1 10 177 https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Judith/Judith.jpg c8c221690cd59004a9b35970e5260957 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 The biblical heroine, Judith standing over the decapitated head of Holofernes Creator An entity primarily responsible for making the resource <a href="https://giorgionetempesta.blogspot.com/2011/04/giorgione-judith.html">Giorgione</a> 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>Dal Pozzolo, Enrico Maria and Lionello Puppi, eds. Giorgione. Milan: Skira, 2009.</li> <li>Fomicieva, T. "The History of Giorgione's 'Judith' and its Restoration." Burlington Magazine 115, no. 844 (1973): 417-21.</li> </ul> Image Source: <a href="https://www.arthermitage.org/Giorgione/Judith.html">The Hermitage Museum</a> Publisher An entity responsible for making the resource available Provenance: Collection of baron L.A. Crozat de Tierra, Paris, 1772 Date A point or period of time associated with an event in the lifecycle of the resource 1504 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, 144.0 x 68.0 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 The Hermitage Museum, St. Petersburg, Russia Description An account of the resource Giorgione’s Judith is a beautiful young widow who has already slain the Assyrian general Holofernes. In fifteenth and sixteenth-century Italy, Judith often served as an allegorical figure of Virtue triumphant, or as the victor in a number of binary oppositions such as the Church vs. the Ottoman Turks. Judith also served as an exempla virtutis for women – an example of the gendered qualities of obedience, humility, and chastity. She became a problematic figure at times: while she was a model of familial and civic virtue, she was also a woman who outsmarted a man and cut off his head. Some preachers and treatise writers warned that her example would lead unintelligent women to kill their husbands, and unflattering prints depicting her as a femme fatale were circulated throughout Europe. This Judith strikes a balance between modest, virtuous woman and symbol of power. Her eyes are averted from the viewer, cast low in a gesture of humility that was typical of portraits of women at this time. Her sword is held loosely at her side, neither bloodied nor wielded high as in other images. However, the positioning of her right arm and the shading of her gown draw the eye to the split seam and her exposed leg. Judith’s bare leg, thrust forward toward the viewer and exerting pressure on Holofernes’s severed head, shows her dominance and is suggestive of the means by which she bested Holofernes. During this time, Judith’s detractors claimed that she seduced Holofernes in order to kill him, whereas her supporters insisted that she remained chaste and won her victory as the handmaiden of God. Giorgione’s rendering leaves room for either interpretation, or further, the possibility of a heroine who embodies that is both sensual and divine. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Portrait_of_a_Young_Man_[or_Portrait_of_a_Gentleman_in_His_Study]/unnamed.jpg f4b315597253fa099e3e2d7649d31ae6 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 Portrait of a Young Man (or Portrait of a Gentleman in His Study) Description An account of the resource Although the name and identity information of the young man in the portrait is not recorded, the objects placed around the characters provide clues to the audience to trace and decipher his secrets. Just like the painter's consistent style, Lotto provided use symbolization of icons to refer to the young man's life and character, like a biography without words quietly telling the story. The lute, horn, and a dead bird behind the character record the character’s hunting interests, previous adventures, and achievements; the petals, ring, and letters on the table suggest a tragic or hindered intimate relationship; the fragility of the withered petals and the cold-blooded characteristics of the lizard symbolizes death and rebirth of, possibly, disease or love, which may also be the cause of the man’s’ mournfulness. However, these symbolize that the young man abandoned the secular quotidian and distraction and turned to his career and responsibility (alluded by the book in his hands). The bright green of the tablecloth echoes the vibrancy of the fine window scenery, indicating a man's vigor and liveness in his youth and heralding his career in the future. [1] Viewers are able to attain more information through the artist meticulously depiction of the rich texture details of objects. For example, the original thick, hard leather cover of the book that the young man holds had become soft and wrinkled. The darker color blocks on the book cover at the edge recorded the history that the book had been stored and touched for ages. In the pages of the book, the rough and slightly bulged surface of the paper showed that these pages had been repeatedly browsed and written. These texture details increased the authenticity of the picture and revealed more information about the identity of the