8 10 177 https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Last_Supper/Last_Supper.jpg 5b9c2dda197d18a451128118cb1b1186 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 <a href="https://library.artstor.org/#/asset/24600752">The Last Supper</a> Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource 365 cm × 568 cm oil on canvas Type The nature or genre of the resource painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Basilica di San Giorgio Maggiore, Venice 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 1592-94 Description An account of the resource The Last Supper is an oil on canvas painting Jacopo Tintoretto painted. This Italian Renaissance artist painted this between the years 1592-1594. The scene portrays a frontal view with multiple people sitting parallel from each other. The painting currently resides at the Basilica di San Giorgio Maggiore, Venice inside of the sanctuary on the right wall. The dimensions of this painting are 365 cm x 568 cm. Tintoretto created The Last Supper during the last stages of his career but is also considered one of his prime work of art. In the Last Supper, a lot of secondary characters occupy the center of the painting. The painting is very dim around the edges but close to the middle of the painting is self-illumination lighting this area up. The area that is lit shows off Christ, while some other characters have a small illumination around them. Near the ceiling, you can see angel-like figures flying around. Across the room are very dramatic characters doing different tasks. The room this is taking place in looks very tight but extremely decorative with the multiple patterns o the floor and wall designs. To the far right of this painting, you see a big table of food that’s being served by a woman and a man. Underneath the man is a lady on her knees washing the dirty dishes. Picturing myself in the room I can hear this scene being very loud and rejoiceful. The supernatural elements into the presentation of this piece ultimately pull it together. Source A related resource from which the described resource is derived Pallucchini, Rodolfo. Tintoretto. 27 May 2020, <a href="www.britannica.com/biography/Tintoretto">www.britannica.com/biography/Tintoretto</a>. Zirpolo, Lilian H. “Last Supper, San Giorgio Maggiore, Venice.” Academic Dictionaries and Encyclopedias, <a href="renaissance_art.enacademic.com/374/Last_Supper,_San_Giorgio_Maggiore,_Venice">renaissance_art.enacademic.com/374/Last_Supper,_San_Giorgio_Maggiore,_Venice</a>. Workshop of Jacopo Tintoretto (Italian, 1518-1594). 1580s. Baptism of Christ. Painting. Place: <a href="http://www.clevelandart.org/">The Cleveland Museum of Art</a>, Cleveland, Ohio, USA, Collection: <a href="https://library.artstor.org/asset/24600752">https://library.artstor.org/asset/24600752</a>. Rights Information about rights held in and over the resource Pallucchini, Rodolfo. Tintoretto. 27 May 2020, www.britannica.com/biography/Tintoretto. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Venice_Receiving_Homage_from_Hercules_and_Ceres/Venice_Receiving_Homage_from_Ceres_and_Hercules.jpg a65216a2ad9364ad66f74efd91f8a61f 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 Venice Receiving Homage from Hercules and Ceres Description An account of the resource In this painting, we see a multitude of figures, some of which are in the nude whereas others are defined by idealized drapery. Immediately, the first aspect noticed is the shape of the canvas: a rectangular center with 4 semicircular lobes extending from the main canvas, almost like a puzzle piece surrounded in a quatrefoil. This shape plays an important part in the function and the interpretation of the piece, which will be discussed later. Following the shape, the next aspects drawing attention are the features of the female figure of Venice, Hercules (left), and Ceres (right), as well their spatial relationship with each other. Drawn to the bright color of her clothing, in addition to the diagonal lines created by the bodies of Hercules and Ceres, the viewer’s eyes are first drawn to Lady Venice--identified by the lion of St. Mark at her feet. Bright colors of pink and gold illuminate her lower half, while her upper body recedes into the shade, giving the piece a sense of depth. This sense of depth is strengthened by the contrast in lighting in the scene: the foreground is illuminated by what appears to be sunlight whereas the background is much darker yet still contains bright hues of blue. In addition