about 1518 to 1560 and ended up marrying his daughter in 1566. Veronese worked for patrons, either religious and or secular, in Venice and the Veneto for most of his career. Some of his most famous works include the ceiling and wall painting for the library of S. Marco (1556-7), the Ducal Palace (early 1550s, 1575-82) and the full-scale decoration of the Venetian church of S. Sebastiano (1555-around 1570). This painting provides the scene of Venice being enthroned with Justice, Peace and the Lion of Saint Mark. The angle of this painting is to get a whole view facing from the ground up of this important event. Venice is wearing a gorgeous gown with a golden patterned scheme on a white dress. She is sitting on her throne which has a luxurious, royal look to it. You see the red velvet lining in the chair that happens to look like what a king would wear. Her head is covered by a piece constructed into the chair to give her some shade and she watches what is happening below her. She looks determined yet happy at the same time. Below her are Peace and Justice, two important figures in the Venetian culture. They have been mentioned several times throughout the lectures and various Zoom classes we have had. Justice is holding a sword in her right arm which is representing power, strength and stability. Peace has a set of olive branches in her left arm which represents peace, freedom and victory. The Lion of Saint Mark is under Venice, painted dark and hidden to the human eye. I really had to squint to see him under Venice. The lion appears to be uncomfortable and just being told to sit quietly under the throne of Venice [1]. The background of this painting is a cloudy blue sky with the sun reflecting on Venice, Justice and Peace. Shade is covering up Venice because of the throne above her. It is significant because Justice and Peace, two very powerful spirits in the history of the Venetians, are enthroning Venice and they are providing her with protection, stability, peace and freedom. They also represent what Venice is made of, stability, power, and freedom. When viewing this painting in person, you would have to look up at the ceiling because it is placed on the ceiling. [1] Griffith, Elizabeth. “The Winged Lion of St. Mark: Logo of Venice, Inc.,” 2005: 13. <a href="https://ebha.org/ebha2005/pdf%20papers/Griffith%20FINAL.pdf.">https://ebha.org/ebha2005/pdf%20papers/Griffith%20FINAL.pdf.</a> Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Griffith, Elizabeth. “The Winged Lion of St. Mark: Logo of Venice, Inc.,” 2005: 13. <a href="https://ebha.org/ebha2005/pdf%20papers/Griffith%20FINAL.pdf.">https://ebha.org/ebha2005/pdf%20papers/Griffith%20FINAL.pdf.</a> Krén, Emil, and Daniel Marx. “Venetia between Justitia and Pax.” Venetia between Justitia and Pax by VERONESE, Paolo, 1996. <a href="https://www.wga.hu/html_m/v/veronese/08/collegio/2ceilin2.html.">https://www.wga.hu/html_m/v/veronese/08/collegio/2ceilin2.html.</a> “Paolo Veronese.” The National Gallery, 2016. <a href="https://www.nationalgallery.org.uk/artists/paolo-veronese">https://www.nationalgallery.org.uk/artists/paolo-veronese</a>. Paolo Veronese, “Venice Enthroned with Justice, Peace, and the Lion of Saint Mark,” Venetian Art, accessed September 15, 2020, <a href="http://library.bc.edu/venetianart/items/show/1819">http://library.bc.edu/venetianart/items/show/1819</a>. Rearick, W. R. "Paolo Veronese's Earliest Works." Artibus Et Historiae 18, no. 35 (1997): 147-59. Veronese, Paolo. 1575-1578. Ceiling of the Sala del Collegio, Venice Enthroned w/Justice, Peace & the Lion of St. Mark. painting. Place: Palazzo Ducale Venice, Italy. <a href="https://library.artstor.org/asset/HUCB_SHARE_109913108135">https://library.artstor.org/asset/HUCB_SHARE_109913108135</a>.<a href="https://library.artstor.org/asset/HUCB_SHARE_109913108135."></a> Veronese, 1528-1588. 16th C. Venice Ruling with Justice and Peace. Place: Palazzo ducale (Venice, Italy). <a href="Veronese,%201528-1588.%2016th%20C.%20Venice%20Ruling%20with%20Justice%20and%20Peace.%20Place%3A%20Palazzo%20ducale%20(Venice,%20Italy).