7 10 177 https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/The_Tempest.png 48b6fb4494bce883af76115c67c200c8 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 Tempest Description An account of the resource The Tempest is one of Giorgione’s few paintings and most enigmatic as there are over thirty identified interpretations ranging from biblical to Venetian [1]. Giorgione was commissioned circa 1510 to make this painting for the wealthy Venetian, Gabriele Vendramin. The Tempest is an important part of Venetian art as it is said to be one of the first examples of a landscape painting in western art [2]. This painting is composed of a vivid color palette mostly dominated by the greens of the natural landscape in the foreground and deep blue of the storm in the background, the lighting stays soft throughout the painting giving it a “calm before the storm” feeling of anticipation. All these features add to the idea that Giorgione was trying to create a piece that had a calm, serene scene below a brewing storm. The focal point seems to be the storm and single lightning bolt, introducing the idea of “Not Subject,” a non-figure playing a major role in a painting [3]. Additionally, the two figures play a more minor role. The man is posed in contrapposto to the left of the painting and dressed in nice, fashionable clothing, he seems to be softly gazing to the right but does not seem to be acknowledged by the woman. The woman is posed sitting down and nude except for the cloth draped over her shoulders. The baby is placed beside her nursing on the woman. They both sit on lush green grass and are surrounded by bright vegetation. Her gaze is straight ahead staring out of the painting, almost staring back at the viewer. The landscape’s architecture is representative of Venice, Giorgione and Vendramin’s place of origin. The broken columns and arches on the wall in the middle ground are characteristic of Venetian architecture as it pulls elements of the classical era. 1. Ross Stuart Kilpatrick, “Hagar and the Angel in Giorgione's ‘Tempest’.,” December 1997, https://doi.org/10.2307/1483600. 2. “The Tempest,” The Tempest by Giorgione, accessed October 27, 2020, <a href="http://www.giorgione.net/tempest/">http://www.giorgione.net/tempest/</a>. 3. Renaissance Studies: Journal of the Society for Renaissance Studies (Hoboken, NJ: Wiley-Blackwell, 2008), 476. Creator An entity primarily responsible for making the resource Giorgione Source A related resource from which the described resource is derived Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Kilpatrick, Ross S. (Ross Stuart). “Hagar and the Angel in Giorgione’s ‘Tempest.’” Artibus et Historiae18, no. 36 (December 1997): 81–86. doi:10.2307/1483600. Schier, Rudolf. "Giorgione's "Tempesta": A Virgilian Pastoral." Renaissance Studies 22, no. 4 (2008): 476-506. Accessed October 27, 2020. http://www.jstor.org/stable/24417578. “The Tempest.” The Tempest by Giorgione. Accessed October 27, 2020. http://www.giorgione.net/tempest/. Publisher An entity responsible for making the resource available Commissioned by Gabriele Vendramin. Date A point or period of time associated with an event in the lifecycle of the resource Circa 1510 Contributor An entity responsible for making contributions to the resource Olivia Migli Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions. Image Source: Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 78.7 cm x 73.7 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Saint_Jerome_Reading/saint_jerome_reading_1939.1.217.jpg 2da6b65e412bb98fe8fc00ba6b177c56 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 Jerome Reading Creator An entity primarily responsible for making the resource Giovanni Bellini Publisher An entity responsible for making the resource available Giovanni Bellini, Venetian. 1505. Saint Jerome Reading. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. Date A point or period of time associated with an event in the lifecycle of the resource 1505 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. Format The file format, physical medium, or dimensions of the resource Oil on Panel, 47 cm x 37.5 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington D.C, USA Description An account of the resource Giovanni Bellini was an Italian painter born in 1430 whose art represented stylistic innovations and concerns going on during the Renaissance [1]. He is known as one of the most influential Venetian paintings and through his career, there was an evolution in his art from purely religious works to works that had emphasis on landscape and naturalism [1]. A prime example of this evolution is seen in his painting called Saint Jerome Reading. In the painting, Saint Jerome can be seen in the bottom right corner secluded in nature reading some type of religious text. It is evident by his wrinkles and gray hair that the Saint is very old, which depicts his imminent wisdom. The Saint is placed in the corner to put more of an emphasis on the landscape and nature that surrounds him. Two bunnies can be seen playing below the skyline and a lion can even be seen at the heels of the Saint’s feet. Bellini can be seen putting emphasis on nature and the environment by making the Saint small and putting him in the corner of the painting. In the background, Bellini’s depicts a serene ocean with the architecture “floating” on the water, which depicts his incorporation of the magnificent aspects of the city of Venice [2]. In the foreground, the Saint is surrounded by what looks like many natural landmarks that are very detailed and chiseled to once again show the beauty of nature. The