5 10 177 https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae_[with_Cupid]/danae.jpg dcd686a1d8dd83d195a90d5c1970bbd9 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 (with Cupid) Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Commissioner: Cardinal Alessandro Farnese. 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 Raj Kumar 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 69 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 Museum of Capodimonte, Naples, Italy Description An account of the resource Titian, known as the greatest Italian Renaissance painter of the Venetian school, was known for penetrating human character in his canvases. In many of his paintings, he carefully represented physical beauty and a level of eroticism that has not been matched [1]. Titian’s Danaë, painted in 1544, was a commission made for the Cardinal Alessandro Farnese. It is the first of six versions of the same composition made in the 1540s through 1560s. The painting depicts the myth of Danaë, in which her father (Acrisius) receives a prophecy from an oracle that declares his death would be at the hands of his future grandson. In this composition, Danaë is imprisoned in a tower by her father following the oracle’s warning. Danaë is shown fully naked on a bed of white sheets, used to denote her innocence and virtue [2]. Knowing the consequences, Danaë let herself be seduced and impregnated by Zeus. Zeus, appearing as a shower of gold coins, broke the defenses used by Danaë’s father through this disguise. With a white cloth partially draped across her leg, Danaë’s eyes face the shower of gold coins, representing her acceptance of Zeus into her space. Titian contrasts the direction of her eyes with the direction of her body, which faces towards the frame, once again depicting her openness to Zeus. Danaë’s beauty lives up to the standards of Venetian females as she represents the ideal body with her pale skin [2]. Titian uses subtle details like soft body texture and jewelry to emphasize Danaë as a perfect representation of beauty. The figure of cupid on the right gazes upon the scene at the shower of gold coins as he seemingly leans out of the frame. This action symbolizes his acceptance and support for Danaë’s decision. Titian’s Danaë is known as one of the most erotic and sensual works of the time [1]. Titian creates a tranquil scene where Zeus penetrates through Acrisius’s barrier and impregnates his daughter. This painting is often used to evoke the rivalry between painting in Venice and Rome (specifically Michelangelo’s works). Michelangelo is said to have visited this painting, appreciating it for its coloring and style, but mentioned the lack of Venetians ability to draw [3]. [1] Harold Wethey, Titian (Encyclopedia Britannica) 1, 2. [2] Madlyn Millner Kahr, Danaë: Virtuous, Voluptuous, Venal Woman (The Art Bulletin 60, no. 1, 1978) 47, 48. [3] Zhenya Gershman, Rembrandt: The "I" Witness (Arion: A Journal of Humanities and the Classics, 2011), 65. Source A related resource from which the described resource is derived Wethey, Harold. “Titian.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed November 4, 2020. https://www.britannica.com/biography/Titian. Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43-55. Accessed October 30, 2020. doi:10.2307/3049743 Gershman, Zhenya. "Rembrandt: The "I" Witness." Arion: A Journal of Humanities and the Classics, Third Series, 19, no. 2 (2011): 65-91. Accessed November 4, 2020. http://www.jstor.org/stable/41308565. Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Venus_of_Urbino/SCALA_ARCHIVES_1031314662.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 Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library-artstor-org.proxy.lib.duke.edu/asset/SCALA_ARCHIVES_1031314662. <div> <div class="gtx-trans-icon"> Grabski, Józef. ""Victoria Amoris": Titian's "Venus of Urbino." A Commemorative Allegory of Marital Love." Artibus Et Historiae 20, no. 40 (1999): 9-33. Accessed November 3, 2020. doi:10.2307/1483663. “Venus of Urbino, 1538 by Titian.” Titian, Paintings, Quotes, and Biography, 2011. https://www.titian.org/venus-of-urbino.jsp. Takac, Balasz. “Venus of Urbino, Titian's Most Sensual Painting.” Widewalls, April 17, 2020. https://www.widewalls.ch/magazine/titian-venus-of-urbino. </div> </div> Publisher An entity responsible for making the resource available Titian. 1538. Venus of Urbino. painting. Place: Galleria degli Uffizi. https://library-artstor-org.proxy.lib.duke.edu/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 Jacey Curd 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, 119 x 165 cm Type The nature or genre of the resource Painting, oil 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 Gallerina degli Uffizi, Tuscany, Italy Description An account of the resource Venus of Urbino, created by Titian, shows a nude woman lounging on a bed in the foregound of the painting. Besides this figure, there are several other symbolic elements with significance [1]. One of these is the bouquet of roses she holds in her hand, which symbolize love. The white sheets she lays on symbolize purity, and the red bed represents love. The little dog that is curled up by her feet is a representation of fidelity [2]. These symbols are what lead many scholars to believe that