to her meticulous drapery, Lady Venice wears a pearl necklace in front of an open blue sky, a characteristic of classical Greco-Roman traditions that Veronese appropriates in his artwork [1]. Beneath her, the muscular Hercules bows his head, almost subserviently; meanwhile, the goddess of fertility, Ceres, looks up to Lady Venice in awe--thus creating a triangular shape, with Venice at its peak. This sense of geometry is repeated once again in the shape of the canvas. Within each semicircular lobe lies a body part of each figure: Hercules has his arm holding a club in the left lobe, Ceres has her arm extended in the right lobe, a child (presumably a child of Ceres) stands with its legs in the bottom lobe, and the head of Lady Venus lies in the upper lobe. Not only does this create another shape, a diamond, where Venice is at the upper peak but it also creates a sense of unity within the image--almost as if a body has been made from the individual parts of the figures. Through this, Veronese makes a statement: with the strength of Hercules (muscular arm), the eloquence of Ceres (arm), the wisdom and leadership of Venice (head), and the fertility associated with Ceres (baby legs), the myth of Venice is very much a reality. This geometric aspect is one that Veronese focused on, as seen in other pieces of his such as The Conversion of Mary Magdalene [2]. This painting was originally created for the ceiling of the Magistrato delle Biade in the Doge’s Palace, the administrative center in charge of the storage and sale of grain. Thus, the subject matter becomes even more relevant, and more importantly, specific. The lobes would allow for interconnectivity with other art pieces in the ceiling, allowing an overall fluid composition. Most likely commissioned by patricians associated with this office, Paolo Veronese brings in classical traditions for his work, likely influenced by the translated works of Greek philosophers Plutarch and Xenophon (available to Veronese by humanist Marcantonio Gandino) [3]. Thus, Veronese strengthens the myth of Venice while also connecting the art piece to the function of the room in which it was meant to be displayed. [1] 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 September 29, 2020, ProQuest Ebook Central. [2] Nicholas Penny, 2014, "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae (70): 211-219,249-251. <a href="https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1646984251?accountid=10598">https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1646984251?accountid=10598</a>. [3] John Garton, “Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus,” Renaissance Quarterly 65, no. 3 (Fall 2012): 753–808, doi:10.1086/668301. Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived I. Journal article 1: Penny, Nicholas. 2014. "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae (70): 211-219,249-251. <a href="https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1646984251?accountid=10598">https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/docview/1646984251?accountid=10598</a>. <ul> <li>Used to see what formal characteristics are baseline for Veronese artworks</li> </ul> II. Journal article 2: Garton, John. “Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus.” Renaissance Quarterly 65, no. 3 (Fall 2012): 753–808. doi:10.1086/668301. <ul> <li>Used to see influences on Veronese’s artworks</li> </ul> III. 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 September 29, 2020. ProQuest Ebook Central. <ul> <li>Used to explore Veronese’s development as an artist, specifically what characteristics he adapted from classical studies</li> </ul> IV. Image citation: GALLERIE DELL'ACCADEMIA DI VENEZIA. Venice Receiving Homage from Hercules and Ceres. 2020. Gallerie Accademia, Venezia. http://www.gallerieaccademia.it/en/venice-receiving-homage-hercules-and-ceres. V. Museum: “Venice Receiving Homage from Hercules and Ceres.” Gallerie dell'Accademia di Venezia, 2020. <a href="http://www.gallerieaccademia.it/en/venice-receiving-homage-hercules-and-ceres">http://www.gallerieaccademia.it/en/venice-receiving-homage-hercules-and-ceres</a>. VI. Extra: Savage, David. “Veronese.” Cavallini to Veronese - Italian Renaissance Art, 2012. https://www.cavallinitoveronese.co.uk/general/view_artist/81. Publisher An entity responsible for making the resource available Commissioned by high authorities for the Magistrato delle Biade in the Doge’s Palace (responsible for storage and sale of grain). Image Source: GALLERIE DELL'ACCADEMIA DI VENEZIA. Venice Receiving Homage from Hercules and Ceres. 