contrast in colors in both the background and foreground shows Bellini’s emphasis on his subject, but also shows the importance he puts on nature and landscape. Bellini’s places the Saint in this peaceful atmosphere to illustrate his seclusion and devotion to his religious studies [2]. Bellini painted many works portraying Saint Jerome, which each progressed over time [3]. A common theme was placing importance on the nature and surroundings around the Saint. This painting, in particular, portrayed Saint Jerome as a holy, religious man studying in the open, beautiful nature of Venice. [1] Hendy, Phillip, “Giovanni Bellini,” Encyclopedia Britannica, 1, 2 [2] Betling, Hans, "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life," 6-8 [3] Mariolina Olivari, “Giovanni Bellini,” Pittori del Rinacscimento, 1 Source A related resource from which the described resource is derived Hendy, Philip. “Giovanni Bellini.” Encyclopædia Britannica. Encyclopædia Britannica, inc., January 29, 2020. https://www.britannica.com/biography/Giovanni-Bellini-Italian-painter. Belting, Hans. "St. Jerome in Venice: Giovanni Bellini and the Dream of Solitary Life." I Tatti Studies in the Italian Renaissance 17, no. 1 (2014): 5-33. Accessed October 27, 2020. doi:10.1086/676482. Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007. Giovanni Bellini, Venetian. 1505. Saint Jerome Reading. Place: The National Gallery of Art (Washington, D.C.), Gift of The Samuel H. Kress Foundation. https://library.artstor.org/asset/ANGA_KRESSIG_10312335544. https://venice.dahvc.org/fall-2020/files/original/The_Death_of_Actaeon/2444.jpg dea30df8e553900b9cd837e4e3565f73 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 Death of Actaeon Description An account of the resource The Death of Actaeon was a piece in a large mythological series created for King Phillip II, the son of King Charles and the king of Spain [1]. “Poesie”, the other name for this particular cycle, was painted by the world-renown painter Titian. [2] This cycle, which was begun in 1551, includes many similar mythological stories to pieces like Diana and Actaeon and Diana and Callisto.[2] Unlike the two aforementioned paintings, The Death of Actaeon was never completed due to the death of the painter. However, this proves to distinguish this piece from Titian's other pieces because it reflects Titian’s style much later on in life, which includes a technique now known as magic impressionism. [2] It also gives viewers insight into how his work transformed to be much more vivid and fierce as his style evolved. [3] The narrative depicted in this scene is a revival of a myth from Ovid’s Metamorphoses and tells the story between the Greco-Roman goddess Diana and the hunter Actaeon. The latter unwittingly stumbled upon the scene of a nude Diana bathing with her escort of nymphs. After Diana, in a fit of fury, splashes water upon Actaeon, he is transformed into a deer, and subsequently flees the scene. However, his own hounds later track him down and kill him as they failed to recognize their master. [4] In this piece, Titian utilizes numerous stylistic elements to invoke a dichotomy between the figure of Diana and the figure of the animalistic form of Actaeon. The most prominent feature that highlights this separation is the interplay of light in the scene. Diana, on the left in this scene, is bathed in a luminous light that seems to glow and emanate from her. However, Actaeon is set in the darker, shadowy portion of this piece. The effect of the light in this piece is bolstered by the environmental elements Titian has included in this scene. For instance, near the figure of Diana, the objects, such as the water near her legs and the bushes near her feet, are painted with a more vivid, brighter color. This greatly contrasts with the dark and dim shadows in the copse of trees near Actaeon. In terms of color, Titian also paints Diana’s side of the painting much more vividly, such as with the vivid blue pigment of the sky behind her and the rich, peach colors of her clothing. Titian ties this dichotomy together using structural elements when he inserts a large, vertical tree in the center of the painting that visually splits the side of Diana and the side of Actaeon. Titian’s pointed distinction in this scene, however, is symbolic of a much larger message. Specifically, the dichotomy between Diana and Actaeon references the divide between the divine and the profane world. By depicting Diana as the side of light and color, Titian is emphasizing her role as a divine female figure. However, by casting Actaeon in the darker shadows, he is reminding viewers that the mortal world Actaeon represents cannot compare to the beauty and light of the divine. Furthermore, by placing Diana in a position of animated motion and with a bow in her hand, he is establishing that not only is she a divine figure, but she is powerful and a divine protector. [1] “Titian”, National Gallery of Art, accessed October 24, 2020, <a href="https://www.nationalgallery.org.uk/artists/titian">https://www.nationalgallery.org.uk/artists/titian</a>. [2] Cecil Gould, “Titian”, Grove Art Online, 2003: 17. [3] Cecil Gould, “Titian”, Grove Art Online, 2003: 18. [4] Ovid. Metamorphoses (New York: Oxford University Press, 2003). Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived <ul> <li>Humfrey, Peter. Titian. London: Phaidon, 2007.</li> <li>Zuffi, Stefano. Titian. Milan: Arnoldo Mondadori Arte, 1991.</li> <li>Gould, Cecil. "Titian." Grove Art Online. 2003; Updated 9 July 2012.</li> <li>https://www.nationalgallery.org.uk/artists/titian</li> <li>National Gallery of Art, "Titian", accessed October 23, 2020, https://www.nationalgallery.org.uk/artists/titian.