1 10 177 https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/The_Choice_Between_Virtue_and_Vice_Veronese/The_Choice_Between_Virtue_and_.jpeg 07276e62a54a2dcec79ad5909f02ca73 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA 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 Choice Between Virtue and Vice Veronese Description An account of the resource The Choice Between Virtue and Vice Veronese depicts the situation of Hercules in Greek mythology encountering two women and facing a tough choice. Vice shows him a life of comfort, enticing him with the riches of life; yet Virtue summons him to work and accomplishment, showing him a rough sloping path heading to lasting happiness. After long contemplation, Hercules followed the voice of sanity, chooses Virtue, and dedicates his life to contributing to human. [1] The protagonist in the center of the painting is a young man wearing gorgeous white satin. He is facing and leaning toward a woman in green clothes, while his back is facing another woman, as if he just escapes from her invitation, with the expression seems to have just been rescued. The painter depicted the distinct difference between the appearances of the two women representing Virtue and Vice. The Virtue is in green and relatively conservative dress, while Vice’s wearing is more gorgeous, sexy, and splendid, and half of her back is exposed. Virtue wears military-style boots, echoing the rough paths that are full of thorns mentioned in the story. With a simple hairstyle and a laurel wreath, she pulled the young man towards herself. [2] The naked woman in the lower-left corner of the painting and the blade of the knife all represent the identity of Vice. The phrase at the top left: “Honor and Virtue flourish after Death” further explains the painting and its meaning.[1] The middle-aged Paolo Veronese was an exceptional colorist and one of Renaissance Venetian painters with suave sensuousness. He depicted ancient mythology as devices to visualize abstract ideas, often through human or goddess characters. His art is both stern and stirring. Without the dramatic contrast of Titian, his use of colors brings peace and harmony.[3] In the early 1570s, "Venus and Mars United by Love" was commissioned along with the complementary "Allegory of Wisdom and Strength." It was achieved after, under the impact of his contemporary fellow artist Tintoretto, Veronese had progressed into darker tonalities and more severe content. [2] [1]“The Choice Between Virtue and Vice – Works – Collections – Collections.Frick.Org.” Accessed November 20, 2020.https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice?ctx=68e99062-bbf7-45f7-bca6-6129f8c5de29&idx=2#showAudios. [2] Glueck, Grace. “Veronese at the Frick: A Renaissance Explorer With a Brush (Published 2006).” The New York Times, April 14, 2006, sec. Arts. https://www.nytimes.com/2006/04/14/arts/design/veronese-at-the-frick-a-renaissance-explorer-with-a-brush.html. [3]Schjeldahl, Peter. "LIFE IN VENICE." The New Yorker, April 24, 2006, 172. Gale OneFile: CPI.Q Accessed November 20, 2020, https://link.gale.com/apps/doc/A145232926/CPI?u=duke_perkins&sid=CPI&xid=06c13b94. Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Glueck, Grace. “Veronese at the Frick: A Renaissance Explorer With a Brush (Published 2006).” The New York Times, April 14, 2006, sec. Arts. https://www.nytimes.com/2006/04/14/arts/design/veronese-at-the-frick-a-renaissance-explorer-with-a-brush.html. Schjeldahl, Peter. "LIFE IN VENICE." The New Yorker, April 24, 2006, 172. Gale OneFile: CPI.Q Accessed November 20, 2020, https://link.gale.com/apps/doc/A145232926/CPI?u=duke_perkins&sid=CPI&xid=06c13b94. “The Choice Between Virtue and Vice – Works – Collections – Collections.Frick.Org.” Accessed November 20, 2020.https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice?ctx=68e99062-bbf7-45f7-bca6-6129f8c5de29&idx=2#showAudios. Image Source: “The Choice Between Virtue and Vice – Works – Collections – Collections.Frick.Org.” Accessed November 20, 2020.https://collections.frick.org/objects/276/the-choice-between-virtue-and-vice?ctx=68e99062-bbf7-45f7-bca6-6129f8c5de29&idx=2#showAudios. Publisher An entity responsible for making the resource available Collections.Frick.Org. 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 Liuren Yin Rights Information about rights held in and over the resource Copyright © 1998-2020 The Frick Collection. All Rights Reserved. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 219.1 x 169.5 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 The Metropolitan Museum of Art, New York, United State https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Apollo_and_Daphne/Apollo_and_Dephne.jpg 32ca54e728f3037edea4666cbfff2d70 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 20: Galleria Borghese or Pinacoteca di Brera 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 Borghese, Rome or Pinacoteca di Brera, Milan, 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 Apollo and Daphne Description An account of the resource Bernini was an Italian sculptor and architect in the seventeen century. In the mature period of his career, he was also keen on city designing and theater directing, designing all their technical and visual installations by himself. He was famous for creating stage sets in which hallucinations are very vivid.