this woman is Venus, goddess of love, and not another woman, though this is continually disputed. I would side with the scholars who believe this is a depiction of Venus, given both the symbolism and history of the work. Titian is known for many of his paintings depicting mythological scenes, and this particular painting bears strong resemblance to Giorgone's Sleeping Venus in its composition, which was actually finished by Titian [1]. There is also debate among scholars as to whether Titian's interpretation highlights the sensuality of the figure or her virtue and fidelity, given the figures she appears with. What is particularly striking about this work is the gaze of the main female figure, looking directly towards the viewer. Her body is twisted away from her gaze, but this gaze increases the sensuality of the figure in comparison with Giorgone's Sleeping Venus. She has many features that would have been considered the ideal of feminine beauty, such as her curled blonde hair and rosy cheeks. These features of the work, in combination with the symbolism and history discussed earlier, are what lead me to believe that this is a representation of Venus, and not simply a beautiful woman that Titian wanted to paint. [1] Grabski, Józef. ""Victoria Amoris": Titian's "Venus of Urbino." A Commemorative Allegory of Marital Love." Artibus Et Historiae 20, no. 40 (1999): 9-33. Accessed November 3, 2020. doi:10.2307/1483663. [2] “Venus of Urbino, 1538 by Titian.” Titian, Paintings, Quotes, and Biography, 2011. https://www.titian.org/venus-of-urbino.jsp. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Flora/Flora.jpg 1de53a287ab479347da290690c4b7789 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 Flora Description An account of the resource Depicted here we see Flora, the Greek goddess of Spring and the bride of Zephyr, emerging from a dark background and identified through the various flowers in her hand. While her surroundings remain dark, her figure emanates from the darkness, illuminating the canvas. Flora’s head tilts slightly to the viewer’s left, implying that she may be looking at something outside the space. While the contrast between the light figure and the dark background may appear to separate the composition, it is also unified through its choice of colors. The reds of the hair--also known as Titian red, the color Titian often used to paint the hair of many women--and drapery, the whites of the clothing, and the beige skin tone create a sense of connection through the harmony between them and the almost black background. Going into the finer details, we see that Titian brilliantly depicts the figure in a naturalistic way without taking away the idealistic beauty of a goddess. Titian achieves this through Flora’s clothing: while we see a rich silky red fabric, we also see wrinkles in the white of the clothing. In addition, we see the natural flow and curl of the hair as it hangs over Flora’s shoulder. Thus, we get a sense of the wealth and power associated with the image while also recognizing the innate beauty. While the subject matter of the painting is of Greco-Roman culture, its portrayal has roots in Venetian society during the Renaissance. Beginning with Giorgione’s Laura, the theme of feminine beauty developed from chastity to a blend of sexual indiscretion and modesty.¹ The development of this theme may also suggest that the figure may be Voluptas, the Greek goddess of sensual pleasures. Adapting these characteristics of “modest beauty” from Giorgione, Titian creates Flora in a dress--which will be discussed later--which hangs unfastened from her right shoulder, displaying a small portion of the breast. As with females in Giorgione’s paintings, Flora uses only three fingers to push up part of her clothing to cover her breast--an action that makes the viewer question whether she truly wants to cover herself and adds to the concept of modest beauty. These characteristics, although they would be frowned upon in the modern world, were great portrayals of gender inequality of the time, displaying woman as the “plaything of man.”² In addition to the figure having a Greco-Roman root, the clothing which Flora adorns has a Greco-Roman root as well. Although Flora’s garment could be identified as a camicia, it doesn’t match the wedding gowns of the time; rather, Flora has been dressed as a nymph.³ Thus, it has been assumed that Titian’s portrayal of Flora displays a Venetian perspective on Classical traditional wedding outfits. As a result, this piece stands out as a great example of Venetian society building on Classical traditions. <ol> <li style="font-weight:400;">Anne Christine Junkerman, "The Lady and the Laurel: Gender and Meaning in Giorgione's "Laura"," Oxford Art Journal 16, no. 1 (1993): 49-58. Accessed November 2, 2020. <a href="http://www.jstor.org/stable/1360536">http://www.jstor.org/stable/1360536</a>.</li> <li style="font-weight:400;">Sir Claude Phillips, Titian, (New York: Parkstone International, 2008), Accessed November 2, 2020, ProQuest Ebook Central.</li> <li style="font-weight:400;">Emma H. Mellencamp, "A Note on the Costume of Titian's "Flora"," The Art Bulletin 51, no. 2 (Jun 01, 1969): 174. <a href="https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1296211331?accountid=10598">https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1296211331?accountid=10598</a>.