</li> <li>Ovid. Metamorphoses, translated by A.D. Melville. New York: Oxford University Press, 1983, 2003.</li> <li>Image: Titian, active about 1506; died 1576. about 1559-75. The Death of Actaeon. Place: The National Gallery, London, Bought with a special grant and contributions from The Art Fund, The Pilgrim Trust and through public appeal, 1972. https://library.artstor.org/asset/ANGLIG_10313768533.</li> </ul> Publisher An entity responsible for making the resource available King Phillip II Date A point or period of time associated with an event in the lifecycle of the resource circa 1559-75 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource Photograph: ©The National Gallery, London Format The file format, physical medium, or dimensions of the resource Oil on canvas, 178.8 x 197.8 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, UK https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Paradise/Jacopo_Tintoretto_-_Paradise_-_WGA22637.jpg d817c13dd28de711e8fc1ae1f464cafa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Paradise Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived DiPalma, Jessica. “Jacopo Tintoretto Artworks & Famous Paintings.” The Art Story, July 16, 2019. <a href="https://www.theartstory.org/artist/tintoretto/artworks/">https://www.theartstory.org/artist/tintoretto/artworks/</a>. Nichols, Thomas. "Tintoretto family." Grove Art Online. 2003; Accessed 26 Oct. 2020. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085169. "Paradise By Tintoretto". 2020. Wga.Hu. https://www.wga.hu/html_m/t/tintoret/4a/ Image Source: Jacopo Tintoretto. 1588-1592. Paradise. painting. Place: Museo del Prado, cat. 398.. https://library.artstor.org/asset/LESSING_ART_10310120266. Publisher An entity responsible for making the resource available Signoria of Venice Date A point or period of time associated with an event in the lifecycle of the resource 1588 - 1592 Contributor An entity responsible for making contributions to the resource Rafael Salazar-Paranhos Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 700 x 2200cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice Description An account of the resource The painting Paradise, made by Jacopo and Dominico Tintoretto from 1588-1592, is featured in the Ducal Palace and represents the greatness of Venice during this time period. It is featured across the expanse of the Great Council wall and stands above where the Doge and his counselors would sit in their political meetings. This is one of the largest oil paintings on canvas in the world, at 7 meters by 22 meters, and in fact, there are so many individuals that very little space is unused, making the painting extremely crowded, while at the same time representing the fact that each individual is a part of a greater whole. To start, it features an immense depiction of religious figures such as Christ and the Virgin Mary. While these two are the most prominent figures featured in the center of the painting, there are many others scattered throughout that stand for the beliefs reiterated by Venice. For example, next to Christ is Archangel Michael who is representative of justice, as he holds onto the scales and gives direct approval. Moreover, Archangel Gabriel is known as a messenger and is seen speaking towards Mary, announcing that she will carry the child of God. The painting as a whole shows Tintoretto’s mastery of color and light, as he highlights certain parts more than others and contrasts different bodies very vividly [1]. Tintoretto was given the commission for Paradise after the burning of Doge’s Palace. It was a very coveted commission, that Veronese had earned first, but in the end Tintoretto was given the green light after Veronese had passed away. The painting was so large and laborious, that Tintoretto could not finish it by himself, which is why Dominico, his son, also was a part of the finished product. Due to its size and time of creation, the painting had an audience with open eyes, that analyzed the art very profoundly. Some felt like his depiction was too basic and pictured saints as commoners. On the other hand, others thought the artist used his creativity and artistic style to represent a very holy and heavenly scene with figures floating on clouds. [2] Overall, being that it lies in the Great Council Hall, where policy decisions were made, the painting is extremely significant for representing a Venetian Republic that rules by justice and unification. [3] It was made during a time period of great wealth and prosperity, and therefore it had a great importance for representing the republic in this way. [1] Jessica DiPalma, “Jacopo Tintoretto Artworks & Famous Paintings,” The Art Story. 2019 [2] Thomas Nichols, "Tintoretto family," Grove Art Online (2003) [3]"Paradise By Tintoretto".Wga.Hu. 2020. https://venice.dahvc.org/fall-2020/files/original/Saint_Jerome_in_his_Study/N-1418-00-000032-wpu.jpg c9f2691b3b8091a8fab9f160d71c7200 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 Jerome in his Study Description An account of the resource This painting is painted by Antonello da Messina depicting a scene of Saint Jerome in his study space by offering a scope into the saint’s living space as we are looking into a doll’s house. St. Jerome was born in the fourth century, he is known for establishing a monastery in Bethlehem and translating the Bible from Greek to Latin [1]. Overall, the painting was created with a Venetian aesthetic, but it also incorporates many traits of Netherlandish painting. For example, Saint. Jerome’s study is a Gothic cathedral