[1] This also explains the development of the characteristics of his sculpture art that is full of transformations and movements. The art patron is Cardinal Scipione Borghese who commissioned a series of sculptures for 23-years-old Bernini. The series that the Apollo and Daphne belong to serves the decorative function for the Cardinal’s luxurious villa outside the Porta Poinciana. The city of Rome attracts many foreign visitors who are interested in its culture, and the art there is of great importance in attracting their attention. [2]Both Scipione and Bernini knew that the role of the villa is to attract viewers who come from foreign countries and have a well-educated background. And both the artist and the patron tried to establish their own outstanding status and distinction in the society of their fellows. [3] The sculpture comes from the characters Apollo and Daphne in the mythology of classical literature. The source of inspiration for the artist also comes from "The Metamorphosis" by Ovid. Apollo was deliberately shot a golden arrow by Cupid, which made Apollo crazily pursue Daphne. But at the same time, Daphne was hit by an arrow of the opposite effect, rendering her to avoid any pursuit of love. When she was about to be caught, Daphne begged her father, the river god Peneus, to rescue her by breaking her beauty that causes all the trouble. She was then turned into a laurel tree in response. But that didn’t stop Apollo’s obsession and he toughly grabbed the leaves of the laurel tree, but then he soon found out Daphne was no more merciful than before even after transformation. [3] The statue reveals its complexity when viewing from different angles. For example, from the left side perspective, the audience can perceive the complacent expression of Apollo and great fear in Daphne’s eyes.[1] However, in the exact front point of view, Daphne looks less scared and Apollo seems flustered and fatigue. Brilliantly, Bernini's sculpture depicts the transitional point exactly in terms of interaction and perception exchanges. Daphne took root from her toes, and her legs were gradually wrapped in bark. The top of her head and arms were growing out lush branches. Bernini recorded the midway process of this transition and highlighted the twisted direction and fast speed of the branch growth. At the same time, the artist's expression technique also reflects the transformation idea. [3] He converted the hard and cold marble into different realistic materials, like changing the marble to the human skin and then changing it to a rough tree trunk. From the elasticity and softness of the skin to the lightness and fragility of the leaves, they were all created in rich details with a series of contrasts in texture. [1]“Apollo and Daphne by Bernini in the Borghese Gallery.” Accessed November 19, 2020. https://borghese.gallery/collection/sculpture/apollo-and-daphne.html. [2]Genevieve, Desiderio and Diletto, 309 [3]Andrea, Speaking Statues: Bernini’s ‘Apollo and Daphne’ at the Villa Borghese, 1 Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived "Apollo and Daphne by Bernini in the Borghese Gallery.” Accessed November 19, 2020. https://borghese.gallery/collection/sculpture/apollo-and-daphne.html. Bolland, Andrea. "Desiderio and Diletto: "Vision, Touch, and the Poetics of Bernini's" Apollo and Daphne." The Art Bulletin 82, no. 2 (Jun 01, 2000): 309. https://doi.org/10.1111/j.0141-6790.2004.00428.x. Warwick, Genevieve. “Speaking Statues: Bernini’s ‘Apollo and Daphne’ at the Villa Borghese.” Art History 27, no. 3 (June 2004): IV-381. doi:10.1111/j.0141-6790.2004.00428.x. Image Source: Apollo and Daphne, 1622-25. New York: Bridgeman Images, 2004.https://search-proquest.com.proxy.lib.duke.edu/docview/1974054439/citation/CC2D375E9B6C4E84PQ/1?accountid=10598 Publisher An entity responsible for making the resource available Cardinal Scipione Borghese New York: Bridgeman Images Date A point or period of time associated with an event in the lifecycle of the resource 1622-25 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Copyright@ 2004 Bridgeman. All Rights Reserved. Format The file format, physical medium, or dimensions of the resource Marble, 243cm Type The nature or genre of the resource Sculpture 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 Borghese, Rome, Italy https://venice.dahvc.org/fall-2020/files/original/Venus_Blindfolding_Cupid/Venus.jpg 0b20955b36ab4dc00969da87eec38d95 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 Blindfolding Cupid 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 1565 Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource 116 cm x 184 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 Villa Borghese, Rome, Italy Subject The topic of the resource In this painting, the three main figures are the Three Graces. Some identify them as Venus and the two nymphs. There are baby cupids around them too. This work of art depicts Venus blindfolding one of the baby cupids. One of the nymphs is holding a bow and another has a barrel of arrows on their side. There is a golden-red shade on the whole painting matching the bright red color of the sky. The use of the color red and the cupids ultimately symbolizes love. While viewing this painting you can also see the usage of rapid brush strokes. The Galleria Borghese collection has twenty-one rooms between its two floors. The first floor is dedicated to classical antiquities of the first and third century and the classical and neo-classical sculptures. Many of the sculptures and paintings of this collection had designated spaces to bring out the design in these works of art. Description An account of the resource In this painting, the three main figures are the Three Graces. Some identify them as Venus and the two nymphs. There are baby cupids around them too. This work of art