6 10 177 https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Miracle_of_the_Slave/INTERA_-_Robusti_Jacopo_Tintoretto_-_San_Marco_libera_schiavo_42_-_44493_0.jpg 3d17ac980cba8e87c61a0899f8ec0e65 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 30: Gallerie dell'Accademia (Visual Analysis) 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, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Miracle of the Slave Creator An entity primarily responsible for making the resource Jacopo Tintoretto Publisher An entity responsible for making the resource available Scuola Grande di San Marco Gallerie Dell’Accademia Di Venezia Date A point or period of time associated with an event in the lifecycle of the resource 1547–1548 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource © 2020 GALLERIE DELL'ACCADEMIA DI VENEZIA, OFFICIAL SITE Image Source: Gallerie Dell’Accademia Di Venezia “The Miracle of the Slave, Also Known as The Miracle of Saint Mark | Gallerie Dell’Accademia Di Venezia.” Accessed October 13, 2020. http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 416 x 544 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, Italy Description An account of the resource Miracle of the Slave depicts St Mark’s rescue of a slave suffering from the torment of his master. The slave came to worship the relics of St. Mark because of his faith. After being caught, his master condemned to make him blind and break his legs. The miraculous intervention of St. Mark, the guardian of the city, broke the tormenting tools, and protected his devotees. [1] Tintoretto learned and drew inspiration from the craftsmanship of Michelangelo and the coloring of Titian. He owned innumerable casts of Michelangelo’s sculptures to study the muscular wonderfulness and plasticity of the sculptures. [2] In Tintoretto's early work, Miracle of the Slave, he especially absorbed some of Michelangelo’s composition and posture of the figure, emphasizing the rendering of a vibrant male body with wonderful and rippling muscles. The two sitting figures in the lower right corner of the painting draw on the distinctive form of sculpture by Michelangelo. One of them was sitting on a stone stool, his body and neck twisted in opposite directions. His right arm bends slightly to support the weight of his body, apparent by his bent wrist. The texture of the muscles on the back is very obvious due to the torsion of the body. This is very similar to Michelangelo's work in the tomb of Guiliano de Medici, the resting figure Day, dependent on the curved marble next to him. [3] In terms of color, Tintoretto also absorbed Titian’s style and paid great attention to use the color relationship to structure and organize the composition. The bright red of St. Mark’s robe also appeared on the slave master giving the order, the resting man with a helmet in the lower right. and the one holding the column on the left side. These three figures are distributed at the edges of the painting and unified to frame and reinforce the image of St.Mark. Tintoretto consciously used the color relationship to create a kind of pattern and rhythm. Miracle of the Slave was commissioned for use of the Scuola Grande di San Marco. Initially, the work caused controversy and received some criticisms, such as complaining that the brushwork of the painting was too rough and anxious, and was initially returned to the artist because of its inappropriateness. However, the work marked Tintoretto’s beginning on large-scale works and of a long-term relationship with Scuola, as Tintoretto was promoted to the predominant league of Venetian artists.[1] [1] “How Tintoretto flourished by giving a painting away,” The Eclectic Light Company, accessed October 27, 2020, <a href="https://eclecticlight.co/2020/06/03/how-tintoretto-flourished-by-giving-a-painting-away/">https://eclecticlight.co/2020/06/03/how-tintoretto-flourished-by-giving-a-painting-away/</a> [2] Claus Virch. “A Study by Tintoretto after Michelangelo.” The Metropolitan Museum of Art Bulletin 15, no. 4 (December 1956): 111.<a href="https://doi.org/10.2307/3257711"> https://doi.org/10.2307/3257711</a>. [3] Thackara Tess. “Tintoretto Was the Unsung Hero of the Venetian Renaissance.” Artsy, last modified February 19, 2019.<a href="https://www.artsy.net/article/artsy-editorial-tintoretto-unsung-hero-venetian-renaissance"> https://www.artsy.net/article/artsy-editorial-tintoretto-unsung-hero-venetian-renaissance</a>. Source A related resource from which the described resource is derived Tess, Thackara. “Tintoretto Was the Unsung Hero of the Venetian Renaissance.” Artsy, Last modified February 19, 2019. https://www.artsy.net/article/artsy-editorial-tintoretto-unsung-hero-venetian-renaissance. The Eclectic Light Company, “How Tintoretto flourished by giving a painting away,” Accessed October 27, 2020, https://eclecticlight.co/2020/06/03/how-tintoretto-flourished-by-giving-a-painting-away/ Virch, Claus. “A Study by Tintoretto after Michelangelo.” The Metropolitan Museum of Art Bulletin 15, no. 4 (December 1956): 111. https://doi.org/10.2307/3257711. Image Source: Tintoretto, Jacopo. The Miracle of the Slave. Gallerie Accademia di Venezia. Accessed October 13, 2020. http://www.gallerieaccademia.it/en/miracle-slave-also-known-miracle-saint-mark. https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Feast_of_the_Gods/ANGAIG_10313966996.jpg 027a6e11b5009c89991d0b0f3546c1f9 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 23: National Gallery of Art (Visual Analysis) 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 of Art, Washington, DC 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 Feast of the Gods Description An account of the resource This work was originally created by Giovanni Bellini, but had later additions by Titian, and the Duke of Ferrara's artist Dosso Dossi [1]. Bellini was one of the great painters of the 15th century, and this was his last large painting. This painting's subject is slightly ambiguous, as not all of the figures depicted may be fully identified [2]. There are 17 different gods and goddesses shown, with Bacchus seen on the left with his barrel of wine and Jupiter with his eagle in the center. This painting does have a mythological subject, which was more unusual for Bellini. During his career, he mostly