architecture that was inspired by Netherlandish paintings [2]. Antonello’s skill was at the peak stage when he created this painting. He perfectly adopted the use of oil paint to recreate the textures of various objects, ranging from the shiny ceramic tiles on the floor to the dull texture of the book on the shelf. If the viewer looks carefully into the painting, their focus will be grasped by the book on the table and the hand of St. Jerome by the highlight of the lighting factor. This was done on purpose by Antonello to honor St. Jerome’s status and his contribution to the Catholic Church. Throughout the painting, the viewer can find many symbolic items that are connected with St. Jerome. In the bottom part of the painting, there is a peacock and partridge standing peacefully on the stair. The peacock is symbolizing immortality and the partridge symbolizes the truth. The lion on the right side implies the story when St. Jerome pulled a thorn out of its paw. And the pyxes on the shelf would refer to Mary’s womb. This painting has included a vast amount of details and the adopted special techniques that have made this painting recognized as one of the finest artworks produced by Antonello. [1] “Saint Jerome in his Study” The National Gallery of UK, Accessed on October 24, 2020. https://www.nationalgallery.org.uk/paintings/antonello-da-messina-saint-jerome-in-his-study [2] Jolly, Penny Howell. "Antonello Da Messina's Saint Jerome in His Study: An Iconographic Analysis." The Art Bulletin 65, no. 2 (1983): 238-53. doi:10.2307/3050320. Creator An entity primarily responsible for making the resource Antonello da Messina Source A related resource from which the described resource is derived “Saint Jerome in his Study” The National Gallery of UK. Accessed on October 24, 2020. https://www.nationalgallery.org.uk/paintings/antonello-da-messina-saint-jerome-in-his-study Jolly, Penny Howell. "Antonello Da Messina's Saint Jerome in His Study: An Iconographic Analysis." The Art Bulletin 65, no. 2 (1983): 238-53. doi:10.2307/3050320. Jolly, Penny Howell. "Antonello Da Messina's 'St Jerome in His Study': A Disguised Portrait?" The Burlington Magazine 124, no. 946 (1982): 27-29. http://www.jstor.org/stable/880603. Ridderbos, Bernhard. "Antonello's 'Saint Jerome in His Study'." The Burlington Magazine 124, no. 952 (1982): 449 . http://www.jstor.org/stable/880731. Publisher An entity responsible for making the resource available The National Gallery of UK https://www.nationalgallery.org.uk/paintings/antonello-da-messina-saint-jerome-in-his-study Date A point or period of time associated with an event in the lifecycle of the resource 1475 Contributor An entity responsible for making contributions to the resource Emily Song Format The file format, physical medium, or dimensions of the resource Oil on lime, 45.7 cm x 36.2 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery of UK https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Happy_Union/N-1326-00-000032-wpu.jpg bd0bd91a4bce0b03db87fd542c1b3d6f 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 Happy Union Creator An entity primarily responsible for making the resource Paolo Veronese (1528-1588) Publisher An entity responsible for making the resource available Image Source: Veronese, Paolo. Happy Union. The National Gallery. Accessed October 21, 2020. <a href="https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union">https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union</a> Date A point or period of time associated with an event in the lifecycle of the resource 1575 Contributor An entity responsible for making contributions to the resource Carmel Falek Rights Information about rights held in and over the resource Public Domain. Image Source: Veronese, Paolo. Happy Union. The National Gallery. Accessed October 21, 2020. <a href="https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union">https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union</a> Format The file format, physical medium, or dimensions of the resource Oil on canvas, 187.4 x 186.7 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery, London, United Kingdom Description An account of the resource The painting of the Happy Union was most likely commissioned by a husband and wife to decorate the ceilings of their home. Veronese was chosen to create this painting, making a series called the Four Allegories of Love on the dichotomy between a healthy and unhealthy relationship [1]. Happy Union has an opposite titled Unfaithfulness, depicting a ruined and sad relationship. Veronese, born in Verona to an artistic family, made a name for himself in the Venetian art scene. He learned how to draw through copying the engravings of Albert Durer, and became very famous in Italy during the sixteenth century, painting for many churches and even the Ducal Palace [2]. In Happy Union, Veronese captures the matrimony between a man and a woman. A nude woman unites the couple with a laurel wreath, a symbol of triumph, and an olive branch, a symbol of peace. The woman is assisted by a nude boy, possibly representing the mother-son relationship of Venus and Cupid, who were Roman gods of love, fertility, and marriage. On the right corner there is a dog, which was a representation of fidelity at the time. Veronese heavily utilizes symbolism to highlight the importance of matrimony to the viewer. The dog, laurel wreath, and olive branch all represent key aspects of a healthy and successful marriage. He incorporates architecture into his painting through the nude woman sitting on a sculpted sphere with a building behind her, decorated with detailed