depicts Venus blindfolding one of the baby cupids. One of the nymphs is holding a bow and another has a barrel of arrows on their side. There is a golden-red shade on the whole painting matching the bright red color of the sky. The use of the color red and the cupids ultimately symbolizes love. While viewing this painting you can also see the usage of rapid brush strokes. The Galleria Borghese collection has twenty-one rooms between its two floors. The first floor is dedicated to classical antiquities of the first and third century and the classical and neo-classical sculptures. Many of the sculptures and paintings of this collection had designated spaces to bring out the design in these works of art. Source A related resource from which the described resource is derived “Venus Blindfolding Cupid.” Art Object Page, www.nga.gov/collection/art-object-page.41594.html. Rights Information about rights held in and over the resource “Venus Blindfolding Cupid.” Art Object Page, www.nga.gov/collection/art-object-page.41594.html. https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Sacred_and_Profane_Love/download.jpg a741cad61912c9a339b6c8c06dd088ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 20: Galleria Borghese or Pinacoteca di Brera 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 Borghese, Rome or Pinacoteca di Brera, Milan, 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 Sacred and Profane Love Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Titian, Author: “Sacred and Profane Love by Titian.” Galerie Borghèse, August 4, 2019. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Jaffé, David. Titian. London: The National Gallery Company/Yale University Press, 2003. Gould, Cecil. "Titian." Grove Art Online. (2003). Galleria Borghese. “Sacred and Profane Love.” Accessed November 18, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Publisher An entity responsible for making the resource available Commissioned by Niccolò Aurelio. Image Source: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612. Date A point or period of time associated with an event in the lifecycle of the resource c. 1515 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on Canvas; 118 cm x 279 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome, Italy Description An account of the resource Titian’s Sacred and Profane Love made circa 1515 is an oil painting that was commissioned by Niccolò Aurelio, who was a secretary to the Venetian Council of Trent. It was made to commemorate his marriage with a young widow named Laura Bagarotto [1]. In the painting, two women (who are said to illustrate different representations of the same person) are pictured sitting on a Roman sarcophagus. On the left, a bride is seen dressed in a long white dress, which was known as formal and rich clothing, typical of a courtesan at the time. She wears a myrtle in her hair, which is a flower sacred to Venus. This fully clothed woman is contrasted with the woman on the right, who is fully nude except for the white cloth draped upon her lap. The nude woman sits on the ledge with one hand in the air holding a vessel with some smoke coming out, which functions as lamp. The clothed woman rests on a metal bowl that sits on the ledge, and some say that the decoration inside the bowl is symbolic of the arms of Aurelio’s bride. The women are said to be figures representing “profane love” (clothed figure) and “sacred love” (nude figure) [2]. The presence of Cupid and the roses between the two women epitomizes the loving nature surrounding the women and the identification of these women as twin Venuses. The nude Venus represents a heavenly beauty that needs no materials to adorn her. In contrast, her twin symbolizes human love as she is dressed in the material splendor of the world [2]. Each twin dominates a side of the composition, which represents human love and divine love. Nude Venus is set in front of a background sky and is depicted above earthly nature. Meanwhile, clothed Venus is depicted in front of fertile trees and a landscape that includes a hill and a castle. Overall, Titian creates a calculated composition with contrasting halves to depict different levels of love and materiality [3]. [1] David Jaffé, “Titian,” London: The National Gallery Company/Yale University Press,(2003): 94. [2] Rona Goffen, "Titian's Sacred and Profane Love: Individuality and Sexuality in a Renaissance Marriage Picture, Studies in the History of Art 45 (1993): 124. [3] Cecil Gould, “Titian”, Grove Art Online, (2003): 2-3. https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/St._Mark_Preaching_in_Alexandria/download.png 8002c8083df8d66c289271ca9773b163 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 20: Galleria Borghese or Pinacoteca di Brera 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 Borghese, Rome or Pinacoteca di Brera, Milan, 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 St. Mark Preaching in Alexandria Description An account of the resource This huge painting was commissioned from Gentile Bellini in 1504 as a decoration for the Scuola Grande di San Marco's reception room, one of the city’s most prestigious and powerful confraternities [1]. However, this painting was left incomplete upon Gentile Bellini’s death in 1507 [2]. Later on, his brother Giovanni Bellini was requested to finish this painting [2]. Although this painting's setting is in the cosmopolitan city of Alexandria, Gentile Bellini painted this city out of his imagination and his version of the celebrated Egyptian city[2]. Gentile Bellini even incorporated an image of the