2020. Gallerie Accademia, Venezia. http://www.gallerieaccademia.it/en/venice-receiving-homage-hercules-and-ceres. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1575 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource © 2020 GALLERIE DELL'ACCADEMIA DI VENEZIA, OFFICIAL SITE, ALL RIGHTS RESERVED Format The file format, physical medium, or dimensions of the resource Canvas, 308x327cm 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 Accademia, Venezia https://venice.dahvc.org/fall-2020/files/original/The_Tempest/AHSC_ORPHANS_1071313534.jpg a5948c94158ace18aa3fcb807dff2dba 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 was an important work in Renaissance landscape painting, and one of the 5 surviving works by Giorgione. The painting depicts a storm moving towards two main figures, with a child in the arms of the woman. The male figure looks at the woman, who gazes straight-on to the viewer. The colors of the painting are vivid, but not vibrant, creating the sense that the storm is about to overtake the figures. The woman is nude, but has a white blanket draped over her shoulders and a couple of branches that shade but do not cover her legs. While the woman and her child appear nude, the man is dressed nicely with a lance, causing many historians to make guesses that he is some sort of soldier or knight. The plane where the family is placed is the brightest area, while the background becomes progressively darker, giving the appearance of the storm being behind them while they remain in the sun but it remains quickly approaching. The family seems to be in a beautiful and lush area, with a river surrounded by trees. There are many different interpretations of this work, and historians have not agreed on any single one. Some believe the two people are Adam and Eve, with the lush green around them being the garden and the approaching storm being their eventual demise. Many other biblical stories have also been proposed as potential scenes. Others belive that the painting is a version of the German story Golden Legend, and still others argue that there is no evidence to prove that Giorgione may have just painted a gypsy couple without a deeper meaning, which would have been very unorthodox for the time. Creator An entity primarily responsible for making the resource Giorgione Source A related resource from which the described resource is derived Bosch, Lynette M. F. "GIORGIONE'S "TEMPEST" REVISITED." Source: Notes in the History of Art 10, no. 2 (1991): 7-15. Accessed September 30, 2020. http://www.jstor.org/stable/23202635. Kilpatrick, Ross S. "Hagar and the Angel in Giorgione's "Tempest"." Artibus Et Historiae 18, no. 36 (1997): 81-86. Accessed September 30, 2020. doi:10.2307/1483600. Wethey, Harold E. “Giorgione” April 18, 2019. https://www.britannica.com/biography/Giorgione. Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. <div> <div class="gtx-trans-icon"></div> </div> Publisher An entity responsible for making the resource available Commissioner: Gabriele Vendramin Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. <div> <div class="gtx-trans-icon"></div> </div> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1510 Contributor An entity responsible for making contributions to the resource Julia Curd Rights Information about rights held in and over the resource Data From: Art Images for College Teaching Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource 31 x 29 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 Galleria dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/AHSC_ORPHANS_1071313534.jpg a5948c94158ace18aa3fcb807dff2dba 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 was an important work in Renaissance landscape painting, and one of the 5 surviving works by Giorgione. The painting depicts a storm moving towards two main figures, with a child in the arms of the woman. The male figure looks at the woman, who gazes straight-on to the viewer. The colors of the painting are vivid, but not vibrant, creating the sense that the storm is about to overtake the figures. The woman is nude, but has a white blanket draped over her shoulders and a couple of branches that shade but do not cover her legs. While the woman and her child appear nude, the man is dressed nicely with a lance, causing many historians to make guesses that he is some sort of soldier or knight. The plane where the family is placed is the brightest area, while the