created religious works and portraits [1], while paintings with a mythological subject matter were more common for Titian, an apprentice of Bellini. Bellini finished his part of this work in 1514, but two years after his death Titian seems to have painted over parts of the painting. The figures are mostly the same, but the background was repainted by Dossi before being painted again by Titian [3]. Both Bellini and Titian were famous for the use of color in their paintings, and this one is no exception. Lots of the figures in the painting are clothed in rich and bright colors. The colors in the sky and trees are much darker, putting the focus on the figures and creating contrast. There is some debate that this work may be in reference to the Duke of Ferrara’s wedding or the months of the year [2], but I believe it could also just be the depiction of a mythological scene on its own, as we have seen with many other works such as Bacchus and Ariadne. However, one of the figures does hold a quince, which is a symbol of marriage, [2] so this could also be a plausible subject. Bellini and Titian were two great artists of their respective centuries, with Bellini celebrated more in the 15th centure and Titian in the 16th. This collaboration shows elements they shared, mostly seen in the incredible use of color that both artists are known for. [1] “National Gallery of Art Bellini, Titian, The Feast of the Gods, 1514/1529.” Bellini, Titian, The Feast of the Gods, 1514/1529. Accessed October 28, 2020. https://www.nga.gov/collection/highlights/bellini-titian-the-feast-of-the-gods.html. [2] Nalezyty, Susan. “Giovanni Bellini and Titian, The Feast of the Gods (Article).” Khan Academy. Khan Academy. Accessed October 28, 2020. https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/venice-early-ren/a/bellini-titian-feast-of-the-gods. [3] Colantuono, Anthony. "Dies Alcyoniae: The Invention of Bellini's Feast of the Gods." The Art Bulletin 73, no. 2 (1991): 237-56. Accessed October 28, 2020. doi:10.2307/3045792. Creator An entity primarily responsible for making the resource Bellini, with additions by Titian and Dossi Source A related resource from which the described resource is derived “National Gallery of Art Bellini, Titian, The Feast of the Gods, 1514/1529.” Bellini, Titian, The Feast of the Gods, 1514/1529. Accessed October 28, 2020. https://www.nga.gov/collection/highlights/bellini-titian-the-feast-of-the-gods.html. Nalezyty, Susan. “Giovanni Bellini and Titian, The Feast of the Gods (Article).” Khan Academy. Khan Academy. Accessed October 28, 2020. https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/venice-early-ren/a/bellini-titian-feast-of-the-gods. Colantuono, Anthony. "Dies Alcyoniae: The Invention of Bellini's Feast of the Gods." The Art Bulletin 73, no. 2 (1991): 237-56. Accessed October 28, 2020. doi:10.2307/3045792. Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. https://library-artstor-org.proxy.lib.duke.edu/asset/ANGAIG_10313966996. Publisher An entity responsible for making the resource available Duke of Ferrara Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. https://library-artstor-org.proxy.lib.duke.edu/asset/ANGAIG_10313966996. Date A point or period of time associated with an event in the lifecycle of the resource 1514/1529 Contributor An entity responsible for making contributions to the resource Jacey Curd Rights Information about rights held in and over the resource Image: Courtesy of National Gallery of Art, Washington Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 170.2 x 188 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 of Art, Washington D.C., United States of America https://venice.dahvc.org/fall-2020/files/original/The_Feast_of_the_Gods/ANGAIG_10313966996.jpg 027a6e11b5009c89991d0b0f3546c1f9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Feast of the Gods Subject The topic of the resource The Feast of the Gods by Giovanni Bellini is one of many paintings commissioned by the Duke of Ferrara to decorate his camerino or study.[1] Since the commission was from Ferrara, the canvas is a large Ferrarese styled parchment. [2]This painting was originally given to Bellini, but it is suspected that after he had completed the piece the patron told Titian to alter some aspects of the painting.[3] The image depicts a group of Greek gods having a feast and drinking while being served by nymph and satyrs. This event takes place in a pastoral setting. Description An account of the resource When the audience first looks at Bellini's work their eyes are drawn towards the group of mythological figures in the center of the painting. On the right hand side, we are first greeted by a nymph clothed in glistening white clothes that flows with her layed out body. A man pulls at her dress who can be identified as Priapus, the god of fertility. He wears a more off-white shirt and a green overgarment. As you move to the left the viewers eyes are greeted with more rich pastel colors like light blues, bright oranges, salmon pinks, earthy greens, dark maroons, and other eye-catching colors. The group is made up of various greek gods like Neptune, Jupiter and Apollo along with one donkey and a handful of nymphs and satyrs that are serving the gods. The gods in the painting were less recognizable until Titian gave the gods symbols of their attributes. All of the people are frozen in their positions, executing their actions forever. In the foreground of the piece there are collections of rocks along with a small pool of water with a bird nearby. The background of this piece is quite astounding with rich, earth toned colors. There is a mountain behind the group of gods that towers over them and is covered in trees and various other greenery. Above it is a partly cloudy sky that spans multiple shades of blue and eventually transitions into a sunset on the right side of the canvas. The trees that stand on the right side of this work are a part of the piece that Titian altered to extend the skyline as requested by the patron. This painting has a mythological interest that creates a freeze frame portrait of a feast with various Greek gods and goddesses. Creator An entity primarily responsible for making the resource Giovanni Bellini; Titian Source A related resource from which the described resource is derived Nalezyty, Susan. "Giovanni Bellini's "Feast of the Gods" and Banquets of the Ancient Ritual Calendar." The Sixteenth Century Journal 40, no. 3 (2009): 745-68. Accessed October 28, 2020. http://www.jstor.org/stable/40540784. xMANCA, JOSEPH. "What Is Ferrarese about Bellini's Feast of the Gods?" Studies in the History of Art 45 (1993): 300-13. Accessed October 28, 2020. http://www.jstor.org/stable/42621889. PLESTERS, JOYCE. "Examination of Giovanni Bellini's Feast of the Gods: A Summary and Interpretation of the Results." Studies in the History of Art 45 (1993): 374-91. Accessed October 28, 2020. http://www.jstor.org/stable/42621893. Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. https://library.artstor.org/asset/ANGAIG_10313966996. Publisher An entity responsible for making the resource available Duke of Ferrara Alfonso II d'Este Date A point or period of time associated with an event in the lifecycle of the resource 1514; 1529 Contributor An entity responsible for making contributions to the resource Darien Sansosti Rights Information about rights held in and over the resource Contact information: NGA Images, National Gallery of Art, 4th Street and Constitution Avenue, NW Washington DC 20565, ngaimages@nga.gov Image: Courtesy of National Gallery of Art, Washington Format The file format, physical medium, or dimensions of the resource 170.2 x 188 cm; Framed: 203.8 x 218.4 x 7.6 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 National Gallery Of Art; Washington D.C., The United States of America https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Doge_Leonardo_Loredan/N-0189-00-000072-wpu.jpg dc5f2c6da6826f7c156f8f71dbdf2676 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 October 7: National Gallery of Art, London (Visual Analysis) 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 of Art, London, UK 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 Doge Leonardo Loredan Subject The topic of the resource A portrait of the Doge of Venice from 1501-1521. Creator An entity primarily responsible for making the resource Giovanni Bellini Date A point or period of time associated with an event in the lifecycle of the resource c. 1501-1502 Format The file format, physical medium, or dimensions of the resource Oil on poplar, 61.6 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 of Art, London, United Kingdom Source A related resource from which the described resource is derived Brown, David Alan; Ferino-Pagden, Sylvia. Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting. New Haven: Yale University Press, 2006. The National Gallery. “Doge Leonardo Loredan: Giovanni Bellini.” Accessed October 5, 2020. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. Humfrey, Peter. Painting in Renaissance Venice. New Haven: Yale University Press, 1997. Image Source: The National Gallery, accessed October 5, 2020. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. Publisher An entity responsible for making the resource available Image Source: The National Gallery, accessed October 5, 2020. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource Public Domain. Image Source: The National Gallery, accessed October 5, 2020. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. Description An account of the resource This work by Giovanni Bellini presents Doge Leonardo Loredan shortly after his election to the position [1]. It depicts him ceremoniously in elegant robes with the symbolic corno ducale on his head. Loredan is seen with a look of consternation upon his face, appearing to be focused intently on something in the distance. Behind him is a solid blue background and the artist has signed his name at the bottom of the frame. The painting itself is relatively simple, the only adornment coming from the clothwork on his clothes. However, the level of detail is visually stunning. Bellini uses a variety of techniques to convey messages about the important subject in these details. First, he uses a harsh light source on the left side to grant perspective. This now more three-dimensional figure appears more real––an effect aided by the use of natural, soft tones both in the skin of Loredan and in the background. Furthermore, the lighting brings out the wrinkles on the Doge’s face, signalling his age and therefore wisdom to the Venetian people. And although his gaze makes him seem a somber and serious person, his placid expression underscores his clear judgement and impartiality. The portrait is nothing short of an open display of power. The commissioning of one of the most well-respected artists in Venice at the time and having his signature unmistakeable is no coincidence for the Doge. In addition to that, the solid background incorporates the very expensive pigment ultramarine––the wealth in addition to the power [2]. This painting was meant to hang in the council room of the Palazzo Ducale in Venice alongside those made for other doges, but this one elegantly stood out––evoking busts of the great Roman emperors and thus implying Loredan was equal in grace and greatness to them [3]. [1] Peter Humfrey, Painting in Renaissance Venice, (New Haven: Yale University Press, 1997), 23. [2] “Doge Leonardo Loredan: Giovanni Bellini,” The National Gallery, accessed October 5, 2020, https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. [3] David Alan Brown and Slyvia Ferino-Pagden, Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting, (New Haven: Yale University Press, 2006), 42. https://venice.dahvc.org/fall-2020/files/original/Miracle_of_St._Mark_[St._Mark_Preserving_a_Christian_Slave]/AHSC_ORPHANS_1071314072.jpg 87b06c82fa2d656ce011782acc23a586 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 Miracle of St. Mark (St. Mark Preserving a Christian Slave) Creator An entity primarily responsible for making the resource Jacopo Tintoretto Date A point or period of time associated with an event in the lifecycle of the resource 1548 Contributor An entity responsible for making contributions to the resource Jared Kreis Format The file format, physical medium, or dimensions of the resource 415x541cm, 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 Gallerie dell'Accademia, Venice, Italy Description An account of the resource This painting immediately caught my attention with its varying and vivid