Basilica of San Marco in the background as the viewer can see. This painting's purpose was to capture a moment in time of St. Mark’s preaching and trying to convert the pagans from their ancient religion [1]. When Gentile Bellini tries to resemble the city of Alexandria out of his imagination, it is apparent that he combined factors from Venice and Egypt to achieve this goal. The red tiles on the ground and the arrangements of the buildings are very similar to the painting of Procession in St. Mark’s square, which is another painting in the same cycle. On the other hand, Gentile Bellini also added factors such as the palm tree in the background, exotic animals like giraffes and camels to convey the message to the viewers that this is in Egypt. Usually, in Bellini's brother’s painting, light is an essential factor to draw the viewer’s attention to a certain area. On the contrary, in this particular painting, the holy light did not reflect a certain person or area. It could be that the Bellini brother painted in this way on purpose so the painting can be viewed as a whole and let the viewer take in every detail. [1] “St. Mark Preaching in Alexandria - Gentile Bellini and Giovanni Bellini,” Pinacoteca di Brera, accessed November 19, 2020, https://pinacotecabrera.org/en/collezione-online/opere/saint-mark-preaching-in-a-square-of-alexandria-in-egypt/. [2] “St Mark Preaching in Alexandria,” St Mark Preaching in Alexandria by Giovanni Bellini, accessed November 19, 2020, http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. Creator An entity primarily responsible for making the resource Gentile Bellini and Giovanni Bellini Source A related resource from which the described resource is derived “St. Mark Preaching in Alexandria - Gentile Bellini and Giovanni Bellini.” Pinacoteca di Brera. Accessed November 19, 2020. <a href="https://pinacotecabrera.org/en/collezione-online/opere/saint-mark-preaching-in-a-square-of-alexandria-in-egypt/">https://pinacotecabrera.org/en/collezione-online/opere/saint-mark-preaching-in-a-square-of-alexandria-in-egypt/</a>. “St Mark Preaching in Alexandria.” St Mark Preaching in Alexandria by Giovanni Bellini. Accessed November 19, 2020. <a href="http://www.giovannibellini.org/st-mark-preaching-in-alexandria/">http://www.giovannibellini.org/st-mark-preaching-in-alexandria/</a>. Kren, Emil. “Mark Preaching in Alexandria.” Sermon of St Mark in Alexandria by BELLINI, Giovanni. Accessed November 19, 2020. <a href="https://www.wga.hu/html_m/b/bellini/giovanni/1500-09/185serm.html">https://www.wga.hu/html_m/b/bellini/giovanni/1500-09/185serm.html</a>. “Gentile Bellini.” Encyclopædia Britannica. Encyclopædia Britannica, inc., February 4, 2019. https://www.britannica.com/biography/Gentile-Bellini. Carrier, David. "A Renaissance Fantasy of the Egyptian Wrold"." Source: Notes in the History of Art 28, no. 1 (2008): 16-19. <a href="http://www.jstor.org/stable/23207968">http://www.jstor.org/stable/23207968</a>. Morse, Margaret A. "Domestic Portraiture in Early Modern Venice: Devotion to Family and Faith." In Domestic Devotions in Early Modern Italy, edited by Corry Maya, Faini Marco, and Meneghin Alessia, 117-38. LEIDEN; BOSTON: Brill, 2019. http://www.jstor.org/stable/10.1163/j.ctvbqs499.12. Publisher An entity responsible for making the resource available St Mark Preaching in Alexandria by Giovanni Bellini. Accessed November 19, 2020. http://www.giovannibellini.org/st-mark-preaching-in-alexandria/ Date A point or period of time associated with an event in the lifecycle of the resource 1504-1507 Contributor An entity responsible for making contributions to the resource Emily Song Rights Information about rights held in and over the resource For academic and non-profit use only Format The file format, physical medium, or dimensions of the resource Oil on canvas, 347cm × 770cm 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 Pinacoteca di Brera, Milano, Italy https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Apollo_and_Daphne/Apollo_and_Daphne.jpg 686ae0602be2edf08f0d22cb6051be42 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 20: Galleria Borghese or Pinacoteca di Brera 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 Borghese, Rome or Pinacoteca di Brera, Milan, 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 Apollo and Daphne Description An account of the resource Depicted here is the story of Apollo and Daphne. In the foreground is Apollo, half-naked and only covered by a shimmering green fabric--a feature Dossi incorporated from Titian’s work at the Ferrara court.¹ Following Apollo’s muscular body, the viewer immediately identifies the figure as Apollo as a result of the wreath, as well as the stringed-instrument and bow that he holds (Apollo was also the god of music). It is important to note that this representation of Apollo is novel; usually, the god is depicted in a more stable, less emotional manner. However, the story depicted allows Dossi to change the stance.² Dossi uses the fact that Apollo is the god of music to add drama to the scene through the playing of a lira da braccio, an instrument used in the Renaissance by Italian poets.