character. The sinuous folds of aquamarine blue drapery, neatly falling tassels and smooth, reflective surfaces all show that the fabrics are fine silk products. Together with the luster of the gold necklace and ring on the table, the light reflected by the black dress of the sitter, it reveals the wealthy economic conditions and possible merchant occupation of the young man in the painting. The man's eyes did not form any contact with the audiences nor gazing directly at the book, but slightly looked down at a distant place, showing he's in contemplation and not to be disturbed. The expression in his eyes was gentle and natural which reflects the calmness and solitude in his personality. The corners of his mouth did not lift up with joy nor did they appear in a natural shape in absolute relaxation. Instead, there was a trace of tension and a sense of control, which furthered his expression to seem melancholy and slightly sorrowful. Through the muscles of his cheeks and eyebrows, it was even more obvious that he was suppressing this somber feeling and a slight sense of tension. Lorenzo Lotto (c.1480-1556) is a distinctive Venetian school artist that’s famous for the creation of some of the most engaging, puzzling, and moving high Renaissance works. The portraits by Lotto are especially attractive and influential due to the in-depth depiction of psychological emotions and traits. Lotte is under the influences of a wide range of artists, such as Giovanni Bellini, Raphael, and Titian but also developed his own stylistic individuality. [2] Neither the sponsor nor the purpose of this portrait has been recorded in history. But we can speculate that it’s commissioned by the young man in the portrait or his family members. This is likely to be one of the painters' non-noble patrons. Although his identity is unknown, according to the mercantile ledger read by men, analyzed by historian scholars, the art patron is a successful and wealthy merchant class that emerged in the 16th century. [3] The purpose of this portrait is more personal. It commemorates the young merchant’s youth and successfully outlasts the commissioner himself to narrate the time. [1] Oettinger, April. "The Lizard in the Study: Landscape and "Otium" in Lorenzo Lotto's "Portrait of a Young Man" (c. 1530)." Artibus Et Historiae 33, no. 65 (2012): 115-25. Accessed September 29, 2020. http://www.jstor.org/stable/23509714. [2] Humfrey, P., D.A. Brown, L. Lotto, M. Lucco, Accademia Carrara, Galeries nationales du Grand Palais (France), and National Gallery of Art. Lorenzo Lotto. Yale University Press, 1997. 1-2 [3] “Portrait of a Young Man, or Portrait of a Gentleman in His Study.” Accessed September 29, 2020. http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study. Creator An entity primarily responsible for making the resource Lorenzo Lotto Source A related resource from which the described resource is derived Humfrey, P., D.A. Brown, L. Lotto, M. Lucco, Accademia Carrara, Galeries nationales du Grand Palais (France), and National Gallery of Art. Lorenzo Lotto. Yale University Press, 1997. 1-2 Oettinger, April. "The Lizard in the Study: Landscape and "Otium" in Lorenzo Lotto's "Portrait of a Young Man" (c. 1530)." Artibus Et Historiae 33, no. 65 (2012): 115-25. Accessed September 29, 2020. http://www.jstor.org/stable/23509714. “Portrait of a Young Man, or Portrait of a Gentleman in His Study.” Accessed September 29, 2020. http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study. Image Source: GALLERIE DELL'ACCADEMIA DI VENEZIA. Portrait of a Young Man. 2020. Gallerie Accademia, Venezia. Accessed September 30, 2020 <a href="http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study">http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study</a> Publisher An entity responsible for making the resource available Image Source: GALLERIE DELL'ACCADEMIA DI VENEZIA. Portrait of a Young Man. 2020. Gallerie Accademia, Venezia. Accessed September 30, 2020 <a href="http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study">http://www.gallerieaccademia.it/en/portrait-young-man-or-portrait-gentleman-his-study</a> Date A point or period of time associated with an event in the lifecycle of the resource c. 1527 Contributor An entity responsible for making contributions to the resource Liuren Yin Format The file format, physical medium, or dimensions of the resource Oil on canvas, 97 x 110 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Plaque_with_the_Personification_of_Africa_[_]/l_ps1_52150_fnt_dd_t16-tms.jpg fd71e7348881f40b0d3b4dd9f38e8fdf 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 Plaque with the Personification of Africa (?) Subject The topic of the resource A woman depicted as a huntress, possibly an allegorical figure representing Africa Creator An entity primarily responsible for making the resource Anonymous Venetian, Milanese, or Umbrian Source A related resource from which the described resource is derived <ul> <li>Kaplan, Paul H. D. “Isabella d’Este and Black African Women.” In Black Africans in Renaissance Europe, edited by Thomas Earle and Kate J. P. Lowe, 125-54. Cambridge: Cambridge University Press, 2005.