</li> </ol> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived <ul> <li>Journal Article I: Mellencamp, Emma H. 1969. "A Note on the Costume of Titian's "Flora"." The Art Bulletin 51 (2) (Jun 01): 174. <a href="https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1296211331?accountid=10598">https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1296211331?accountid=10598</a>.</li> </ul> <ul> <li>Journal Article II: Junkerman, Anne Christine. "The Lady and the Laurel: Gender and Meaning in Giorgione's "Laura"." Oxford Art Journal 16, no. 1 (1993): 49-58. Accessed November 2, 2020. <a href="http://www.jstor.org/stable/1360536">http://www.jstor.org/stable/1360536</a>.</li> </ul> <ul> <li>Book: Phillips, Sir Claude. 2008. Titian. New York: Parkstone International. Accessed November 2, 2020. ProQuest Ebook Central.</li> </ul> <ul> <li>Image Source: Titian, ca. 1488-1576. c.1515. Flora. Place: Galleria degli Uffizi. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000645729">https://library.artstor.org/asset/ARTSTOR_103_41822000645729</a>.</li> <li>Museum: “Flora by Titian: Artworks: Uffizi Galleries.” by Titian | Artworks | Uffizi Galleries. Accessed November 2, 2020. <a href="https://www.uffizi.it/en/artworks/flora">https://www.uffizi.it/en/artworks/flora</a>.</li> </ul> Publisher An entity responsible for making the resource available Unknown, but was acquired by Archduke Leopold Wilhelm of Austria and later relocated to the Uffizi Date A point or period of time associated with an event in the lifecycle of the resource 1515 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource University of California, San Diego Format The file format, physical medium, or dimensions of the resource Oil on canvas, 79 x 63 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria degli Uffizi https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae/Tizian_011.jpg dc172cadb7d410c59530f1d03241f5b1 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 Painted by Titian c. 1544, this version of Danaë was his first of many renditions of this scene, and is widely regarded as one of the most sensual paintings of the Italian Renaissance. Titian depicts the princess Danaë being impregnated by the Greek god Zeus in the guise of gold coins. Titian established himself as a very highly regarded, and influential interpreter of many famous myths, all of which he painted in great detail throughout his career – by 1510, Titian was appointed the official painter to the Venetian Republic [1]. In the myth of Danaë, Danaë’s father, Arcrisius, had received a prophecy from the Oracle that showed him a future in which his grandson was the cause of his death. In an attempt to protect himself and evade the prophecy, Arcrisius locked Danaë in a tower, away from any men [2]. In the scene that Titian paints, Zeus foils Arcrisuis’ plan by seducing Danaë in her tower, appearing in the form of gold coins. Danaë is shown on a bed of plain, white sheets – Titian strategically uses white to symbolize her purity and innocence. While one sheet is partially covering her leg, the majority of her figure is uncovered and she lays slightly upright on the bed. While her body is pointed towards the frame, her eyes gaze upwards in a calm, amorous way towards the cloudy haze of golden coins that represent Zeus, and her body language is open and relaxed, signifying her comfort and consent to Zeus. Titian skillfully accessorizes and adds details to Danaë’s figure to keep her consistent with the mythical descriptions of her – the ideal body of beauty in the time period, with soft blonde hair that falls over her shoulder naturally, and a ring and bracelet on the hand that is gently gripping the bedsheets on the side closest to the viewer. Titian uses lighting to highlight her pale figure and the white bedsheets, and places the rest of her bed and the background in a darker light, but adds a calm blue sky in the distance, adding to the overall serenity of the scene. Titian also highlights the figure of Cupid at the foot of Danaë’s bed, who is slightly in the background, moving out of the way from Zeus’ golden haze – seemingly to support and allow the scene he is watching. Ultimately, Titian’s use of body language, lighting, and context allows for the creation of a tranquil, beautiful depiction of the famous myth – the pure, virgin Princess Danaë being impregnated with her future son Perseus, by the god Zeus [3]. [1] “National Gallery of Art: Titian's Danaë ,” June 2014, https://www.nga.gov/press/exh/3951.html. [2] Editors of Encyclopedia Britannica, “Perseus,” Encyclopædia Britannica https://www.britannica.com/topic/Perseus-Greek-mythology. [3] Titian. Danaë. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960">https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960</a> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived “National Gallery of Art.” Titian's Danaë. Accessed November 2nd, 2020. https://www.nga.gov/press/exh/3951.html. Editors of Encyclopedia Britannica. “Perseus.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 2018. https://www.britannica.com/topic/Perseus-Greek-mythology. Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43-55. Accessed November 2nd, 2020. doi:10.2307/3049743. 