³ Once the viewer has processed the figure of Apollo, it is noticed that Apollo’s figure is slightly off-centered, with his right leg and arm creating diagonal lines that not only point back to Apollo, but also separate a space of the canvas in the shape of a rough triangle from the rest of the canvas. Within this space is Daphne--yet another proof of the subject matter--in the process of becoming a tree after running away from Apollo. The space contrasts with the space in the rest of the canvas, using bright shades of yellow and green in contrast to the darker hues of blue found in the sky and the darker hues of green and brown in the rest of the canvas. This use of yellow, in conjunction with the rough shape of a triangle, makes the space appear to emanate from Apollo’s armpit in the manner of a sunray--more evidence for the subject matter. Given the background of the story, this sunray may have more purpose than just identifying Apollo. Since Daphne is the romantic subject of Apollo, the sunray may emphasize Apollo’s desire for Daphne. As she slowly becomes a tree, the ray becomes smaller, as seen by the small space occupied by Daphne compared to the rest of the canvas. The growing darkness, therefore, may symbolize Apollo’s growing sadness at the inability to have a relationship with Daphne. Since the ray points towards the chest, one can infer that it is a sadness that resides deep within the heart. Through this depiction of Apollo, Dossi Dosso strengthens the notion that he was known for embedding messages through the portrayals of mythological subject matters. <ol> <li style="font-weight:400;">Peter Humfrey, "Dosso and Battista Dossi: Trento," The Burlington Magazine 156, no. 1338 (2014): 627-28, <a href="http://www.jstor.org/stable/24241894">http://www.jstor.org/stable/24241894</a>.</li> <li style="font-weight:400;">William Hansen, Handbook of Classical Mythology, (ABC-CLIO, 2004). <a href="http://publisher.abc-clio.com/9781851096343">http://publisher.abc-clio.com/9781851096343</a></li> <li style="font-weight:400;">James Melo, ”Ferrara; New York; Los Angeles: Dosso Dossi: Court Painter in Renaissance Ferrara,” Music in Art: International Journal for Music Iconography 23, no. 1 (1998): 103–9, <a href="https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=505740407&site=ehost-live&scope=site">https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=505740407&site=ehost-live&scope=site</a></li> </ol> Creator An entity primarily responsible for making the resource Dosso Dossi Source A related resource from which the described resource is derived <ul> <li>Journal Article 1: HUMFREY, PETER. "Dosso and Battista Dossi: Trento." The Burlington Magazine 156, no. 1338 (2014): 627-28. Accessed November 19, 2020. <a href="http://www.jstor.org/stable/24241894">http://www.jstor.org/stable/24241894</a>.</li> </ul> <ul> <li>Journal Article 2: Melo, James. 1998. “Ferrara; New York; Los Angeles: Dosso Dossi: Court Painter in Renaissance Ferrara.” Music in Art: International Journal for Music Iconography 23 (1/2): 103–9. <a href="https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=505740407&site=ehost-live&scope=site">https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=505740407&site=ehost-live&scope=site</a></li> </ul> <ul> <li>Book: Hansen, William. Handbook of Classical Mythology. ABC-CLIO, 2004. <a href="http://publisher.abc-clio.com/9781851096343">http://publisher.abc-clio.com/9781851096343</a></li> </ul> <ul> <li>Museum: “Analysis of Apollo and Daphne Painting by Dosso Dossi in the Borghese Gallery.” Galerie Borghèse, February 14, 2020. <a href="https://borghese.gallery/collection/paintings/apollo-and-daphne-dosso-dossi.html">https://borghese.gallery/collection/paintings/apollo-and-daphne-dosso-dossi.html</a>.</li> </ul> <ul> <li>Image Source: Dosso Dossi. c. 1525. Apollo and Daphne. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_1039779741">https://library.artstor.org/asset/SCALA_ARCHIVES_1039779741</a>.</li> </ul> Publisher An entity responsible for making the resource available Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1525 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 191 x 116 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese https://venice.dahvc.org/fall-2020/files/original/Sacred_and_Profane_Love/AWSS35953_35953_31697990.jpg 7e5dd8a3e00ed6f2e6933496dea4f16e 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 Sacred and Profane Love Creator An entity primarily responsible for making the resource Titian 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, 118 x 279 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome, Italy Description An account of the resource This work was done by Titian, quite early in his career. This painting is often seen as one of the most enigmatic of Italian High Renaissance works. It is assumed by many scholars that the painting was commissioned by Niccolò Aurelio, secretary of the Venice Council of Ten in order to celebrate his marriage with young widow Laura Bagarotto. [1] Two women, one being nude, are sitting on a carved antique Roman sarcophagus, located in the center of the artwork. Near the base one can see the carved coat of arms of Nicolio Aurelio. Additionally, between the two women is what appears to be a small child. The woman on the left is richly dressed and her clothes are now commonly recognized as bride clothes, and she is wearing a vivid white dress, which represents purity. In her hair, she wears a myrtle, and a flower sacred to Venus, and a flower worn by the bride. On the otherhand, the woman on the right is naked, with the exception of a large red cloth draped over. To me this seems to use the red to draw the viewer's eyes to the nude figure. Scholars have come to the conclusion that the two women represent the antithesis between, on the right, eternal values, and, on the left, temporal ones. Although there is obviously contrast, the women are still so similar, and many scholars debate whether they are sisters or even twins. The two women, child, and