colors. A key characteristic in this painting is the maniera style, which was the stylistic basis for many of Tintoretto's paintings. [1] Maneira was a way in which "artists developed qualities of grace, novelty, and curiosity in their painting, at the same time adhering to older formal conventions." [2] Looking at this painting it is clear that Tintoretto intended for St. Mark to be the central figure of the painting, as he can be seen coming in from the sky. I also believe Tintoretto painted so many figures in the painting to demonstrate the importance of the event and highlight the sense of calamity it brings. This allows St. Mark to 'swoop' in from the sky and become the hero amongst all the chaos. Furthermore, the accentuation of light around St. Mark's head enhances his status as a prominent religious and mythological figure. The white color of St. Mark's halo gives a sense of purity and hope. This, along with the white architecture in the background, contrast with the spectator's outfits. Many of them are wearing darker colors, specifically red, which is notorious for its symbolism of danger. This painting also depicts the power of religion because although the tortured man was a slave, St. Mark still saw value in his life because the slave was praying in front of his temple. This coincides with the typical religious theme in Venice and its art. This creativity and unique style solidified Tintoretto's presence in Venice. Tintoretto was known his bold and expressive brushwork, which made his paintings seem unfinished to his contemporaries. This is now seen by scholars as a key step in the development of oil-on-canvas painting. [3] Tintoretto took classic religious elements and poured his emotions into his paintings to truly craft a work of art that demonstrated the unique style that was growing in Venice. [1] Echols, Robert, and Frederick Ilchman. Tintoretto: Artist of Renaissance Venice. [2] “Maniera.” Encyclopædia Britannica. Encyclopædia Britannica, inc. [3] Echols, Robert. "Giovanni Galizzi and the Problem of the Young Tintoretto." Artibus Et Historiae 16, no. 31 Source A related resource from which the described resource is derived Echols, Robert, and Frederick Ilchman. Tintoretto: Artist of Renaissance Venice. Washington: National Gallery of Art, 2018. Echols, Robert. "Giovanni Galizzi and the Problem of the Young Tintoretto." Artibus Et Historiae 16, no. 31 (1995): 69-110. Accessed October 27, 2020. doi:10.2307/1483499. “Maniera.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed October 27, 2020. https://www.britannica.com/art/maniera. Image: Tintoretto (Jocopo Robusti), Venetian, 1518-1594. 1548. Miracle of St. Mark (St. Mark Preserving a Christian Slave). https://library.artstor.org/asset/AHSC_ORPHANS_1071314072. Publisher An entity responsible for making the resource available Tintoretto (Jocopo Robusti), Venetian, 1518-1594. 1548. Miracle of St. Mark (St. Mark Preserving a Christian Slave). https://library.artstor.org/asset/AHSC_ORPHANS_1071314072. Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. https://venice.dahvc.org/fall-2020/files/original/The_Adoration_of_the_Kings/N-0268-00-000062-wpu-1.jpg f1eb4e56bc021cbd573ae153f036802d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Adoration of the Kings Description An account of the resource Created by Paolo Veronese c. 1573, The Adoration of the Kings depicts the biblical story of the Three Kings paying a visit to the newborn Christ in the manger. Veronese was born approximately 50 years prior, in 1528, to a small family in Verona, Italy [1]. He spent his career creating large canvases that depicted historical and biblical stories, and was known for his mastery of color, as well as his precise brushstrokes and decorative figures. Veronese came to Venice c. 1550 and immediately became involved in a long commission with decorating the Palazza Ducale – his first well-known pieces of artwork from Venice [2]. Veronese was commissioned by the Church of Saint Silvestro to create a focal piece that narrated an important biblical story when visitors and members of the church looked at the nave, or central area, of the church [3]. In the painting, Veronese shows Virgin Mary sitting to the left of the frame on a throne, holding the newborn baby Jesus. She is surrounded by a large group of people, most of whom are on their knees, looking up at Christ in awe and devotion. While Veronese strays from a traditional illustration of the manger, on Mary’s side closest to the viewer stands a cow above two sheep, and the ground appears to be discolored, possibly representing hay. When looking closely at the painting, the viewer can see the Veronese actually included several animals in the background, such as the horses and goats mixed in with the crowd of visitors of Christ. Additionally, Veronese skillfully incorporates Roman architecture into the background, depicting high arches with traditional columns, which give way to a dark, but picturesque sky – which Veronese uses to add to the viewer’s sensation of divinity in the scene. Tucked near the high arches, Veronese paints cherubs with wings circling above baby Christ, further emphasizing the miracle fo Christ. Veronese uses a combination of various impressive skills to make this depiction of the traditional biblical story unique. Most notably, Veronese’s use of light highlights Mary and baby Christ as holy and of high importance. Similar to the traditional use of halos to show divinity, Veronese shows a single beam of light directed towards the Virgin’s throne, illuminating her and baby Christ. The rest of the painting is largely in the dark, furthering the contrast between the heavenly figures on the throne and people who are there to pay their respects. Furthermore, Veronese’s attention to detail in the clothing draws the viewer not only to Mary but the kings as well, highlighting their role in the story depicted – he paints them with bright colors and intricate patterns. As stated above, Veronese ties the scene together with both architecture, a small yet important natural background, and the various animals in the manger, all working to create harmony in a busy scene. Ultimately, Veronese’s technical choices throughout the painting allow for the viewer to truly grasp the importance of both the Virgin and Christ, and the scene as a whole. [1] Rodolfo Pallucchini, “Paolo Veronese,” 2019, https://www.britannica.com/biography/Paolo-Veronese. [2] Nicholas Penny, "Composition, Gesture and Meaning in an Early Painting by Veronese," Artibus Et Historiae 35, no. 70 (2014): 225-226 [3] Jill Dunkerton, Susan Foister, and Nicholas Penny, “The Altarpiece,” in Durer to Veronese: Sixteenth-Century Painting in the National Gallery (London: Yale University Press, 1999), p. 47. Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Pallucchini, Rodolfo. “Paolo Veronese,” 2019. https://www.britannica.com/biography/Paolo-Veronese. <div></div> Penny, Nicholas. "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae 35, no. 70 (2014): 211-19. Dunkerton, Jill, Foister, Susan, and Penny, Nicholas. “The Altarpiece.” In Durer to Veronese: Sixteenth-Century Painting in the National Gallery, 47. London: Yale University Press, 1999. <div style="text-align:left;">Image Source: Veronese, Paolo. The Adoration of the Kings. The National Gallery. Accessed October 27, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings.</div> Publisher An entity responsible for making the resource available Church of Saint Silvestro, Venice Date A point or period of time associated with an event in the lifecycle of the resource 1573 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Rights Information about rights held in and over the resource Public Domain. Image Source: Veronese, Paolo. The Adoration of the Kings. The National Gallery. Accessed October 27, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 355.6 x 320.0 cm Type The nature or genre of the resource Oil on canvas painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery, London, United Kingdom https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Venus_and_Adonis/Venus_and_Adonis-2.jpg cd2fb1eb5fc05bb5b77e95a5c3ccf3a0 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 October 14: Prado Museum (Visual Analysis) 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 Nacional del Prado, Madrid, Spain 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 and Adonis Description An account of the resource In this painting, we see Venus--the Roman goddess of love and affection--depicted with blonde hair, draped with a fine and elegant fabric from the waist down. In her lap lies Adonis, an adept hunter in Greco-Roman mythology who dons bright and vibrant orange clothing. Following Venus’ gaze, we see Cupid holding back an aggressive dog while another dog lies calmly at his feet. Veronese brings attention to the main subjects in the composition in multiple ways. The first of these is through the vibrant colors of the clothing, as well as the designs. Although Veronese transitions away from the Mannerist influences of Michelangelo and Giambattista Zelotti, characteristics of the Mannerist style are still displayed, such as the elaborate decoration of Venus and the bright colors of the clothing.¹ Golden floral decorations on the garments of Venus complement the simple, yet elegant pearl necklace as well as the golden bracelet on her wrist. In addition, the purple of the garment complements the orange of Adonis’ clothing, drawing the viewer’s attention. In a broader view, the vivid hues of purple and orange contrast with the natural browns and greens of the surroundings, as well as the dark blue of the sky, drawing attention to the foreground of the composition. This contrast in color may have been used to communicate the status of the characters within mythology. In addition to the contrast in color on a micro- and macroscopic scale, there is a sense of foreshortening through Adonis’ body. As his head lies in Venus’ lap, his body extends backward. This sense of depth is seen in the comparison of Venus’ leg with Adonis’ leg, with the latter seeming smaller and darker. With these qualities, this painting seeks to serve an allegorical purpose. Believed to have been the specific moment when Venus tries to keep Adonis from going on his hunt, this painting brilliantly takes a snapshot of the scene while also foreshadowing the tragic death of Adonis. Upon closer investigation, the viewer will notice the snake wrapped around Adonis’ torso as well as the aggression of the dog. However, the danger of the snake is insidious compared to the hound on the left, creating a balance in the painting that will be soon be disrupted.² While the visual characteristics are easily analyzed, the subject matter and function of the painting are much more convoluted. Many scholars have assumed that the figures in the painting are Venus and Adonis, as a result of Raffaelo Borghini’s comparison of the painting to previous artworks of Veronese. However, none of the elements in the composition of the painting are direct references that would serve to identify the figures. According to Victor Nieto Alcaide, these figures could be Cephalus and Procris from Ovid’s Metamorphoses, specifically Book VII.³ Regardless of the mythological allegory, a theme of love--and possibly loyalty--is displayed. This may shine a light on the function of the painting, as it was bought from Veronese by Diego Rodríguez de Silva y Velázquez, an artist for the Spanish court. As a result, the painting may serve to encourage love and prosperity in Spain, while also emphasizing the importance of loyalty and patriotism. <ol> <li style="font-weight:400;">Britannica Educational Publishing Staff, The 100 Most Influential Painters and Sculptors of the Renaissance : 100 Most Influential Painters and Sculptors of the Renaissance (Chicago, IL: Rosen Publishing Group, 2009), ProQuest Ebook Central.</li> <li style="font-weight:400;">David Rosand, “The Passion of Adonis,” Arion: A Journal of Humanities and the Classics, vol. 21, no. 3 (2014) pp. 5–27, <a href="http://www.jstor.org/stable/arion.21.3.0005">www.jstor.org/stable/arion.21.3.0005</a></li> <li style="font-weight:400;">Víctor Nieto Alcaide, "Veronés y Ovidio : Procris, Céfalo y la Brisa" Espacio Tiempo y Forma Historia del Arte[Online] 7, no. 16, (1 January 2003)</li> </ol> Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived <ul> <li style="font-weight:400;">Journal Article 1: David Rosand. “The Passion of Adonis.” Arion: A Journal of Humanities and the Classics, vol. 21, no. 3, 2014, pp. 5–27. JSTOR, www.jstor.org/stable/arion.21.3.0005. Accessed 27 Oct. 2020.