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 Commissioner Cardinal Alessandro Farnese 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 c. 1544 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 117 cm x 69 cm Type The nature or genre of the resource Oil on canvas painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo e gallerie nazionali di Capodimonte, Napoli, Italy https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Holy_Family_with_Young_St_John_and_St_Catherine/1549022778098090-12.VeroneseHeader.jpg a12abe549cb68518232de3fdf929eac1 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 Holy Family with Young St John and St Catherine Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived <ul> <li>Gisolfi, Diana, “Veronese.” Grove Art Online, (July 2013), <a href="https://doi.org/10.1093/gao/9781884446054.article.T089003">https://doi.org/10.1093/gao/9781884446054.article.T089003</a>.</li> <li>Le Gallerie Degli Uffizi. “Holy Family with Young St John and St Catherine.” Accessed November 1, 2020. <a href="https://www.uffizi.it/en/artworks/holy-family-with-young-st-john-and-st-catherine">https://www.uffizi.it/en/artworks/holy-family-with-young-st-john-and-st-catherine</a>.</li> <li>Palluchini, Rodolfo. Veronese. Milano: A. Mondadori, 1984.</li> <li>Gisolfi, Diana. Paolo Veronese and the Practice of Painting in Late Renaissance Venice. Yale University Press, 2017.</li> <li>Ilchman, Frederick. Titian, Tintoretto, and Veronese: Rivals in Renaissance Venice. MFA Publications, 2009.</li> </ul> Date A point or period of time associated with an event in the lifecycle of the resource 1565 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 86 x 122 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria degli Uffizi, Florence, Italy Subject The topic of the resource Holy Family with Young St John and St Catherine was painted by Paolo Veronese in 1565. [1] Though the commissioner of this work is not known, [1] there are numerous artistic and stylistic elements in this piece that are indicative of Veronese’s style, which included finely detailed depictions as well as a mastery of vivid coloring. [2] This particular piece is also indicative of Veronese’s style because certain stylistic elements in this piece are similar to elements of pieces he made around the same time period while he was in Venice. For instance, the depiction of St Catherine with her shimmering blond hair is similar to his rendering in The Coronation of Esther. [2] Immediately upon viewing this piece, five figures can be seen. To the right side of this piece, is a child version of St. John with Joseph as they both look up towards the baby Jesus. Holding the baby Jesus is the Virgin Mary as St. Catherine stands next to her and looks at the child. The most important factor that Veronese utilizes to show the importance of figures in this piece is the contrast between light and dark. The figures of Joseph and St. John are cast in the shadow of the two female divine figures. Furthermore, the faces of the two divine figures are much more illuminated when compared to the figures and faces of the two male figures. Veronese also utilizes spatial organization to further this contrast between the two female and two male figures in this piece. Due to the positioning of the Virgin Mary and St. Catherine, they are standing over the two male figures and are positioned in a way that it appears as if they are shielding protectively over the baby Jesus. Finally, Veronese, who is well known for his vivid use of color, [2], manipulates this artistic element to cast an emphasis and draw the gaze towards the two divine women in this piece. Specifically, their clothing is deeply colored in shades of reds, deep blues, and shimmering golds. The use of gold can be extended to St. Catherine’s hair, which draws the viewers' gaze to her due to the way the gold was laid to make it appear brighter, vibrant, and as if it were shimmering. Veronese’s use of color in this piece is bolstered by the additional artistic elements he has added to this piece. For instance, the clothing of the two women is remarkably extravagant, and St. Catherine has a variety of jewels in her hair. By depicting them in such a grand manner, he is reminding his viewers, regardless of the time period, of their importance and divinity. Additionally, the background behind the two female figures is considerably less decorated, which acts as a contrast with the two female figures in order to highlight them further. Veronese’s emphasis in this piece is very unique when compared to images of similar biblical content because, instead of focusing on just one female divine figure (often the Virgin Mary), it includes two divine women. Whether the viewer is an individual during Veronese’s time or after, it is clear that the figures are standing protectively over the figure of baby Jesus, with St. Catherine shielding Him with her body. This depiction draws a connection to the idea that Venice was protected by these divine figures. However, rather than only being protected by the Virgin Mary, as most works of the time depicted, Veronese shows that Venice is protected by two divine figures, both the Virgin Mary and a saint. [1] “Holy Family with Young St John and St Catherine”, Le Gallerie Degli Uffizi, accessed November 1, 2020, https://www.uffizi.it/en/artworks/holy-family-with-young-st-john-and-st-catherine. [2] Diana Gisolfi, “Veronese,” Grove Art Online, (July 2013): 1. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae_with_Cupid/ARTSTOR_103_41822000941995.jpg a0eab98e6ca9c16abbbd30d6e041b4cb 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 <a href="https://library.artstor.org/#/asset/ARTSTOR_103_41822000941995">Danaë with Cupid</a> Creator An entity primarily responsible for making the resource Titian Date A point or period of time associated with an event in the lifecycle of the resource 1545-46 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Data from: University of California, San Diego Titian, ca. 1488-1576. [n.d.]. Danae with Cupid. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000941995">https://library.artstor.org/asset/ARTSTOR_103_41822000941995</a>. Format The file format, physical medium, or dimensions of the resource Oil on canvas; 121 x 172 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 Museum of Capodimonte, Naples, Italy Description An account of the resource The Danaë with Cupid by Titian is the earliest version of this painting, and it was created in 1545-46. The Danaë with Cupid was a commission for Cardinal Farnese, and he did not seem too worried about the ecclesiastical office interfering with his lifestyle. It actually hung in his bedroom throughout most of Farnese’s life. Titian had a love for the gods, and it became a favorite theme of Titian’s princely patrons. He became the greatest and most influential interpreter of works of art from the ideas in Ovid’s Metamorphoses and other literary texts throughout his career. [1] In this theme of the Danaë, some specific psychological ramifications do not frequently find their way overtly into literature or art because they express profoundly disturbing fantasies. This young woman is getting impregnated by the father of all gods, hinting an erotic relationship between father and daughter. [2] Danaë appears naked lying in bed with her white dress over her upper thighs and wrapped underneath her butt, covering up her lady genitalia. This scene represents Danaë having sex with the god Jupiter, who is in the form of a gray shadow. She is very relaxed in bed, looking up at the shadow with gold coins drizzling down from the cloud. She appears to have a visible bracelet and a ring on her right hand. Titian painted her with very human-like characteristics, such as the distinct details in her breasts, body, and legs. She makes up most of the painting’s left side, while a nude angel makes up the right side of the oil on canvas. The angelic baby appears to have dirty blonde hair and is looking at Jupiter as he impregnates Danaë. The two figures are glowing but shades appears from their heads up due the cloud of Jupiter. According to Ovid’s Metamorphoses (IV, 697-8), Danaë was locked up in a tower because of a warning that her father would be killed by any son she bore. Then, Jupiter impregnates her, and she births Perseus, who accidentally kills his grandfather with a discus, thus fulfilling the prophecy. [3] The covers of the bed appear to be white with a reddish brownish blanket at the end of the bed. The angel is stepping on this blanket, watching Jupiter impregnate Danaë. You can see the sky in the background, and it appears very blue. There have been several different Danaë paintings over time, and Titian’s is more related to the textual sources in that they leave it unclear as to whether or not Danaë was a willing participant in the seduction. [4] [1] Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43. Accessed November 1, 2020. <a href="https://www.jstor.org/stable/3049743">doi:10.2307/3049743.</a> [2] “Danaë with Cupid,” March 19, 2019. <a href="https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface">https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface</a>. [3] “National Gallery of Art.” Titian's Danaë, June 19, 2014. <a href="https://www.nga.gov/press/exh/3951.html">https://www.nga.gov/press/exh/3951.html</a>. [4] De Jong, Jan L. "LOVE, BETRAYAL, AND CORRUPTION: "MARS AND VENUS" AND "DANAË AND JUPITER" IN THE PALAZZI STATI-CENCI AND MATTEI DI PAGANICA IN ROME." Source: Notes in the History of Art 19, no. 1 (1999): 23. Accessed November 1, 2020.<a href="http://www.jstor.org/stable/23206713"> http://www.jstor.org/stable/23206713</a>. Source A related resource from which the described resource is derived “Danaë with Cupid,” March 19, 2019. <a href="https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface">https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface</a>. De Jong, Jan L. "LOVE, BETRAYAL, AND CORRUPTION: "MARS AND VENUS" AND "DANAË AND JUPITER" IN THE PALAZZI STATI-CENCI AND MATTEI DI PAGANICA IN ROME." Source: Notes in the History of Art 19, no. 1 (1999): 20-29. Accessed November 1, 2020.<a href="http://www.jstor.org/stable/23206713"> http://www.jstor.org/stable/23206713</a>. Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43-55. Accessed November 1, 2020. <a href="https://www.jstor.org/stable/3049743">doi:10.2307/3049743.</a> “National Gallery of Art.” Titian's Danaë, June 19, 2014. <a href="https://www.nga.gov/press/exh/3951.html">https://www.nga.gov/press/exh/3951.html</a>. Titian, ca. 1488-1576. [n.d.]. Danae with Cupid. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000941995">https://library.artstor.org/asset/ARTSTOR_103_41822000941995</a>. Publisher An entity responsible for making the resource available Commissioned by Sir Richard Worsley; the Yarboroughs of Brocksley Park; Col. C. de W. Sibthorp; his sale, Christie's, 12 April 1856, no. 555; Samuel Mawson for Richard Seymour-Conway, 4th Marquess of Hertford. https://venice.dahvc.org/fall-2020/files/original/Portrait_of_the_Vendramin_Family/Vendarim.jpg 5c9f1077c045993093f01ac06da1bb4d 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 the Vendramin Family Description An account of the resource In 1546 Titian created a magnificent group portrait of the men in the Vendramin family. This portrait was also commissioned by this family too. On the right side of the painting, there are three young men kneeling. The boys were added at a later date than the original painting. Shockingly they were added by a different artist than Titian. Over time this painting received remarkable compliments stating that this is one of the greatest group portraits of all time. I believe this painting initially belonged I one of the Vendramin palaces in a side hallway. I can see it being in a side hallway because low lighting would bring out the boldness in this group painting. Darker colors are seen throughout the entirety of the painting. Even in the known to be bright colors like blue and white, are dark and greyed off. This strategy gave me a serious tone the second I glanced at this portrait. The facial expressions of the male family members appear to be straighter and more serious too. The power of this family is represented by the different age groups of the men pictured in this portrait. Couldn’t forget the dog held in the arms of the young boy’s arm to the right. I assume it was a male dog because the common Venetian theme was for these portraits to be strictly male-only. Overall this is a very complete painting done mostly by Titian, which represents the seriousness and powerful Vendramin family in the 16th century. Creator An entity primarily responsible for making the resource Titian Date A point or period of time associated with an event in the lifecycle of the resource 1543 - 1547 Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource 185cm x 202 cm Type The nature or genre of the resource Oil on Canvas Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery, London Source A related resource from which the described resource is derived Portrait of the Vendramin Family, 1543 by Titian, www.titian.org/portrait-of-the-vendramin-family.jsp. “The Vendramin Family - Titian - Google Arts & Culture.” Google, Google, artsandculture.google.com/asset/the-vendramin-family-titian/SwEY2oCHZOcDKg?hl=en. https://www.jstor.org/stable/750096?casa_token=KZWvxHw0xCoAAAAA%3Aiky8avnWUfHEKtiWkXLuyIvTgq4lyNzwvkal7jQcJeDiY_1CasYr3Jn6l2Y_iSAMmBWEW45YV-JYcJUZvmYrQj-xdnvlaefItZrxgVqI06F1ZymnBrY&seq=1#metadata_info_tab_contents 1. Portrait of the Vendramin Family 2. The Vendramin Family- Titian Rights Information about rights held in and over the resource Portrait of the Vendramin Family, 1543 by Titian, www.titian.org/portrait-of-the-vendramin-family.jsp. “The Vendramin Family - Titian - Google Arts & Culture.” Google, Google, artsandculture.google.com/asset/the-vendramin-family-titian/SwEY2oCHZOcDKg?hl=en. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Pope_Paul_III_with_his_Grandsons/paul-iii-grandsons.png 84a6978dfe9c73146bf0fc8939703810 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 Pope Paul III sits with his grandsons Ottavio and Alessandro Farnese. Creator An entity primarily responsible for making the resource Titian Date A point or period of time associated with an event in the lifecycle of the resource 1545-1546 Contributor An entity responsible for making contributions to the resource Vik Manocha Format The file format, physical medium, or dimensions of the resource Oil on canvas, 200.0 x 174.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo di Capodimonte, Naples, Italy Source A related resource from which the described resource is derived Bartlett, Kenneth R. A Short History of the Italian Renaissance. Toronto: University of Toronto Press, 2013. Goldsmith Phillips, John and Raggio, Olga. “Ottavio Farnese.” Metropolitan Museum of Art Bulletin 12, no. 8 (April 1954): 233-240. Zapperi, Roberto. “Alessandro Farnese, Giovanni della Casa and Titian's Danae in Naples.” Journal of the Warburg and Courtauld Institutes 54 (1991): 159-171. Image Source: Artstor, accessed November 2, 2020. https://library.artstor.org/#/asset/ARTSTOR_103_41822000645323;prevRouteTS=1604414854637. Publisher An entity responsible for making the resource available Image Source: Artstor, accessed November 2, 2020. https://library.artstor.org/#/asset/ARTSTOR_103_41822000645323;prevRouteTS=1604414854637. Rights Information about rights held in and over the resource Public Domain. Image Source: Artstor, accessed November 2, 2020. https://library.artstor.org/#/asset/ARTSTOR_103_41822000645323;prevRouteTS=1604414854637. Description An account of the resource This unfinished work by Titian––Pope Paul III with his Grandsons––is a testament to the legacy of the commissioning Farnese family of Italy [1]. In this work, a frail and decrepit old man sits on a chair flanked