fountain/sarcophagus generate an aura which dominates and almost overwhelms the surrounding pastoral scene because of its centrality in the design. [2] Furthermore, the foreground and mid-ground colours are earth tone browns and greens, appearing as though struck from one another, the exception being the use of primary colours such as silver, red and white to distinguish the clothing from those surrounding colors. In the far background we see the use of blue and yellows of a clouded sky at sunset. The skin tones are pale and white, the hair partly dressed with tints of reddish golds, which we know was common for Venetian women. Overall, the meaning of the painting is ambiguous but a thorough analysis provides insight on how these women may be representing contrasting views of the same concept, whatever the concept may be. (love, marriage, etc.) [1] “Sacred and Profane Love,” Galleria Borghese, accessed November 19, 2020, https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. [2] “Sacred and Profane Love By Titian,” accessed November 19, 2020, https://www.titian.org/sacred-and-profane-love.jsp. Source A related resource from which the described resource is derived “Sacred and Profane Love by Titian.” Galerie Borghèse, August 4, 2019. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. "Sacred and Profane Love, 1514 by Titian." Accessed November 19, 2020. https://www.titian.org/sacred-and-profane-love.jsp. Cantelupe, Eugene B. "Titian's Sacred and Profane Love Re-examined." The Art Bulletin 46, no. 2 (1964): 218-27. Accessed November 19, 2020. doi:10.2307/3048166. Image: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612. Publisher An entity responsible for making the resource available Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612. Date A point or period of time associated with an event in the lifecycle of the resource 1515 Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Finding_of_the_Body_of_Saint_Mark_[Discovery_of_the_Body_of_Saint_Mark]/SCALA_ARCHIVES_1039779478.jpg 73a65e01a4a823118221555deca35820 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 20: Galleria Borghese or Pinacoteca di Brera 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 Borghese, Rome or Pinacoteca di Brera, Milan, 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 Finding of the Body of Saint Mark (Discovery of the Body of Saint Mark) Subject The topic of the resource Tommaso Rangone, a Venetian patron, commissioned Tintoretto to create a painting cycle that depicted multiple episodes of St.Mark's life. The cycle follows the story of St.Mark's body and how it was found in the city of Alexandria and then returned to the city of Venice. One of the paintings included in the cycle shows the discovery of Saint Mark's body in Alexandria, Egypt and is known as Finding of the Body of Saint Mark. The painting was orignally displayed in the Scuola Grande di San Marco, but it now resides in the Brera Museum of Milan. Description An account of the resource The first thing that viewer's eyes are drawn to is the larger than life man on the left hand side of the painting. He is clothed in blue and light red cloth, with one arm on his hip and one outstretched towards the center of the painting. The cloth that this man is adorned in has been studied by historians and has revealed Tintoretto's technique when achieving perfect coloration.[1] The halo around the man's head allows the audience to determine that this is Saint Mark. As the viewer begins to move around the painting, various figures can be seen strewn across the painting, posed in dramatic position. A seemingly dead body with grey and white skin can be seen lying at the feet of Saint Mark. Kneeling next to the body is a man with grey hair and a beard. He is adorned in a shimmering orange cloak that flows in the traditional Renaissance style. The man, has been identified as Tommaso Rangone, the commissioner of the painting. Four men on the right side of the painting are pulling the body of Saint Mark out of the tomb and lowering it carefully with a sheet. The men are all dressed in shades of red, brown and black that Tintoretto uses to complement the dark color pallete. Towards the bottom of the painting, a small altercation can be seen on the right side. A faceless-man wearing all black is being restrained from a woman dressed in salmon and white. The man restraining the attacker is partially shirtless revealing a carefully porportioned body. The meticulous details on the man show that Tintoretto had an interest in the human body. The background of the painting is truly amazing because of how intricate it is and because of the extra information that it gives us about the painting. For one, the background of the painting is not in Alexandria, but rather the Procuratie in Venice. [2] Tintoretto may have changed the setting to glorify the city of Venice. Furthermore, the lines of the tile flooring are fading, which has allowed scholars to determine that the background was created before the figures. Tintoretto did this so that he could set the stage for his characters and then position them correctly.