%20https%3A//library.artstor.org/asset/ARTSTOR_103_41822000920403.">https://library.artstor.org/asset/ARTSTOR_103_41822000920403</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1575-1576 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource © Loren Partridge Image Rights: Veronese, Paolo. 1575-1578. Ceiling of the Sala del Collegio, Venice Enthroned w/Justice, Peace & the Lion of St. Mark. painting. Place: Palazzo Ducale Venice, Italy. <a href="https://library.artstor.org/asset/HUCB_SHARE_109913108135">https://library.artstor.org/asset/HUCB_SHARE_109913108135</a>. Format The file format, physical medium, or dimensions of the resource Oil on canvas; 250 x 180 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 Publisher An entity responsible for making the resource available Publisher: University of California, San Diego ; UC Berkeley Image Rights: Veronese, Paolo. 1575-1578. Ceiling of the Sala del Collegio, Venice Enthroned w/Justice, Peace & the Lion of St. Mark. painting. Place: Palazzo Ducale Venice, Italy. <a href="https://library.artstor.org/asset/HUCB_SHARE_109913108135">https://library.artstor.org/asset/HUCB_SHARE_109913108135</a>. <a href="Veronese,%20Paolo%20(Italian%20painter%20and%20draftsman,%201528-1588)%20painters%20(artists).%201575-1578%20(creation).%20Ceiling%20of%20the%20Sala%20del%20Collegio,%20View%3A%20full,%20Venice%20Enthroned%20w/Justice,%20Peace%20&%20the%20Lion%20of%20St.%20Mark.%20paintings%20(visual%20works).%20Place:%20Palazzo%20Ducale%20(Venice,%20Italy)Venice,%20Venezia,%20Veneto,%20Italy.%20https://library.artstor.org/asset/HUCB_SHARE_109913108135."></a> https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Saint_Christopher/SaintChristopherTitian.jpg 2e96803376753b4c7646cbb1ac361027 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 Saint Christopher Description An account of the resource This piece was one of the few artworks to survive from the fires in the Ducal palace [1]. While in its current form the edges are slightly withered, the fresco remains largely intact. The image was originally commissioned by the Holy Church, and is now located adjacent to one of the staircases in the palace where it has remained on display [2]. The central figure of the image is Saint Christopher, and on his shoulders rests a depiction of Christ as a child. This imagery alludes not only to Christopher's mission to serve Christ for all his time and advance the faith but also as a comparison to Venice’s protection of its people [3]. It establishes a sense of power that Venice can fend off any intruders. Saint Christopher has strong and well defined legs. His calves and arms are linear and his muscles bulge out of his skin. A red piece of clothing hands loosely from his body and is painted with movement from the wind. Only three fourths of his face is fully visible but he is looking directly at the child on his shoulders with an expression of concern. While Saint Christopher’s lower body is very dark, his facial area as well as Christ have a very light skin tone, drawing the attention of the viewer. In the background on the bottom left the viewer can see an outline of the city of Venice, most notably the clock tower at the piazza San Marco standing tall. The bottom right of the image contains a mountainous landscape which mimics the mainland region surrounding Venice. Lastly, Saint Christopher is drastically out of proportion, appearing several factors larger than the buildings and mountains in the background. This partially removes his humanity and positions him as part of the divine. [1] “Saint Christopher,” Titian, Titian.net, accessed September 15, 2020, http://www.titian.net/saint-christopher/. [2] “SPECIAL ITINERARIES: The Doge's Hidden Treasures,” Palazzo Ducale, Fondazione Musei Civici di Venezia, accessed September 15, 2020, https://palazzoducale.visitmuve.it/en/the-museum/layout-and-collections/the-doges-hidden-treasures-itinerary/. [3] “Saint Christopher Painting by Tiziano Vecellio (Titian): Painting Analysis,” 1st Art Gallery, 1st-Art-Gallery.com, accessed September 15, 2020, https://www.1st-art-gallery.com/Tiziano-Vecellio-Titian/Saint-Christopher.html. Creator An entity primarily responsible for making the resource Tiziano Vecelli (Titian) Source A related resource from which the described resource is derived “Saint Christopher Painting by Tiziano Vecellio (Titian): Painting Analysis.” 