background becomes progressively darker, giving the appearance of the storm being behind them while they remain in the sun but it remains quickly approaching. The family seems to be in a beautiful and lush area, with a river surrounded by trees. There are many different interpretations of this work, and historians have not agreed on any single one. Some believe the two people are Adam and Eve, with the lush green around them being the garden and the approaching storm being their eventual demise. Many other biblical stories have also been proposed as potential scenes. Others belive that the painting is a version of the German story Golden Legend, and still others argue that there is no evidence to prove that Giorgione may have just painted a gypsy couple without a deeper meaning, which would have been very unorthodox for the time. Creator An entity primarily responsible for making the resource Giorgione Source A related resource from which the described resource is derived Bosch, Lynette M. F. "GIORGIONE'S "TEMPEST" REVISITED." Source: Notes in the History of Art 10, no. 2 (1991): 7-15. Accessed September 30, 2020. http://www.jstor.org/stable/23202635. Kilpatrick, Ross S. "Hagar and the Angel in Giorgione's "Tempest"." Artibus Et Historiae 18, no. 36 (1997): 81-86. Accessed September 30, 2020. doi:10.2307/1483600. Wethey, Harold E. “Giorgione” April 18, 2019. https://www.britannica.com/biography/Giorgione. Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. <div> <div class="gtx-trans-icon"></div> </div> Publisher An entity responsible for making the resource available Commissioner: Gabriele Vendramin Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. <div> <div class="gtx-trans-icon"></div> </div> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1510 Contributor An entity responsible for making contributions to the resource Julia Curd Rights Information about rights held in and over the resource Data From: Art Images for College Teaching Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource 31 x 29 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 Galleria dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Feast_in_the_House_of_Levi/Feast_in_the_House_of_Levi_image.jpg b1630324eaef6391f8b91ef39a3e7162 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 Feast in the House of Levi Description An account of the resource Feast in the House of Levi was a replacement for the painting of an earlier work by Titian destroyed by the fire in 1571. [1] Originally Caliari had this painting name Lord's Last Supper and intended to be a monumental artwork for a religious commitment. However, he was forced to rename this painting to Feast in the House of Levi due to the investigation from Roman Catholic Inquisitions that they feel it is not appropriate to include dwarfs, drunken Germans, and such aristocratic cloth in a holy painting. [2] He was originally ordered to change the painting's details, but he changes the name instead. This painting was one of the most controversial Paolo Caliari's painting. When the viewer first looks at this artwork, the massive three arches draw most of the attention. Those arches give us a scope of the magnificent buildings of Venice cityscape. Those arches were probably inspired by the Italian buildings of that time. [3] The details he emphasizes above the arches are incredible. The sunlight bounces off the golden engravings gives a vivid texture feel. When viewer shifts their attention to the center of the painting, they will see Jesus in the middle of the table with subtle light coming from his shimmering Biblical robe that contrasts with the background as a way to present his holy figure. The painter was trying to convey a sense of the dynamic in this painter through each character's animation. Every living creature in this art is in the middle of some actions, from talking to eating to walking around, allowing the viewer to feel the liveliness in this painting. [1] Krén, Emil, and Daniel Marx. “Feast in the House of Levi” n.d. Accessed September 30, 2020.https://www.wga.hu/html_m/v/veronese/06/8levi.html [2] Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online. 2003; Accessed 30 Sep. 2020. https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. [3] Ginnybergs. “What’s in a Painting? Taking a Closer Look at Paolo Veronese’s Masterpiece: Feast in the House of Levi (c. 1573),” 2017. May 22. Accessed September 30, 2020. https://rhapsodyinwords.com/2017/05/22/whats-in-a-painting-taking-a-closer-look-at-paolo-veroneses-masterpiece-feast-in-the-house-of-levi-c-1573/. Creator An entity primarily responsible for making the resource Paolo Caliari Source A related resource from which the described resource is derived Krén, Emil , and Daniel Marx. “Feast in the House of Levi” n.d. Accessed September 30, 2020. https://www.wga.hu/html_m/v/veronese/06/8levi.html. Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online. 2003; https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. MacFall, Haldane. Feast in the House of Levi, 1911. http://www.law.harvard.edu/faculty/martin/art_law/feast_in_the_house_of_levi.htm. Paolo Veronese. 1571-73. GINNYBURGES. “What’s in a Painting? Taking a Closer Look at Paolo Veronese’s Masterpiece: Feast in the House of Levi (c. 1573),” 2017. May 22. Accessed September 30, 2020. https://rhapsodyinwords.com/2017/05/22/whats-in-a-painting-taking-a-closer-look-at-paolo-veroneses-masterpiece-feast-in-the-house-of-levi-c-1573/. EN. of Art Education “The Feast in the House of Levi (1573).” Feast in the House of Levi, Paolo Veronese: Analysis. Accessed September 30, 2020. http://www.visual-arts-cork.com/famous-paintings/feast-in-the-house-of-levi.htm. Publisher An entity responsible for making the resource available © Web Gallery of Art Krén, Emil , and Daniel Marx. “Feast in the House of Levi”n.d. Accessed September 30, 2020. https://www.wga.hu/html_m/v/veronese/06/8levi.html. Date A point or period of time associated with an event in the lifecycle of the resource 1528-1588 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 canvas, 555 x 1280 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Feast_in_the_House_of_Levi/SCALA_ARCHIVES_1031314658.jpg aad48f70cc315741065ae87065540948 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 Feast in the House of Levi Creator An entity primarily responsible for making the resource Paolo Veronese Date A point or period of time associated with an event in the lifecycle of the resource 1573 Contributor An entity responsible for making contributions to the resource Jared Kreis Format The file format, physical medium, or dimensions of the resource Oil on canvas, 560 x 1309 cm Type The nature or genre of the resource Painting Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. http://www.artres.com/c/htm/Home.aspx http://www.scalarchives.com Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. 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 di Venezia (Venice, Italy) Description An account of the resource Paolo Veronese was a renaissance painter known primarily for his paintings relating to religion and mythology. His personality itself was very mysterious and little was known about him, due to few documentations of letters and personal life. [1] Nonetheless, he created many beautiful works of art. Perhaps his most unique is the The Feast in the House of Levi. This painting contains many aspects of typical feast paintings. It has a large, crowded banquet table with many guests, colors of numerous shades, which both highlight the indulgent nature of the figures during the feast. Furthermore, the painting incorporates typical architecture with the display of the white arches as well as a few Venetian buildings in the background of the paintings. Addtionally, Jesus Christ is a center focal point, which further demonstrates the importance of religion. He is shown surrounded by his saints, which demonstrates the social gathering that the feast provided. Another interesting aspect of this painting is the title itself. Scholars believed that this was more of a feast, rather than your typical Last Supper painting. Veronese inscribed the balustrade of the painting with the rubric "Fecit D. Covi Magnum Levi/Luca Cap. V." The text - "And Levi made him a great feast in his own house" - provided a title, The Feast in the House of Levi. [2] This ties in with the visual analysis because due to the contents of the painting, Veronese had to appear in court. The main concern of the court was the inclusion of fools, dwarfs and German soldiers, who had nothing to do with the biblical story of the Last Supper. [3] Court justices were worried that heretics could use this painting as fuel for their battle against the Holy Roman empire. [1] (Book) Garton, John. "Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus." Renaissance Quarterly 65, no. 3 (2012): 753-808. Accessed September 30, 2020. doi:10.1086/668301. [2] D'ARGAVILLE, BRIAN T. "Inquisition and Metamorphosis: Paolo Veronese and the "Ultima Cena" of 1573." RACAR: Revue D'art Canadienne / Canadian Art Review 16, no. 1 (1989): 43-99. Accessed September 30, 2020. http://www.jstor.org/stable/42630415. [3] Grasman, Edward. "On Closer Inspection - The Interrogation of Paolo Veronese." Artibus Et Historiae 30, no. 59 (2009): 125-34. Accessed September 30, 2020. http://www.jstor.org/stable/40343668. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Portrait_of_Caterina_Cornaro_as_Saint_Catherine_of_Alexandria/Portrait_of_Caterina_Coronaro_1542_uffizi_florence_Titian.jpg 0aa3f839a53697e3d9579293390e3da5 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 Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Caterina Cornaro as Saint Catherine of Alexandria Subject The topic of the resource Caterina Cornaro, Queen of Cyprus Creator An entity primarily responsible for making the resource Titian (Workshop) Source A related resource from which the described resource is derived <ul> <li>Agostino, Grazia et. al. Tiziano nelle Gallerie fiorentine. Florence: Centro Di, 1978. </li> <li>Ciatti, Marco and Magnolia Scudieri, ed. Firenze: Arte del Rinascimento e restauro. Tokyo: NHK Enterprises, 1991.</li> <li>Hurlburt, Holly. Daughter of Venice: Caterina Cornaro, Queen of Cyprus and Woman of the Renaissance. New Haven: Yale University Press, 2015.</li> </ul> Image Source: Le Gallerie degli Uffizi, Florence, Italy http://www.polomuseale.firenze.it/inv1890/scheda.asp?position=1&ninv=909&suffisso= Publisher An entity responsible for making the resource available Le Gallerie degli Uffizi, Florence, Italy Date A point or period of time associated with an event in the lifecycle of the resource c. late 16th C. Contributor An entity responsible for making contributions to the resource Dana Hogan Format The file format, physical medium, or dimensions of the resource Oil on canvas, 102.5 x 72.0 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 Le Gallerie degli Uffizi, Florence, Italy Description An account of the resource Standing tall and regal in a three-quarter pose, Caterina gazes sideways at the viewer with composure, her lips pursed and hands clasped together in front of her. Her lavishly-robed figure fills the frame, positioned against a sober black background and three-quarter view typical of state portraits of the time. The fabrics of her costume include shining satins and silks embroidered with gold, dotted with lines of pearls that echo the larger pearls in her crown and headdress. This costume communicates not only her wealth, power, and nobility, but also her access to luxury goods beyond those produced in Venice. Her crown and headdress are not Italianate, but rather allude to her dual identity as Venetian by birth and Queen of Cyprus by marriage. The wooden wheel behind her with iron spikes is symbolic of Saint Catherine of Alexandria, a princess and a scholar who was martyred by the spiked wheel. The association with this saint communicates Caterina’s knowledge, queenly standing, and Christian virtue (compare to <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/25">Cameria as Saint Catherine</a>). https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Self-portrait_of_Marietta_Robusti/Autoritratto_dela_tintoretta_alla_spinetta.jpg b6d0e34ca884f08d59163f0820fb1de1 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 Dana's Collection 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 Self-portrait of Marietta Robusti Subject The topic of the resource Marietta Robusti, daughter of Tintoretto, at the spinet Creator An entity primarily responsible for making the resource Marietta Robusti Source A related resource from which the described resource is derived <ul> <li>Cole, Michael W. Sofonisba’s Lesson: A Renaissance Artist and Her Work. Princeton: Princeton University Press, 2019.</li> <li>Cowen, Tyler. “Why Women Succeed, and Fail, in the Arts.” Journal of Cultural Economics 20, no. 2 (1996): 93-113.</li> <li>Woods-Marsden, Joanna. Renaissance Self-Portraiture: The Visual Construction of Identity and the Social Status of the Artist. New Haven: Yale University Press, 1998.