columns. Veronese created the painting with a dull and faded color palette, with the colors being very minimal and muted, possibly trying to not be flashy and overpowering. He uses color to depict the garments of the couple and the nude woman, making the lady’s dress pink with gold detail, the man’s clothes green with gold drapery, and the nude woman’s cloth covering her back gold. The color that unifies the three figures is gold, a color of purity and righteousness. He only paints colorful clothes for the couple and the nude woman in order to draw the viewer’s attention to them as they are the key figures of this story. Veronese composes the painting using a diagonal line as the viewer’s eyes read the painting from the top left corner with the nude woman sitting on top of the sphere to the bottom right corner with the child and dog. As Xavier Solomon writes, Happy Union presents the narrative from left to right [3]. He uses this singular line composition to visually depict this story of a happy marriage as the viewers’ eyes progress through the painting. Happy Union was created with the purpose of depicting the beauty and purity of true love. It represents what it means to be in a successful marriage, with the ideals of fidelity, love, virtue, and peace symbolized. Veronese incorporates his perspective on what it means to be in a happy union in this painting, highlighting his ideas on love. [1] “Paolo Veronese: Happy Union: NG1326: National Gallery, London,” The National Gallery, ccessed October 21, 2020, https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union. [2] Francois Crastre and Frederic Taber Cooper, Veronese, (New York: Frederick A. Stokes Company), 17. [3]Xavier F. Salomon, "New Evidence for the Original Arrangement of Paolo Veronese's 'Allegories of Love'," Master Drawings 50, no. 1 (2012): 60. Source A related resource from which the described resource is derived Crastre, Francois, and Frederic Taber Cooper. Veronese. New York, NY: Frederick A. Stokes Company, 1912. Penny, Nicholas. "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae 35, no. 70 (2014): 211-19. “Paolo Veronese.” The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/artists/paolo-veronese. Salomon, Xavier F. "New Evidence for the Original Arrangement of Paolo Veronese's "Allegories of Love"." Master Drawings 50, no. 1 (2012): 59-64. “Paolo Veronese: Happy Union: NG1326: National Gallery, London.” The National Gallery. Accessed October 21, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union. Image Source: Veronese, Paolo. Happy Union. The National Gallery. Accessed October 21, 2020. <a href="https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union">https://www.nationalgallery.org.uk/paintings/paolo-veronese-happy-union</a> https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Bacchanal_of_the_Andrians_[Bacchinal_at_Andros]/ARTSTOR_103_41822000638419.jpg 2b6b1c5f674fb5445dc73fcd53bdc711 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 Bacchanal of the Andrians (Bacchinal at Andros) Subject The topic of the resource Bacchanal of the Andrians by Titian depicts a group of Andrian people drinking from the river of wine on the mythical island of Andros. The painting was commissioned by Alfonso d'Este, the duke of Ferrara at the time, as part of a collection that would be put in his studio. Titian's painting was placed in the same room as Giovanni Bellini's Feast of the Gods, who was Titian's former teacher. Since the two great artists were never on good terms, Titian took the opportunity to upstage his teacher by depicting a similar theme and displaying his superiority in as many ways as possible.[1] Description An account of the resource Titian paints his image with vibrant warm colors and darker cool colors. The one exception to this is the color of the sky in some areas and a woman's dress, which are both a light shade of blue. The painting has a vast amount of contrast across the canvas to create contrast. The work is set in a naturalistic setting with trees, rolling hills, deep blue water, and a river of wine flowing in the fore ground. The first figure that the viewer encounters is a nude woman reclining on the ground with her head tilted back. This woman is partially clothed in a flowing, vibrant white cloth that flows naturally in the traditional Renaissance style. This woman is supposed to personify loneliness and feelings of abandonment as she reclines, separate from the rest of the figures in the painting. The viewers eye will then move to the group of Andrians by the trees posed in various positions and clothed to different degrees. The people in the picture are shown donning clothing colored in deep reds, light blues, glistening orange, white, or wearing no clothing at all. All of the garments that the Andrians are wearing are flowing similarly to the woman that is seen in the fore ground of the work. Most of the men seen standing around the group of women are nude or mostly nude. The baby that stands in the middle of all of the drunken adults stands near the center of the work, urinating into the river of wine. Lying on the ground in front of the women in the large group is a small piece of parchment. This paper is inscribed with a fragment of a music set that was designed to be sung by a group of people starting at different times.[2] This gives us an insight on Renaissance drinking songs from the time period. The background that Titian created is complex, containing some of the most meaningful pieces of the work. On a hill in the background is a man with a snow white beard who seems to be lying on the hill surrounded by reeds, too drunk to be with the rest of the Andrians. The man is in fact a personification of the river of wine.