1st Art Gallery. 1st-Art-Gallery.com. Accessed September 15, 2020. https://www.1st-art-gallery.com/Tiziano-Vecellio-Titian/Saint-Christopher.html. “Saint Christopher.” Titian. Titian.net. Accessed September 15, 2020. http://www.titian.net/saint-christopher/. “SPECIAL ITINERARIES: The Doge's Hidden Treasures.” Palazzo Ducale. Fondazione Musei Civici di Venezia. Accessed September 15, 2020. https://palazzoducale.visitmuve.it/en/the-museum/layout-and-collections/the-doges-hidden-treasures-itinerary/. “St. Christopher - Tiziano Vecellio.” Google Arts & Culture. Google Arts & Culture. Accessed September 15, 2020. https://artsandculture.google.com/asset/st-christopher/VAGqjshVAC1lhw?hl=en. Image Source: “Saint Christopher.” Web Gallery of Art. Web Gallery of Art, n.d. Palazzo Ducale. Palazzo Ducale. https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html. Publisher An entity responsible for making the resource available Commissioned by the Holy Church Vecelli, Tiziano. Image Source: “Saint Christopher.” Web Gallery of Art. Web Gallery of Art, n.d. Palazzo Ducale. Palazzo Ducale. https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html. Date A point or period of time associated with an event in the lifecycle of the resource 1524 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource Image Source: “Saint Christopher.” Web Gallery of Art. Web Gallery of Art, n.d. Palazzo Ducale. Palazzo Ducale. https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html. Format The file format, physical medium, or dimensions of the resource Fresco, 310.0 x 186.0 cm Type The nature or genre of the resource Painting (Fresco) 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 https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Portrait_of_Doge_Leonardo_Dona/Portrait_of_Doge_Leonardo.jpg bb903cc5c41fd01ee67bdfde542f038f 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/. Description An account of the resource The Portrait of Doge Leonardo Dona was painted by Giovanni Bellini in 1501-02. Its current location is in the National Gallery, London. The dimensions are sixty-one point six centimeters by forty-five point one centimeters. This was an oil on poplar panel painting. Initially this painting was located in Venice, Italy and was believed to be looted by Napoleon when he came through and took over the city. It was believed to be bought by William Thomas Beckford who then sold it to the National gallery. Ever since then it has remained at this location to date. The Portrait of Doge Leonardo Dona fell in line with the Venetian tradition of painting formal portraits. While these portraits would be painted the officials would be wearing their robes of state. Leonardo was the 75th Doge until he died in 1501. This was an elected position to have that was kept for life. In this Portrait of Doge Leonardo Dona, you see the aging effects on him immediately. You also see a lightly colored robe on him starting at his neck and going all the way down past his shoulders. You then look up and notice a gold headband that’s wrapped on top of a white cap. I believe it was significant for this portrait to be painted due to the significance he carried in the city of Venice. While he was there the city became a big financial center making it super wealthy. Overall I liked this painting and the features distributed in it. 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 Portrait of Doge Leonardo Dona Creator An entity primarily responsible for making the resource Giovanni Bellini Date A point or period of time associated with an event in the lifecycle of the resource 1501-02 Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource oil in poplar panel 61.6 cm x 45.1 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery, London Source A related resource from which the described resource is derived “‘Portrait of Doge Leonardo Loredan’ by Giovanni Bellini,” August 12, 2020. https://joyofmuseums.com/museums/united-kingdom-museums/london-museums/the-national-gallery-london/masterpieces-of-the-national-gallery/portrait-of-doge-leonardo-loredan-by-giovanni-bellini/. “Portrait of Doge Leonardo Loredan.” Accessed September 16, 2020. http://www.giovannibellini.org/portrait-of-doge-leonardo-loredan/. Bätschmann, Oskar (2008). Giovanni Bellini. London, England: Reaktion Books. ISBN 978-1-86189-357-4. Christiansen, Keith; Weppelmann, Stefan, eds. (2011). The Renaissance Portrait: From Donatello to Bellini. New York, New York: Metropolitan Museum of Art. ISBN 978-0-300-17591-2. Brown, David Alan; Ferino-Pagden, Sylvia (2006). Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting. New Haven, Connecticut: Yale University Press. ISBN 978-0-300-11677-9. Gasparotto, Davide (2017). Giovanni Bellini: Landscapes of Faith in Renaissance Venice. Los Angeles, California: J. Paul Getty Museum. ISBN 978-1-60606-531-0. Humfrey, Peter (1997). Painting in Renaissance Venice. New Haven, Connecticut: Yale University Press. ISBN 978-0-300-06715-6. Nichols, Tom (1997). Titian: And the End of the Venetian Renaissance. Islington, London: Reaktion Books. ISBN 978-1-78023-227-0. Description An account of the resource The Portrait of Doge Leonardo Dona was painted by Giovanni Bellini in 1501-02. Its current location is in the National Gallery, London. Initially, this painting was located in Venice, Italy, and was believed to be looted by Napoleon when he came through and took over the city. It was believed to be bought by William Thomas Beckford who then sold it to the National gallery. Ever since then it has remained at this location to date. The Portrait of Doge Leonardo Dona fell in line with the Venetian tradition of painting formal portraits. While these portraits would be painted the officials would be wearing their robes of state. Leonardo was the 75th Doge until he died in 1501. This was an elected position to have that was kept for life. In this Portrait of Doge Leonardo Dona, you see the aging effects on him immediately. You also see a lightly colored robe on him starting at his neck and going all the way down past his shoulders. You then look up and notice a gold headband that’s wrapped on top of a white cap. The colors used in the portrait hold a hidden meaning too. The bold use of gold and white represents wealth, prosperity, and goodness. The fine lines gave a formality effect on me as the viewer too. I believe it was significant for this portrait to be painted due to the significance he carried in the city of Venice. While he was there the city became a big financial center making it super-wealthy. The appearance that was given off by the Doge in this portrait showed he was the alpha in this society. Overall I liked this painting and the features distributed in it. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Mars_and_Neptune_/Mars_and_Neptune.jpg 6c35be6c0bfb7c23c2e236e84fe8309f 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 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Neptune Description An account of the resource Mars and Neptune is painted by Paolo Veronese from 1575 - 1578. The Italian Renaissance painter Paolo Veronese(1528–1588) is known for the idea of opulence and splendor of Renaissance Venice that reflected in his arts. Being educated in the shadow of the antiquarian taste, he has been appreciated for his works’ inextricably linkage with unique crowded compositions [1] and his distinctive, advanced, and splendid use of color to achieve the theatrical effects, which also made him known as one of the greatest colorists. [2] Mars and Neptune is placed on the ceiling of the Council Chamber (Sala del Collegio) decorated by Italian architect Andrea Palladio in the Doge's Palace (Palazzo Ducale) in Venice, Italy. The purpose of the masterpiece on the ceiling is to commemorate the good management of the Venetian Republic and the prosperity status. It also shows how the Republic inherited on and further strengthen the faiths and virtues that were essential throughout history to govern Venice. [3] The artwork Mars and Neptune highlights the characteristics of the painter’s style, such as the brimful composition and the dramatics of the scene. In the foreground, we can see the figures of two warrior-like gods, a sinister roaring lion, and the head of a horse decorated with flowers. More metal armors and decorations. seamlessly fill the space, which is a typical structure for Veronese. The apparent contrast of light and dark