</li> </ul> Image Source: Le Gallerie degli Uffizi Publisher An entity responsible for making the resource available Le Gallerie degli Uffizi Date A point or period of time associated with an event in the lifecycle of the resource c. 1590s Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Oil on canvas, 93.5 x 91.5 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 Le Gallerie degli Uffizi, Florence, Italy Description An account of the resource In this portrait – believed to be a self-portrait of Marietta Robusti – the sitter gazes outward at the audience with a slight smile. Turned in a three-quarter pose toward the spinet, her left hand floats above the keys as if surprised by the viewer while practicing her music. The book of music in her right hand is a testament to her learning in learning; notably, this self-portrait does not refer to her other artistic skill with a paintbrush. Robusti’s pale skin, rosy cheeks, and blonde hair are accentuated by her flat, black background, emphasizing physical qualities that were desirable in Venetian women at that time. Her white dress is demure, refined but unadorned. Together with her pearl necklace, her costume creates the image of a modest and respectable young woman, a type that was commonly used for betrothal portraits to advertise the sitter’s suitability as a potential bride. This portrait may be compared to another self-portrait by the Bolognese painter Lavinia Fontana, who depicted herself as a noblewoman at the harpsichord for the express purpose of introducing herself to her future husband’s family. Michael Cole has also seen Robusti's self-portrait as a response to the self-portraiture of Sofonisba Anguissola [1]. Although Robusti's skill with a brush was well-known and secured her invitations from Philip II of Spain and Maximilian of Austria, her father refused these invitations on her behalf and instead arranged for her to marry a man of his choosing and remain in his household [2]. This portrait, while displaying her artistic skill, focuses on her identity as a marriageable young woman. [1] Michael Cole, Sofonisba’s Lesson: A Renaissance Artist and Her Work (Princeton: Princeton University Press, 2019), 153. [2] Tyler Cowen, “Why Women Succeed, and Fail, in the Arts,” Journal of Cultural Economics 20, no. 2 (1996): 106. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Judith/giovanni-cariani-judith-c-1510-15.jpg 98959da2d041a056063c03e03d72bb35 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 Dana's Collection 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 Judith Subject The topic of the resource Judith and her maidservant hold the severed head of the Assyrian general Holofernes Creator An entity primarily responsible for making the resource Giovanni Cariani Source A related resource from which the described resource is derived <ul> <li>Brine, Kevin, Elena Ciletti and Henrike Lahnemann, eds. The Sword of Judith: Judith Studies Across the Disciplines. Cambridge: Open Book Publishers, 2010.</li> <li>Foratti, Aldo. "L'arte di Giovanni Cariani." L'Arte 13, no. 3 (1910): 177.</li> <li>Pallucchini, Rodolfo. Giovanni Cariani. Bergamo: Credito Bergamasco, 1983.</li> </ul> Image Source: Francesca and Massimo Valsecchi private collection Date A point or period of time associated with an event in the lifecycle of the resource c. 1510-15 Contributor An entity responsible for making contributions to the resource Dana Hogan Format The file format, physical medium, or dimensions of the resource Oil on panel, 69.0 x 56.5 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 Francesca and Massimo Valsecchi private collection Description An account of the resource Compared to <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/23%20">Giorgione’s Judith</a>, Cariani’s Judith is dark and sensual, beautiful but clearly dangerous. Centrally positioned, Judith emerges from an ominous background filled with storm clouds, her left breast exposed and framed by dark green drapery slung over her shoulder and a pink and gold sash knotted under her bustline (compare to Veronica Franco). She clutches her dagger at her waist, the blade turned up menacingly toward the viewer. Holofernes’s head is marginalized, blending into the black and brown tones of her maidservant’s figure. The maidservant gapes at Judith with missing teeth, her face weathered and almost dehumanized with beady eyes that are half the size of Judith’s. While the violent action toward Holofernes is minimized, the two women pose a threat to the viewer, their faces hardened and partly shrouded as they turn toward each other, colluding in their in their unnatural attack. Though Judith's brave act saved her community, her action was somewhat contradictory to normative gender behavior in the Italian Renaissance. To mitigate this threat, some men sought to present Judith as dangerous, fearing that contemporary women would be inspired to take public action through her example. Rights Information about rights held in and over the resource Public Domain https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Feast_in_the_House_of_Levi/SCALA_ARCHIVES_1031314658.jpg aad48f70cc315741065ae87065540948 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 Feast in the House of Levi Subject The topic of the resource This depiction of the Last Supper was commissioned by the refectory of the Basilica di Santa Giovanni e Paolo in 1571. After Veronese had finished the very large painting, the commissioners were not happy with it due to the figures that were put in the painting that were never mentioned in the Bible.