</li> </ul> <ul> <li style="font-weight:400;">Journal Article 2: Nieto Alcaide, Víctor. "Veronés y Ovidio : Procris, Céfalo y la Brisa" Espacio Tiempo y Forma. Serie VII, Historia del Arte[Online], Number 16 (1 January 2003)</li> </ul> <ul> <li style="list-style-type:none;"> <ul> <li style="font-weight:400;">Link to translated google doc of article: <a href="https://docs.google.com/document/d/182Klr4D0-FWSzLIOFT156nvt_4tw305EdL3RspTu2rs/edit?usp=sharing">https://docs.google.com/document/d/182Klr4D0-FWSzLIOFT156nvt_4tw305EdL3RspTu2rs/edit?usp=sharing</a></li> </ul> </li> </ul> <ul> <li style="font-weight:400;">Book: Britannica Educational Publishing Staff. 2009. The 100 Most Influential Painters and Sculptors of the Renaissance : 100 Most Influential Painters and Sculptors of the Renaissance. Chicago, IL: Rosen Publishing Group. Accessed October 27, 2020. ProQuest Ebook Central.</li> </ul> <ul> <li style="font-weight:400;">Image Source: Paolo Veronese. c. 1580. Venus and Adonis. painting. Place: Museo del Prado. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195705">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195705</a>.</li> </ul> <ul> <li style="font-weight:400;">Museum: Veronese, Paolo (Paolo Cagliari). “Venus and Adonis - The Collection.” The Collection - Museo Nacional del Prado. Museo Nacional del Prado, January 1, 1585. <a href="https://www.museodelprado.es/en/the-collection/art-work/venus-and-adonis/692667da-d0f5-4765-ba03-30fdce3513d1">https://www.museodelprado.es/en/the-collection/art-work/venus-and-adonis/692667da-d0f5-4765-ba03-30fdce3513d1</a>.</li> </ul> Publisher An entity responsible for making the resource available Commissioner/Patron unknown, possibly Diego Rodríguez de Silva y Velázquez (artist for Spanish Court) Image source: Paolo Veronese. c. 1580. Venus and Adonis. painting. Place: Museo del Prado. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195705">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195705</a>. 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 Muhib Methani 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, 162 x 191 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 del Prado https://venice.dahvc.org/fall-2020/files/original/Saint_Christopher/Saint_Christopher_Titian.jpg 4078d16228c20d21773c5add3f86e3dd 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="http://www.titian.net/saint-christopher/">Saint Christopher</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 1524 Contributor An entity responsible for making contributions to the resource Seamus Harding Format The file format, physical medium, or dimensions of the resource Fresco; 310 x 186 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 Source A related resource from which the described resource is derived After Titian. early 16th century. St. Christopher with the infant Christ. drawing. Place: British Museum, http://www.britishmuseum.org/. <a href="https://library.artstor.org/asset/AGERNSHEIMIG_10313152801.">https://library.artstor.org/asset/AGERNSHEIMIG_10313152801.</a> Krén, Emil, and Daniel Marx. “St Christopher.” St Christopher by TIZIANO Vecellio, 1996. https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html. “Saint Christopher.” Saint Christopher by Titian, 2018. <a href="http://www.titian.net/saint-christopher/">http://www.titian.net/saint-christopher/</a>. Phillips, Claude. The earlier work of Titian. No. 34. Seeley, 1897. <a href="https://books.google.com/books?hl=en&lr=&id=K7YVAAAAYAAJ&oi=fnd&pg=PA3&dq=saint+christopher+titian&ots=RFw7aEGzpF&sig=oQhswBjZf7pFtzGfClyvDp_y_PI#v=onepage&q=saint%20christopher%20titian&f=false">https://books.google.com/books?hl=en&lr=&id=K7YVAAAAYAAJ&oi=fnd&pg=PA3&dq=saint+christopher+titian&ots=RFw7aEGzpF&sig=oQhswBjZf7pFtzGfClyvDp_y_PI#v=onepage&q=saint%20christopher%20titian&f=false</a> Wivel, Matthias. "Titian's "St Roch"." Print Quarterly 29, no. 2 (2012): 131-41. Accessed October 27, 2020. <a href="http://www.jstor.org/stable/43826208">http://www.jstor.org/stable/43826208</a>. Publisher An entity responsible for making the resource available Commissioned by the Holy Church Krén, Emil, and Daniel Marx. “St Christopher.” St Christopher by TIZIANO Vecellio, 1996. <a href="https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html.">https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html.</a> Image Rights: After Titian. early 16th century. St. Christopher with the infant Christ. drawing. Place: British Museum, http://www.britishmuseum.org/. <a href="https://library.artstor.org/asset/AGERNSHEIMIG_10313152801.">https://library.artstor.org/asset/AGERNSHEIMIG_10313152801.</a> Description An account of the resource This painting is extraordinary because it survived two extreme fires of the Ducal Palace in 1574 and 1577. Titian created it in 1524, and it is currently in the Ducal Palace, over the staircase leading to the Doge's private apartment. There are few frescos in Venice, this one included, due to the city being built on water, the humidity, and water can seep through the walls, making the plaster peel off the painting. The Saint Christopher painting was Titian's first performance as a frescante since the completion, twelve years previously, of the series at the Scuola del Santo of Paula. This painting has been compared to Titian's St. Roch, implicitly suggesting a contemporaneous date and highlighting the possibility that it reflects a lost painting by the master [1]. In this painting, Saint Christopher appears as a very handsome man with well-formed muscles and strong defined legs. This detail is an excellent way of representing him because he is the patron saint of travelers. His strong body shows us that he is a strong man and capable of doing strong things, such as carrying the Light of the World across this river. Instead of being described as a man of fearsome countenance, he is portrayed as this strong bearded man with tousled hair and fine muscles [2]. Christ is displayed as an adorable baby with chubby legs, and he seems to be enjoying the ride with Saint Christopher. Saint Christopher is dressed in a white, baby blue, and red gown carrying a large branch with leaves on top. He is looking at the baby Jesus, who is wearing a white gown, looking down at