[3] The ocean that spans to the left with a boat on top of it sailing over the horizon. The sky is a mix of gray, dark blue, light blue, white and black, almost like there is a storm waiting to happen. This represents the dark future that the Andrians are moving towards. Titian painted this piece with the figures in a drunken stupor so that they can celebrate drunkeness and human desire. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Bertos, Rigas N. "A Short Note on the "Bacchanal of the Andrians"." Mitteilungen Des Kunsthistorischen Institutes in Florenz 20, no. 3 (1976): 407-10. Accessed October 21, 2020. http://www.jstor.org/stable/27652414. Bertos, Rigas N. "Some Remarks on TITIAN and BELLINI at Ferrara." RACAR: Revue D'art Canadienne / Canadian Art Review 2, no. 2 (1975): 49-54. Accessed October 21, 2020. http://www.jstor.org/stable/42630093. Smith, Gertrude P. "The Canon in Titian's Bacchanal." Renaissance News 6, no. 3/4 (1953): 52-56. Accessed October 21, 2020. doi:10.2307/2857210. Titian, ca. 1488-1576. 1518-9. Bacchanal at Andros. Place: Museo del Prado. https://library.artstor.org/asset/ARTSTOR_103_41822000638443. Publisher An entity responsible for making the resource available Alfonso d'Este Date A point or period of time associated with an event in the lifecycle of the resource 1518-1519 Contributor An entity responsible for making contributions to the resource Darien Sansosti 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 193 x 175cm Type The nature or genre of the resource Oil painting on cavas 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/October_14_Prado_Museum_[Visual_Analysis]/Venus_and_Adonis/Venus_and_Adonis.jpg 79b950101a8714cc4c6df9dae4751314 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 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 1554 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Copyright ©Museo Nacional del Prado The granted permission for the images rights of the artworks belonged to the Image Bank of the Museo del Prado is destined to be used in projects based on the study of History of Art. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 186 cm x 207 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 Prado Museum, Madrid, Spain Description An account of the resource The scene of Venus and Adonis comes from the literary work The Metamorphosis by Ovid. After being mistakenly hit by an arrow from Cupid, Venus, the goddess of love, became the lover of the mortal young hunter Adonis. Venus had a foreboding that Adonis would be in danger while hunting, and tried to prevent him from going to the hunt one day. But Adonis, who didn't believe it, stubbornly hunted alone and was attacked by irritated wild boars that Adonis failed to kill. Venus heard his cry in the sky above her chariot, but could not save him. When she descended to the woods to find him, Adonis was already dead. The paradoxical structure of this myth depicts the ambiguous boundaries between divinity and mankind, as expressed in Titian's art. [1] Titian chose a moment full of love and loss in the middle of the entire plot, in which the goddess Venus’ futile efforts were too feeble to save him. Titian skillfully constructed a scene that contains all the key components of the narrative. There's the sign of a very powerful beam of white light in the background scenery that presumably points to the location where Adonis dies, describing the future. [1] The light over the head of Adonis represents Venus falling down from the heavens to return to his wounded mortal lover. Titian was very strong at creating portraits, especially as many of his artistic commissioners for his portraits came from among aristocrats and most entitled rulers in foreign countries. He was good at creating subtle eye expressions that communicate certain sensations with the audience. The exquisite drawing skills are also reflected in the intimate eye contact of the two figures in this painting. Venus's eyes and eyebrows, looking up, convey a mixed emotion of pleading, fear, and helplessness, meeting the tender gaze in Adonis' reaction. The limbs of the two characters stretch out exaggeratedly. Venus’ calves, the tilt of his waist, and Adonis’ upwardly raising and naturally pendent arms form a nearly clockwise cycle, which is imaginable for the audience to feel their movement for the very next second. Venus was shown to be off-balanced in both literal and metaphorical ways. This unbalanced, off-centered posture, like a moment in a comedy or ballet, arouses the audience's emotions and attention more powerfully. In terms of color, the scheme becomes quieter and contains less contrast, but the compensation is injected by the stronger energy produced by the light in this painting.[2] It was part of a collection of mythical works commissioned by King Philip II of Spain entitled poesie(poems). Venus and Adonis were designed to be seen alongside Danaë, the first of the poems that are now lost. This Venus and Adonis marked the start of Philip's preeminent relationship that allowed him almost absolute freedom to paint a variety of images of what-ever topic he desired for the next few years for the emperor. In a letter to Philip, Titian clarified that the two works would provide opposing front and hind views of a nude Venus, thereby enabling painting to compete with the form of sculpture. [3] [1] Aneta Georgievska-Shine . "Titian and the Paradoxes of Love and Art in "Venus and Adonis"." Artibus Et Historiae 33, no. 65 (2012): 97-99 [2] “Venus and Adonis - The Collection - Museo Nacional Del Prado.” Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/venus-and-adonis/bc9c1e08-2dd7-44d5-b926-71cd3e5c3adb. [3] Nicholas Penny, National Gallery Catalogues (new series): The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, (National Gallery Publications Ltd 2008), 203, 284 Source A related resource from which the described resource is derived Georgievska-Shine, Aneta. ‘Titian and the Paradoxes of Love and Art in “Venus and Adonis”.’ Artibus Et Historiae 33, No. 65 (2012): 97-113. Accessed October 20, 2020. Http://Www.Jstor.Org/Stable/23509713. Museo Nacional Del Prado, “Venus and Adonis - The Collection - Museo Nacional Del Prado.” Accessed October 21, 2020. Https://Www.Museodelprado.Es/En/the-Collection/Art-Work/Venus-and-Adonis/Bc9c1e08-2dd7-44d5-B926-71cd3e5c3adb. Penny, Nicholas, National Gallery Catalogues (New Series): The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, 2008, National Gallery Publications Ltd, ISBN 1857099133, Image Source: Museo Nacional Del Prado, “Venus and Adonis - The Collection - Museo Nacional Del Prado.” Accessed October 21, 2020. Https://Www.Museodelprado.Es/En/the-Collection/Art-Work/Venus-and-Adonis/Bc9c1e08-2dd7-44d5-B926-71cd3e5c3adb.,” Publisher An entity responsible for making the resource available Commissioned by King Philip II of Spain “Venus and Adonis - The Collection - Museo Nacional Del Prado.” Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/venus-and-adonis/bc9c1e08-2dd7-44d5-b926-71cd3e5c3adb. https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Saint_Margaret_and_the_Dragon/LESSING_ART_10310120561.jpg 0cfee459e881957fa609af4eafbe916c 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 <a href="https://library.artstor.org/#/asset/LESSING_ART_10310120561">Saint Margaret and the Dragon</a> Description An account of the resource Titian created Saint Margaret and the Dragon in ca. 1565 and it is currently in the Museo del Prado in Madrid, Spain. Philip II owned two paintings of this saint: one remains of the Escorial, which came in 1574, and the version in the Museo del Prado has better quality and most likely belonged to Mary of Hungary [1]. Saint Margaret and the Dragon is one of Titian's later masterpieces as he has adapted to the religious-themed Renaissance. Saint Margaret appears in the center of the painting with her left leg in front of the other. It appears as if she is floating in the middle of the painting as well. Titian's painting reminds me of the portrait effect on an iPhone camera because Saint Margaret is clearly present in the center of the artwork and the background around her is blurry. Margaret is wearing an olive green dress over a white shirt with a pinkish scarf around her neck. She is looking down at her right, holding out a cross with her left hand, protecting herself from the black dragon that appears on the right side of the painting. Margaret is a conjurer of beasts because the dragon vaporizes as the cross appears, causing the dragon to explode. The original story portrays that Margaret has been swallowed by the devil, which is in the shape of a dragon, but after she makes the sign of the cross, the creature explodes into many pieces, freeing her and not harming her [2]. Despite the Council of Trent's ban on the representation of such unhistorical events, Titian placed pictorial tradition over ecclesiastical admonitions. There was more of a sense of context because she is inhabiting the wilderness and the visual background is a reference to Venice prior, a city like St. Christopher. The background of this painting presents a burning city, ultimately Venice burning up. When you zoom in on this painting, you see the fires across the skyline with various buildings and boats in the water. This landscape provides an illusionistic interplay with Venice's view burning in the background and the moon shining over the lagoon. Titian used fire frequently in his paintings even if the fire was not literally described in the painting, such as an explosive force [3]. This painting provides both the fire in the background, depicting Venice prior, and the story of Saint Margaret has the devil explode into several pieces due to the cross she was holding. The distinct blue sky is somewhat present in the background but mostly covered by the smoke from the city below. You also can view the rocky cave on the right side of the painting that holds the dragon and a skull in the lower-left corner. [1] “Saint Margaret - The Collection.” The Collection - Museo Nacional del Prado, 2015. <a href="https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.">https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.</a> [2] Kordecki, Lesley. "Margaret and the Dragon: Lydgate's Adoption of the Apocryphal." Preternature: Critical and Historical Studies on the Preternatural 9, no. 1 (2020): 53-75. [3] Hills, Paul. "Titian's Fire: Pyrotechnics and Representations in Sixteenth-Century Venice." Oxford Art Journal 30, no. 2 (2007): 187-204. (187) Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Hills, Paul. "Titian's Fire: Pyrotechnics and Representations in Sixteenth-Century Venice." Oxford Art Journal 30, no. 2 (2007) Kordecki, Lesley. "Margaret and the Dragon: Lydgate's Adoption of the Apocryphal." Preternature: Critical and Historical Studies on the Preternatural 9, no. 1 (2020) “Saint Margaret - The Collection.” The Collection - Museo Nacional del Prado, 2015. <a href="https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.">https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.