[3] This unique painting deals with the subject of religion while also glorifying the city of Venice's architecture and its patron saint. [1]Osticioli, I., Pagliai, M., Comelli, D., Schettino, V., & Nevin, A. (2019, June 13). Red lakes from Leonardo's Last Supper and other Old Master Paintings: Micro-Raman spectroscopy of anthraquinone pigments in paint cross-sections. [2]Levey, M. (1965). TINTORETTO AND THE THEME OF MIRACULOUS INTERVENTION. Journal of the Royal Society of Arts, 113(5109), 714. [3]Pham, V. K. (1995). Theatricality in Tintoretto's religious paintings (Master's thesis, Montréal, McGill Univ., Magisterarb, 1995) (pp. 25) Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived References Levey, M. (1965). TINTORETTO AND THE THEME OF MIRACULOUS INTERVENTION. Journal of the Royal Society of Arts, 113(5109), 707-725. Retrieved November 18, 2020, from http://www.jstor.org/stable/41367901 Osticioli, I., Pagliai, M., Comelli, D., Schettino, V., & Nevin, A. (2019, June 13). Red lakes from Leonardo's Last Supper and other Old Master Paintings: Micro-Raman spectroscopy of anthraquinone pigments in paint cross-sections. Retrieved November 18, 2020, from https://www.sciencedirect.com/science/article/pii/S1386142519306638 Pham, V. K. (1995). Theatricality in Tintoretto's religious paintings (Master's thesis, Montréal, McGill Univ., Magisterarb, 1995) (pp. 25-26). McGill University. Tintoretto, J. (1562-66). Finding of the Body of Saint Mark (Discovery of the Body of Saint Mark) [Painting found in Brera Pinacoteca, Milan, Italy]. Retrieved November 18, 2020, from https://library.artstor.org/#/asset/SCALA_ARCHIVES_1039779478 Publisher An entity responsible for making the resource available Tommaso Rangone Jacopo Tintoretto. 1562-66. Finding of the Body of Saint Mark (Discovery of the Body of Saint Mark). painting. Place: Pinacoteca di Brera. https://library.artstor.org/asset/SCALA_ARCHIVES_1039779478. Date A point or period of time associated with an event in the lifecycle of the resource 1562 - 6 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 396 x 400 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 Brera Pinacoteca; Milan, Italy https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Saint_Mark_Preaching_in_Alexandria/SCALA_ARCHIVES_1039614920.jpg 34c69f5b81cb9a85e214f1b81926da53 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 20: Galleria Borghese or Pinacoteca di Brera 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 Borghese, Rome or Pinacoteca di Brera, Milan, 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 Saint Mark Preaching in Alexandria Description An account of the resource In this painting, we see Saint Mark preaching in Alexandria. Giovanni and Gentile Bellini pull the focus onto the details of the landscape in multiple ways. First, with regards to the composition of the image, Bellini scattered objects of Venetian and Islamic significance throughout the painting in addition to cramming the landscape with people, not giving anything for viewers to focus on and thus forcing to consider the image in its entirety to discover the meaning behind the painting. Second, he used a variety of colors in the painting, which created a scattered feel to the painting and did not add specific contrast for a viewer’s eye to be drawn to. In addition, Bellini did not point to a specific source of light, rather just making the whole painting uniformly light, which is very different from the normal beam of light that either emanates from or shines on central figures in most religious painting and moves the focus away from the saint himself to include the rest of the painting. Finally, Bellini added texture to most of the figures in the foreground as compared to the background of the painting, which increases the viewer’s focus on the foreground and the objects in the foreground; however, there is not any particularly textured area in the foreground, diffusing the focus throughout the foreground. Now, the question becomes why would the Bellinis want to make the entire landscape the focus of the painting rather than Saint Mark himself? First, the painting contains lots of details that have meaning in Venetian and Islamic culture; for example, the building in the background is the Basilica of San Marco from Venice, but it is surrounded by high-walled buildings with minarets, exemplifying the melding of cultures that is portrayed by Saint Mark’s, the patron saint of Venice, arrival in Alexandria [1]. Tiny details like these are scattered throughout the painting, and Bellini would want to bring attention to them, so the viewer would be able to understand the enhanced meaning of the painting In addition, Brahim Alaoui believes that because Saint Mark’s preaching in Alexandria was a less commonly depicted scene, Bellini was able to incorporate more of his artistic vision, such as by including a famous Venetian building in Alexandria, rather than having to stick to the traditional interpretation of the scene in Jacopo da Varagine’s Golden Legend [2]. Bellini’s ability to include his own artistic narrative is especially important for this painting as it allowed him to infuse socio-political commentary into the painting through the smooth incorporation of both Venetian and Islamic symbols, which perpetuated the idea that Venice, a city under the divine protection of Saint Mark, and Alexandria, an Islamic city, could co-exist and peaceful conversions could take place [3]. The inclusion of the many important symbols necessitated the lack of a clear focus on the central figure as it left room for the viewer to individually understand what the meaning of the painting was, playing into the idea of personal interpretations of religion and religious art that became increasingly popular with the advent of the Renaissance. [1] David Carrier, "A Renaissance Fantasy Image of the Islamic World: Gentile and Giovanni Bellini’s "Saint Mark Preaching In Alexandria"," in Source: Notes in the History of Art 28, no. 1 (United States: The University of Chicago Press, 2008), 16-19. [2] Brahim Alaoui, Deke