the water. The sky is very blue with some clouds, viewing the Bell Tower in the Piazza San Marco and the mountain range surrounding Venice. You can see the beginnings of the mountain range in Venice on a sunny day. This painting is broad and stable in execution, brilliant, and rich in color for a fresco and relatively preserved [3]. At the top of the masterpiece are archways that cover the top of Saint Christopher's branch. Pordenone has created multiple versions, one in the British Museum and one on the wall of a house near the Town Hall of Udine. None of these can beat the original that presents natural beauty and resistless energy. [1] Wivel, Matthias. "Titian's "St Roch"." Print Quarterly 29, no. 2 (2012) [2] “Saint Christopher.” Saint Christopher by Titian, 2018. <a href="http://www.titian.net/saint-christopher/">http://www.titian.net/saint-christopher/</a>. [3] Phillips, Claude. The earlier work of Titian. No. 34. Seeley, 1897. Rights Information about rights held in and over the resource Image and original data provided by the Gernsheim Photographic Corpus of Drawings from photo campaigns that began in 1939. Krén, Emil, and Daniel Marx. “St Christopher.” St Christopher by TIZIANO Vecellio, 1996. <a href="https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html.">https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html.</a> Image Rights: After Titian. early 16th century. St. Christopher with the infant Christ. drawing. Place: British Museum, http://www.britishmuseum.org/. <a href="https://library.artstor.org/asset/AGERNSHEIMIG_10313152801.">https://library.artstor.org/asset/AGERNSHEIMIG_10313152801.</a> https://venice.dahvc.org/fall-2020/files/original/The_Virgin_and_Child_between_Saints_Anthony_of_Padua_and_Roch/The_Virgin_and_Child_between_Saint_Anthony_of_Padua_and_Saint_Roque.jpg f676b5916bea0f640f295ef8f6a3d07a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Virgin and Child between Saints Anthony of Padua and Roch Description An account of the resource For a period the work was attributed to Giorgone, but in 1904 it was then changed and attributed to Titian by scholar Wilhelm Schmidt [1]. While some scholars still disagree, most conclude Titian was the original author but took inspiration from Giorgone’s works while creating the piece. The subject matter implies the work was possibly commissioned for the Scuola di San Antonio at the church of San Rocco in Venice [1]. The rectangular shaped painting features four prominent figures, of which produces a symmetrical balance. On the left side of the image is Saint Anthony of Padua, wearing a gray habit and a book and flower lying at his feet. Saint Anthony was one of the most important saints in the order saide from Saint Francis, and has a dedicated shrine which is a favored pilgrimage destination in Italy [2]. There is also a lay confraternity dedicated to him, located adjacent to the church of the Frari [2]. On the right side of the image is Saint Roch, wearing a white undergarment, a blue set of trousers which appear to have broken, and a dark colored cape hanging from his shoulders. Saint Roch is commonly associated as a protector against the plague, with his own shrine housed in the church of San Rocco [2]. His right root is propper on a rock, which helps him to show his exposed bare skin. Roch also has a staff in his right arm, a symbol of power and protector like qualities. In the center lies the Virgin with Christ child in her arms. She is wearing a long, flowing gown with a pinkish red luxurious fabric, and an exterior garment in a dark navy color. The color draws the attention of the viewer but also denotes the importance and significance of the Virgin in a religious context. Christ is standing on her knee, mostly nude with the exception of a light cloth over his stomach. Titian included an extreme concentration of light on the child as to highlight his divinity and draw the central focus of the viewer to him. In the background there is a natural landscape, filled with clouds, a blue sky, and green vegetation. It is not very well detailed (loose brushstrokes) and remains vague in an effort to focus the viewer's attention on the main subjects in the foreground. Behind Mary is a curtain, a decorative element with different shapes and patterns incorporated from an element of Giorgone’s works [3]. A green square shaped backdrop accentuates the detail of the curtain and the presence of the virgin and child. [1] Miguel F. Faus, “The Virgin and Child between Saints Anthony of Padua and Roch,” Mueso del Prado, Mueso del Prado, accessed October 27, 2020, https://www.museodelprado.es/en/the-collection/art-work/the-virgin-and-child-between-saints-anthony-of/2e87a95b-7a28-475a-89f1-948619f863ac. [2] Brown, David Alan, and Sylvia Ferino-Padgen, Bellini, Giorgione, Titian and the Renaissance of Venetian Painting, Firsted. (Washington, D.C.: National gallery of art, 2006). [3] “The Virgin and Child between Saint Anthony of Padua and Saint Roch,” Spain is culture, Sociedad Mercantil Estatal para la Gestión de la Innovación y las Tecnologías Turísticas, accessed October 27, 2020, http://www.spainisculture.es/en/obras_de_excelencia/museo_nacional_del_prado/la_virgen_con_el_nino_entre_san_antonio_de_padua_y_san_roque_p00288.html. Creator An entity primarily responsible for making the resource Titian (Tiziano Vecellio) Source A related resource from which the described resource is derived Brown, David Alan, and Sylvia Ferino-Padgen. 2006. Bellini, Giorgione, Titian and the Renaissance of Venetian Painting First ed. Washington, D.C.: National gallery of art. Faus, Miguel F. n.d. “The Virgin and Child between Saints Anthony of Padua and Roch.” Mueso Del Prado. Mueso del Prado. Accessed October 27, 2020. https://www.museodelprado.es/en/the-collection/art-work/the-virgin-and-child-between-saints-anthony-of/2e87a95b-7a28-475a-89f1-948619f863ac. “The Virgin and Child between Saint Anthony of Padua and Saint Roch.” n.d. Spain Is Culture. Sociedad Mercantil Estatal para la Gestión de la Innovación y las Tecnologías Turísticas. Accessed October 27, 2020. http://www.spainisculture.es/en/obras_de_excelencia/museo_nacional_del_prado/la_virgen_con_el_nino_entre_san_antonio_de_padua_y_san_roque_p00288.html. Image Source: “File:The Virgin and Child between Saint Anthony of Padua and Saint Roque.jpg.” n.d. Wikimedia Commons. The Yorck Project. Accessed October 27, 2020. https://commons.wikimedia.org/wiki/File:The_Virgin_and_Child_between_Saint_Anthony_of_Padua_and_Saint_Roque.jpg. Publisher An entity responsible for making the resource available DIRECTMEDIA Publishing GmbH. Image Source: “File:The Virgin and Child between Saint Anthony of Padua and Saint Roque.jpg.” n.d. Wikimedia Commons. The Yorck Project. Accessed October 27, 2020. https://commons.wikimedia.org/wiki/File:The_Virgin_and_Child_between_Saint_Anthony_of_Padua_and_Saint_Roque.jpg. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1508 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource The Yorck Project (2002) 10.000 Meisterwerke der Malerei (DVD-ROM), distributed by DIRECTMEDIA Publishing GmbH. ISBN: 3936122202. Image Source: “File:The Virgin and Child between Saint Anthony of Padua and Saint Roque.jpg.” n.d. Wikimedia Commons. The Yorck Project. Accessed October 27, 2020. https://commons.wikimedia.org/wiki/File:The_Virgin_and_Child_between_Saint_Anthony_of_Padua_and_Saint_Roque.jpg. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 92.0 x 133 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 del Prado, Madrid, Spain https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_John_the_Evangelist_on_Patmos/ANGA_KRESSIG_10312335784.jpg a62a9f794bb1ed37c32e74acdf8ae709 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 23: National Gallery of Art (Visual Analysis) 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 of Art, Washington, DC 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 John the Evangelist on Patmos Description An account of the resource In this painting, we see Saint John the Evangelist on the island of Patmos reacting to the vision and voice of God. Titian highlights the heavenly calling in multiple ways. First, with regards to the composition of the image, although Saint John is the biggest and the central figure in the painting, his stance and gaze draws the viewer’s attention to the Lord up above. Second, the angels are also pointing towards God, making all of the figures give the audience a path for their eyes to move. Thirdly, the lighting around God is very bright and heavenly, which contrasts with the darker tones of the sky and his robe, which makes it easier for the audience to focus on the lord. In addition, the clouds around God are much more textured than the other clouds, which creates yet another contrast that places the viewer’s eye on Him. Finally, God’s gaze is looking down towards the viewer and Saint John, which creates a connection between the audience and God. Now, the question becomes why would Titian want to focus on God? This painting was the central element of the the Scuola di San Giovanni Evangelista, one of the four original scuole grandi, which was dedicated to Saint John the Evangelist, explaining why this painting was created. This painting was featured in a room a prestigious relic, a fragment of the True Cross, which could perform miracles [1]. Thus, Titian would want to focus on God’s role in Saint John’s vision because the whole room was centered around God’s miracles. In addition, this painting was created right around the time of the Council of Trent, which embodied the Counter-Reformation, as the religious figures in power attempted to grapple with the Protestant Reformation and the Renaissance and its effects on religion. One of the key issues the Council was struggling with was the Renaissance idea of individual human connection with religion; Titian, by focusing on God as it looks down, creates a connection between God and the viewer, making the viewing experience more personal and less about a far-removed Biblical scene. In addition, the placement of the painting influenced Titian’s painting style. This was a ceiling painting, which not only further draws the viewer’s attention to God but also creates distance between the viewer and the painting. This distance freed Titian to create the painting with broad, loose brushstrokes, giving him more freedom to manipulate the painting and its notions of space [2]. In addition, because of the ceiling placement of the painting, Titian also employs a dal sotto in su perspective, foreshortening John’s figure. This perspective combined with his contrapposto stance and the composition of the image, created drama and tension, making the viewer focus even more on this central panel [3]. In addition, by thinking about the viewer’s experience, Titian demonstrates once again the idea that the viewer’s perspective is important in the consumption of religious artwork. [1] Peter Humfrey, “Titian, Italian 16th Century/Saint John the Evangelist on Patmos/c. 1553/1555,” in Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/43725 (accessed October 27, 2020). [2] Robert Echols, "Titian's Venetian Soffitti: Sources and Transformations," in Studies in the History of Art 45 (Washington D.C.: National Gallery of Art, 1993), 28-49. [3] Loren Partridge, Art of Renaissance Venice, 1400 1600 (United States: University of California Press, 2015), 171. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian, Venetian. c. 1547. Saint John the Evangelist on Patmos. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335784 Humfrey, Peter. “Titian, Italian 16th Century/Saint John the Evangelist on Patmos/c. 1553/1555,” Italian Paintings of the Sixteenth Century. NGA Online Editions. https://purl.org/nga/collection/artobject/43725 (accessed October 27, 2020). Partridge, Loren. Art of Renaissance Venice, 1400 1600. United States: University of California Press, 2015. 171. Echols, Robert. "Titian's Venetian Soffitti: Sources and Transformations." Studies in the History of Art 45 (1993): 28-49. Accessed October 27, 2020. http://www.jstor.org/stable/42621876. Publisher An entity responsible for making the resource available Artstor. Titian, Venetian. c. 1547. Saint John the Evangelist on Patmos. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335784 Date A point or period of time associated with an event in the lifecycle of the resource 1547 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource Oil on canvas, 237.6 x 263 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 of Art, Washington D.C., United States of America