</a> Image Rights: Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. <a href="https://library.artstor.org/#/asset/LESSING_ART_10310120561">https://library.artstor.org/asset/LESSING_ART_10310120561.</a> Publisher An entity responsible for making the resource available Royal Collection (Royal Palace of El Buen Retiro, Madrid, "pinturas recogidas de las Casas Arzobispales", 1747, no. 59; New Royal Palace, Madrid, "paso de tribuna y trascuartos", 1772, no. 59; Royal Palace, Madrid, "pieza azul", 1814-1818?). Image Rights: Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. <a href="https://library.artstor.org/asset/LESSING_ART_10310120561.">https://library.artstor.org/asset/LESSING_ART_10310120561.</a> Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1565 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y. Image Rights: Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. <a href="https://library.artstor.org/asset/LESSING_ART_10310120561.">https://library.artstor.org/asset/LESSING_ART_10310120561.</a> Format The file format, physical medium, or dimensions of the resource Oil on canvas; 209 x 183 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/October_14_Prado_Museum_[Visual_Analysis]/Christ_Carrying_the_Cross/AWSS35953_35953_31697326.jpg 16b571a4c1578d660507f889f64535ef 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 Christ Carrying the Cross Description An account of the resource Titian’s Christ Carrying the Cross was not a one off subject matter or commission. Several decades prior Titian had created a version of Christ Carrying the Cross depicting Christ tied at the neck by the rope of an executioner [1]. This work was placed in the Scuola di San Rocco, and served as a template for his later version [1]. The mid 17th century rendition of the work, of which this item is the focus, was commissioned by Francesco Zuccato. He was an important Venetian mosaicist and a family-friend of Titian [2]. Zuccato’s father was Titian’s first teacher when he had moved to Venice at a young age [2]. The commission is denoted by Zuccato's physical traits appearing in the rendering of Simon within the painting. The image retains a fairly concise and concentrated narrative. The oil on canvas is dominated by two central figures, one of which is Christ and the other is Simon the Cyrene. Simon was enlisted to help Christ carry his cross, as he was failing to do so in a timely manner because of physical exhaustion. Simon has his head rested on one of the wooden beams of the cross, his face darkened but looking intently towards Christ’s bleeding face below. Their positions in carrying the cross practically overlap their bodies, establishing a connection between the two. Christ has tears dripping down his face, blood in the whites of his eyes, and a rope tied around his neck (but only partially visible). These elements emotively illustrate the amount of pain and suffering Christ is experiencing as he marches closer to this death. Furthermore, the painting is filled with different (and progressively darker) shades of brown to demonstrate a gloomy mood [3]. Instead of looking forward, Christ appears to be gazing at the viewer of the painting, a mechanism for instilling relatability and transporting the viewer to the scene. The painting is complete by its uncommon use of framing [3]. Only a fragment of the cross is visible, more than half of Christ's body remains outside of the image, and Simon’s head does not fit fully into the frame. These elements function as a device to heighten the perspective of the viewer and draw them into the scene rather than treating them as outliers or observing from a distance. [1] Tom Nichols, Essay, In Titian and the End of the Venetian Renaissance, (London, NC: Reaktion Books, 2013), 61-62. [2] “Christ Carrying the Cross,” The Collection - Museo Nacional del Prado, Museo Nacional del Prado, accessed October 21, 2020, https://www.museodelprado.es/en/the-collection/art-work/christ-carrying-the-cross/657fa964-0040-48df-971e-88f0de5c6714. [3] “Christ Carrying the Cross, 1508 by Titian,” Titian. Titian.org, 2011, https://www.titian.org/christ-carrying-the-cross.jsp. Creator An entity primarily responsible for making the resource Titian (Tiziano Vecellio) Source A related resource from which the described resource is derived “Christ Carrying the Cross.” The Collection - Museo Nacional del Prado. Museo Nacional del Prado. Accessed October 21, 2020. https://www.museodelprado.es/en/the-collection/art-work/christ-carrying-the-cross/657fa964-0040-48df-971e-88f0de5c6714. “Christ Carrying the Cross, 1508 by Titian.” Titian. Titian.org, 2011. https://www.titian.org/christ-carrying-the-cross.jsp. Nichols, Tom. Essay. In Titian and the End of the Venetian Renaissance, 61–62. London, NC: Reaktion Books, 2013. Image Source: “Canvas.” Artstor. ITHAKA. Accessed October 21, 2020. https://library.artstor.org/asset/AWSS35953_35953_31697326. Publisher An entity responsible for making the resource available Comissioned by Francesco Zuccato. Archive for Research on Archetypal Symbolism Image Source: “Canvas.” Artstor. ITHAKA. Accessed October 21, 2020. https://library.artstor.org/asset/AWSS35953_35953_31697326. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1565 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource Contact information: Allison Tuzo, Online Editor, ARAS, 28 East 39th Street, New York NY 10016; Tel No: 646-536-2632; Fax No: 212-682-2024; email: info@aras.org Image Source: “Canvas.” Artstor. ITHAKA. Accessed October 21, 2020. https://library.artstor.org/asset/AWSS35953_35953_31697326. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 67.0 x 77.0 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 del Prado, Madrid, Spain