by two younger members of his family. Although he is brilliantly adorned in the typical papal dress, his age detracts from this show of power. Pope Paul III’s beard is long, uneven, and graying while his posture is slumped; his hands are wrinkled. The faded velvet of his robe as well as the clock to his right symbolize the inescapable passing of time that eventually will lead to his demise. It is important to note that his keen, piercing eyes demonstrate his wisdom, but both his age and intelligence contrast with the brilliant and flashy reds of the tablecloth and curtains (the immortality of the office). This is symbolic of the naivete and youth of younger Farneses, creating a tension that is palpable within the frame. The biggest underlying theme in this painting is the continuation of power and the process of succession. As the political climate in sixteenth century Italy became more hostile––especially with regard to the ascension of Charles V of the Holy Roman Empire––Paul III attempted to solidify the power of his family before his death, which he was soon approaching [2]. We see this directly within the work. He appears to counsel his younger grandson Ottavio Farnese, who is separated from his grandfather and brother by his brown and muted costume, showing his place in the laity. Furthermore, it is clear by his clothing that Paul III has already appointed his elder grandson Alessandro Farnese to the position of cardinal. Although this move was seen as nepotistic and against the values of the organization, the Pope seemed to care more about securing his legacy within the Catholic church than about the religious importance of the papacy itself [3]. [1] John Goldsmith Phillips and Olga Raggio, “Ottavio Farnese,” Metropolitan Museum of Art Bulletin 12, no. 8 (April 1954): 233. [2] Kenneth R. Bartlett, A Short History of the Italian Renaissance (Toronto: University of Toronto Press, 2013), 143. [3] Roberto Zapperi, “Alessandro Farnese, Giovanni della Casa and Titian's Danae in Naples,” Journal of the Warburg and Courtauld Institutes 54 (1991): 160. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae/Danae.png 6f8404c8d700d046e54d8e068496f1c0 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 Publisher An entity responsible for making the resource available Comissioned by Cardinal Alessandro Farnese. 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 Olivia Migli Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 117 x 69 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 e gallerie nazionali di Capodimonte, Napoli, Italy Description An account of the resource This painting, Danaë, was done by Titian in 1544 for the Cardinal Alessandro Farnese. Many more versions of this subject by Titian exist, however this was Titian’s first rendition of Danaë and it now resides in the Museo di Capodimonte [1]. It was one of the more sensual paintings done in the time period of the Italian Renaissance, it is one example of the erotic mythologies popularized by Titian in Western art [2]. The subject of his painting is the myth of Danaë. The myth of Danaë tells how Danaë’s father Arcrisius, King of Argos had consulted an oracle who told him a prophecy. The oracle foretold his death at the hands of his grandson. In order to prevent the prophecy, he locked away Danaë in a tower. His plan failed when Zeus seduced her in the from of gold coins and she became pregnant [3]. The story unfolds as Titian paints Danaë on a bed of pure, white sheets with one draped across her leg. Her upper body is twisted open towards the front while the bottom half of her is laying down, away from the viewer. She is depicted as a voluptuous figure and her legs are bent apart from one another. Her beauty is true to Venetian standards of the time as she is fair and blonde, and Danaë of myth was meant to be beautiful. She gazes softly, but amorously into the golden haze that represents Zeus raining down upon her. Cupid, or Eros the god of love, stands at the foot of Danaë ’s bed and seems to lean out of the way of the falling gold coins, allowing Zeus to impregnate her. These elements create the erotic nature that the painting was influential for. Danaë’s bed seems to reside in an open loggia, supported by a large columns in the center of the painting. The loggia opens up into a hazy landscape to be as the blue sky and green and brown colors of faraway hills. The colors create an interesting composition as they cut the painting into two diagonal halves. The top half consist of darker, earth tones while everything surrounding Danaë is light and of neutral tones. The composition of the colors is consistent with the purity that Titian paints Danaë in, as the area around her is very white and light representing her untainted nature as she has been locked away her whole life. 1. Titian. Danaë. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960">https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960</a>. 2. “National Gallery of Art,” Titian's Danaë, accessed October 30, 2020, https://www.nga.gov/press/exh/3951.html. 3. “Danae Receiving the Golden Rain, 1553 by Titian,” accessed October 30, 2020, <a href="https://www.titian.org/danae-receiving-the-golden-rain.jsp">https://www.titian.org/danae-receiving-the-golden-rain.jsp</a>. Source A related resource from which the described resource is derived “Danae Receiving the Golden Rain, 1553 by Titian.” Accessed October 30, 2020. https://www.titian.org/danae-receiving-the-golden-rain.jsp. Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43-55. Accessed October 30, 2020. doi:10.2307/3049743. “National Gallery of Art.” Titian's Danaë. Accessed October 30, 2020. https://www.nga.gov/press/exh/3951.html. Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Baptism_of_Christ/SCALA_ARCHIVES_1039488389.jpg 1da8767c47f1e914b21a3a5032cc0796 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 Baptism of Christ Creator An entity primarily responsible for making the resource Paolo Veronese (1528 - 1588) Publisher An entity responsible for making the resource available Fiorentini Confraternity Image source: Paolo Veronese. c. 1583. Baptism of Christ. painting. Place: Galleria Palatina. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488389. Date A point or period of time associated with an event in the lifecycle of the resource 1580 Contributor An entity responsible for making contributions to the resource Carmel Falek Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 196.0 x 133.0 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 Palatine Gallery, Gallerie degli Uffizi, Venice, Italy Description An account of the resource The Baptism of Christ, originally made for the Oratory of the Fiorentini Confraternity, was created by Veronese, a Venetian painter during the 16th century [1]. Paolo Veronese was born in Verona then moved to Venice to pursue his career, influenced by the work of Albert Durer and his engravings [2]. Veronese focused on biblical subjects with his art, creating large paintings that depicted religious narratives [3]. He was commissioned by the Fiorentini Confraternity to create a painting for their Oratory so that members of the church could see and be reminded of the stories of Christ and his holiness. Paolo Veronese paints the biblical story of Christ’s baptism in the River Jordan. Christ is shriveled and curled up, as his arms are crossed over his torso and his legs are bent. St. John the Baptist is on his right, pouring holy water on Christ to signify the Christian ritual. The angles around Christ gaze in awe of this important Christian rite. Veronese depicts the angles looking up at John the Baptist performing the ritual, with their jaws dropped and their eyes big. Veronese composes the painting with the foreground depicting the characters and the background illustrating the scenic River Jordan. The background is painted with a dark color palette with the trees branching from the darkness in order to make the viewer focus more on the religious narrative portrayed in the foreground. Veronese utilizes a variety of colors to depict the clothing of the characters, using shadows and light to indicate the delicate folding. The men have faint golden halos around their heads, signifying their religious importance. Gold light also beams from the dove up above, representing the spirit of God as he presides over this ritual. Doves are symbols of purity and holiness, and are even representations of God himself in the Bible. The source of light in the painting comes from the dove up above as it beams down on the angles and men below, symbolizing the righteousness and sacredness of God. As George Goldner states, the painting creates the feeling of solemnity and piety for the viewer, a common theme across Veronese's work [4]. His painting illustrates this religious narrative, telling the viewer the story of the Baptism. During his time as an artist, Veronese depicted the scene of the Baptism multiple times, each time recreating and retelling new versions of the religious story. He revisits this theme, showing his evolution of artistic progress throughout time as his techniques and interpretations grow and reshape. [1] “Baptism of Christ by Paolo Caliari, Also Known as Veronese: Artworks: Uffizi Galleries,” Uffizi Gallery, Accessed October 29, 2020, https://www.uffizi.it/en/artworks/veronese-baptism. [2] Francois Crastre and Frederic Taber Cooper, Veronese, (New York: Frederick A. Stokes Company), 17. [3] Rodolfo Pallucchini, “Paolo Veronese,” Encyclopædia Britannica, Accessed October 29, 2020, https://www.britannica.com/biography/Paolo-Veronese. [4] George Goldner, "A Baptism of Christ by Veronese in the Getty Museum," The J. Paul Getty Museum Journal 9 (1981): 116 Source A related resource from which the described resource is derived “Baptism of Christ by Paolo Caliari, Also Known as Veronese: Artworks: Uffizi Galleries.” Uffizi Gallery. Accessed October 29, 2020. https://www.uffizi.it/en/artworks/veronese-baptism. Crastre, Francois, and Frederic Taber Cooper. Veronese. New York, NY: Frederick A. Stokes Company, 1912. Goldner, George R. "A Baptism of Christ by Veronese in the Getty Museum." The J. Paul Getty Museum Journal 9 (1981): 111-26. Pallucchini, Rodoplfo. “Paolo Veronese.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed October 29, 2020. https://www.britannica.com/biography/Paolo-Veronese. Penny, Nicholas. "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae 35, no. 70 (2014): 211-19. Image source: Paolo Veronese. c. 1583. Baptism of Christ. painting. Place: Galleria Palatina. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488389.