Dusinberre, Venice and the Islamic World, 828-1797 (United Kingdom: Metropolitan Museum of Art, 2007), 128. [3] "St Mark Preaching In Alexandria By Giovanni Bellini" (2020), Giovannibellini.Org, http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. Creator An entity primarily responsible for making the resource Giovanni and Gentile Bellini Source A related resource from which the described resource is derived Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. Carrier, David. "A Renaissance Fantasy Image of the Islamic World: Gentile and Giovanni Bellini’s "Saint Mark Preaching In Alexandria"." Source: Notes in the History of Art 28, no. 1 (2008): 16-19. Accessed November 18, 2020. http://www.jstor.org/stable/23207968. Alaoui, Brahim., Dusinberre, Deke. Venice and the Islamic World, 828-1797. United Kingdom: Metropolitan Museum of Art, 2007. "St Mark Preaching In Alexandria By Giovanni Bellini". 2020. Giovannibellini.Org. http://www.giovannibellini.org/st-mark-preaching-in-alexandria/. Publisher An entity responsible for making the resource available Scuola Di San Marco, Gentile Bellini and Giovanni Bellini. 1504-c. 1507. Saint Mark Preaching in Alexandria. painting. Place: Pinacoteca di Brera, Milan, Italy. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614920. Date A point or period of time associated with an event in the lifecycle of the resource 1504-1507 Contributor An entity responsible for making contributions to the resource Rhea Niyyar Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 347 x 770 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 Pinacoteca di Brera, Milan, Italy. https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Venus_Blindfolding_Cupid/SCALA_ARCHIVES_1039779964.jpg 0bb4ff908ac2e0dd5e19ed433508c4e6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 20: Galleria Borghese or Pinacoteca di Brera 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 Borghese, Rome or Pinacoteca di Brera, Milan, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Venus Blindfolding Cupid Description An account of the resource There have been several different interpretations of who the three female figures in this work are, and what they mean. At one point, it was identified as the Three Graces, but later the main figure was identified as Venus, blindfolding her son Cupid [1]. The other two female figures are likely nymphs, though some scholars identify the woman with the bow as another goddess, Diana. The two Cupids are likely Venus’s two sons, Eros and Anteros, who represent two contrasting sides of love [2]. Eros would be the Cupid being blindfolded by Venus [1], representing the blind and sensual part of love, while his brother represents the rational part [2]. The commissioner for this work is unknown, but in the context of this work Venus was likely used as a representation of love in marriage and chastity, so it may have been commissioned in celebration of a marriage. Though this work shows a mythical scene, the figures wear clothing more similar to the fashions of the time it was painted [2]. The colors used are still very rich, but much less bright than some of Titian’s other works. The predominate color is red, both in the sky in the background and the clothing of the two female figures beside Venus. Venus wears a bit of blue, drawing focus to her, and there is a bit of blue seen in the mountains of the background as well. Overall however, the darkness of the painting alongside the more somber and serious gazes of the figures create a sense of sadness and tension in the work, though the subject itself is not necessarily so. This is a different style than many of Titian’s other mythological paintings, such as Bacchus and Ariadne, but is similar to his other works from this time period. In many ways however, this work is similar to Titian’s other paintings, especially in his depictions of the female figure and the impressive sense of movement of each figure. [1] “Venus Blindfolding Cupid: Famous Artwork by Titian.” Galerie Borghèse, February 1, 2020. https://borghese.gallery/collection/paintings/venus-blindfolding-cupid.html. <div>[2] Peter Humfrey, “Italian 16th Century, Titian, Anonymous Artist, Titian/Venus Blindfolding Cupid/c. 1566/1570 or c. 1576/1580,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/41594 </div> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived “Venus Blindfolding Cupid: Famous Artwork by Titian.” Galerie Borghèse, February 1, 2020. https://borghese.gallery/collection/paintings/venus-blindfolding-cupid.html. Peter Humfrey, “Italian 16th Century, Titian, Anonymous Artist, Titian/Venus Blindfolding Cupid/c. 1566/1570 or c. 1576/1580,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/41594 “Venus Blindfolding Cupid.” Titian, Paintings, Quotes, and Biography. Accessed November 17, 2020. https://www.titian.org/venus-blindfolding-cupid.jsp. Titian. c. 1565. Venus Blindfolding Cupid. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_1039779964. Publisher An entity responsible for making the resource available Unknown commissioner Titian. c. 1565. Venus Blindfolding Cupid. painting. Place: Galleria Borghese. https://library.artstor.org/asset/SCALA_ARCHIVES_1039779964. Date A point or period of time associated with an event in the lifecycle of the resource c. 1565 Contributor An entity responsible for making contributions to the resource Jacey Curd Rights Information about rights held in and over the resource 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 116 x 184 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 Borghese, Rome, Italy