[1]. Veronese claimed that he was merely exercising his artistic license, which poets and writers do all the time. [2] The church then interrogated the artist about it because since the Protestant Reformation was going on at that time, this depiction of this holy scene could have shown irreverence. The painting's name was the switched to Feast in the House of Levi to appease the commissioners. The new subject of the painting is from the gospel of Luke, chapter 5, in which was a large feast with multitudes of guests is prepared by Levi all for Jesus. [3] [1]Garton, John. "Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus." Renaissance Quarterly 65, no. 3 (2012): 753-808. [2] Potter, Polyxeni. "Nature hath fram'd strange fellows in her time." Emerging Infectious Diseases 13, no. 9 (2007): 1443+. Gale In Context: Science [3] SALOMON, XAVIER F. The Burlington Magazine 154, no. 1313 (2012): 581-83. Description An account of the resource The large white archways and Corinthian style marble pillars immediately give Veronese's painting a classical architectual syle and a sense of grandeur. The archways are large and ornate and give views into the large banquet taking place. The space between the pillars and tops of the arches is filled by impressions of golden angels with flowing cloaks that seem to be reclining on the archways. The two large pillars in this piece match up with the frame to create a sense of uniformity and further implore three dimensionalities of the painting. Through the arches lies a dulled white city silhouetted by a grey, stormy sky. The city is intricately detailed with columns, arches and façades making up the grand buildings. People can be seen in the buildings standing on balconies and at windows who seem to be peering towards the large gathering. Inside the actual feast lies a wide variety of colors, people, and animals. At the center of the table is Jesus seated with a faint golden halo surrounding his head. Servants can be seen serving food and drink to Levi's guests. Around the table the audience can see a variety of animals from two dogs near the focal point of the painting to the bird in the hands of a midget. Veronese packed this painting with interesting characters like midgets, children, venetian soldiers, and even Muslims when none of them were present in the biblical version of the last supper. All of the characters' clothing is intricately detailed to make it look like it is flowing naturally and given unique texturization. Veronese created his own modernized and altered version of the last supper painting, which was very quickly rejected by the church and therefore had to be renamed. Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived 1. Potter, Polyxeni. "Nature hath fram'd strange fellows in her time." Emerging Infectious Diseases 13, no. 9 (2007): 1443+. Gale In Context: Science (accessed September 30, 2020). https://link.gale.com/apps/doc/A168510907/SCIC?u=duke_perkins&sid=SCIC&xid=77ef8249. 2. d Accessed September 30, 2020. http://www.jstor.org/stable/41812750. 3. Garton, John. "Paolo Veronese’s Art of Business: Painting, Investment, and the Studio as Social Nexus." Renaissance Quarterly 65, no. 3 (2012): 753-808. Accessed September 30, 2020. doi:10.1086/668301. 4. Paolo Veronese. 1571-73. Feast in the House of Levi. painting. Place: Gallerie dell'Accademia di Venezia. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314658. Publisher An entity responsible for making the resource available Refectory of the Basilica di Santa Giovanni e Paolo Date A point or period of time associated with an event in the lifecycle of the resource 1571-1573 Contributor An entity responsible for making contributions to the resource Darien Sansosti 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 556 x 1280 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 Gallerie dell'Accademia di Venezia Venice, Italy