and the color scheme with the theme of white, red, and blue enhance the magnificence of this heroic scene of the myth. In addition, the details of the bright decorations and the picturesque scenery composed of the sky and buildings in the background constitute a prosperous and cheerful festive atmosphere. [4] The movements of the figures and other icons in the painting have strong symbolic meaning. The two protagonists are Mars (in charge of the war, representing the power of Venice on land) and Neptune (in charge of the ocean, representing the territory of the country on water). The parallel relationship between them can also be reflected in the interesting symbolic similarity between the warrior god's helmet and the huge sea god's shell in both angel’s hands. However, the contrast between the shapes and movements of these two characters foreshadow the transformation: Neptune is depicted as elderly and fatigued whereas Mars is full of the vitality and liveness in his prime. The difference in the action of Neptune’s curved back and Mar’s zealous gaze at the angle with his back upright, together with the light and shadow cast on the faces of the characters emphasize this contrast. All the symbolic elements hint the implied historical meaning of rebirth and shift — Venice is about to have a new transform by improving the development of terrestrial resources rather than the holdings on water. [5] [1] Salomon, Xavier. “Paolo Veronese (Paolo Caliari) (1528–1588).” metmuseum.org. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, November 2011. <a href="https://www.metmuseum.org/toah/hd/vero/hd_vero.htm">https://www.metmuseum.org/toah/hd/vero/hd_vero.htm</a> [2] Zamperini, Alessandra, and Grace Crerar-Bromelow. 2014. Paolo Veronese.Summary https://find.library.duke.edu/catalog/DUKE006038110 [3] “Second Floor.” Palazzo Ducale. Accessed September 16, 2020. https://palazzoducale.visitmuve.it/en/the-museum/layout-and-collections/institutional-chambers/second-floor/. [4] “Mars and Neptune by Paolo Veronese.” painting. Accessed September 16, 2020. <a href="https://painting-planet.com/mars-and-neptune-by-paolo-veronese/">https://painting-planet.com/mars-and-neptune-by-paolo-veronese/</a>. [5] Griffith, Elizabeth. “The Winged Lion of St. Mark: Logo of Venice, Inc.” European Business History Association 2005 Conference Frankfurt “Images of the Corporation,” September 1, 2005. Creator An entity primarily responsible for making the resource Paolo Caliari detto Veronese Publisher An entity responsible for making the resource available Image Source: Paolo Veronese, “Mars, Neptune and the Lion of Saint Mark,” Venetian Art, accessed September 16, 2020, http://library.bc.edu/venetianart/items/show/1829. Date A point or period of time associated with an event in the lifecycle of the resource 1575 - 1578 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Public domain image Format The file format, physical medium, or dimensions of the resource Oil on canvas; 252 x 180 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 Source A related resource from which the described resource is derived Griffith, Elizabeth. “The Winged Lion of St. Mark: Logo of Venice, Inc.” European Business History Association 2005 Conference Frankfurt “Images of the Corporation,” September 1, 2005. “Mars and Neptune by Paolo Veronese.” painting. Accessed September 16, 2020. https://painting-planet.com/mars-and-neptune-by-paolo-veronese/. Mars and Neptune by VERONESE, Paolo. Accessed September 16, 2020. https://www.wga.hu/html_m/v/veronese/08/collegio/2ceilin3.html. Rearick, W. R. “Paolo Veronese's Earliest Works.” Artibus et Historiae 18, no. 35 (1997): 147. https://doi.org/10.2307/1483544. Salomon, Xavier. “Paolo Veronese (Paolo Caliari) (1528–1588).” metmuseum.org. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, November 2011. https://www.metmuseum.org/toah/hd/vero/hd_vero.htm. “Second Floor.” Palazzo Ducale. Accessed September 16, 2020. https://palazzoducale.visitmuve.it/en/the-museum/layout-and-collections/institutional-chambers/second-floor/. Image Source: Paolo Veronese, “Mars, Neptune and the Lion of Saint Mark,” Venetian Art, accessed September 16, 2020, http://library.bc.edu/venetianart/items/show/1829.