</li> <li>Lowe, Kate. “Introduction: The Black African Presence in Renaissance Europe.” In Black Africans in Renaissance Europe, edited by Thomas Earle and Kate J. P. Lowe, 1-14. Cambridge: Cambridge University Press, 2005.</li> <li>Spicer, Joaneath. “European Perceptions of Blackness as Reflected in the Visual Arts.” In Revealing the African Presence in Renaissance Europe, edited by Joaneath Spicer, 35-60. Baltimore: The Walters Art Museum, 2012. Exhibition catalog.</li> <li>The Walters Art Museum. “Plaque with the Personification of Africa (?)” Accessed September 30, 2020. <a href="https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/">https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/</a></li> </ul> <a href="https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/">Image Source: The Walters Art Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1550-1575 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Creative Commons License Format The file format, physical medium, or dimensions of the resource Stamped gilded iron, 14.2 x 7.2 cm 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 The Walters Art Gallery, Baltimore, USA Description An account of the resource The ebony, semi-nude body of a woman emerges from a gold ground, positioned in a decorative niche as an allegorical figure. She is in motion, with one foot lifted as she stands in contrapposto, one arm raised to grasp a loop of billowing drapery near her head and the other crossing her body, pointing past the cloth that curves around her hip and flutters in an imagined breeze. The voluptuous, sensuous figure depicted here is believed to represent Africa with her exotically patterned fabric, huntress’ boots [1] and gold bands around her arms, neck, and chest. It is unclear whether the gold atop her head is cloth woven into a turban or tresses styled in an elaborate European coiffure. Though she is figured as a non-European, her dynamic figure is contained by European architecture, framed by all’antica columns and a geometrically-patterned, perspectival floor. Joaneath Spicer has provided an overview of the range of functions of images of people of color in early modern European art, from status symbols to allegorical foils. This image could be categorized both as a display of the worldliness, wealth, and political power of its owner, as well as an expression of an artist’s mastery of a medium – perhaps participating in the tradition of the black Venus type. Spicer has shown that luxurious mediums with a naturally black or brown hue such as iron, onyx, black marble, bronze, and rosewood were used to depict black African bodies in a dual representation of beauty and exoticism [2]. Little is known about the circumstances of the commission of this relief, though the curators at the Walters Museum have compared it to plaques used to decorate a casket commissioned by Emperor Maximilian II [1]. Images such as this were used to celebrate the expansion of European discovery of the world, and accompanied rising investments in European hegemony and cultural narratives that positioned Europe as the refined, intellectual continent with Africa, Asia, and America as foils. While this figure image may have been intended to convey messages of European conquest and global knowledge, she also possesses power and dignity as a beautiful huntress, dominating the space prescribed for her. As an allegorical figure, she is allowed a greater range of motion and activity than a depiction of a historical European woman (see, for example, the placid, bust-length portraits of <a href="https://venice.dahvc.org/fall-2020/items/show/27">Veronica Franco</a>, <a href="https://venice.dahvc.org/fall-2020/items/show/28">Tullia d’Aragona</a>, and <a href="https://venice.dahvc.org/fall-2020/items/show/25">Cameria</a>). Her motion may be compared to that of <a href="https://venice.dahvc.org/fall-2020/items/show/26">Corisca</a>, who manages to outwit and elude her captor. [1] “Plaque with the Personification of Africa (?)” The Walters Art Museum, accessed September 30, 2020. <a href="https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/">https://art.thewalters.org/detail/24252/plaque-with-the-personification-of-africa-/</a> [2] Joaneath Spicer, “European Perceptions of Blackness as Reflected in the Visual Arts,” in Revealing the African Presence in Renaissance Europe, ed. Joaneath Spicer (Baltimore: The Walters Art Museum, 2012), 4. https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/St._Jerome_In_His_Study/ARTSTOR_103_41822000462703.jpg a0e88f54cab06d7951aa3fa5512e14b5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. Jerome In His Study Subject The topic of the resource Antonello da Messina's St.Jerome in his study differs from his previous depictions of the saint. St.Jerome is shown as an middle aged man in this painting with distinct facial features. Jerome was a monk and a scholar who compiled the Latin vulgate translation of the Bible. [1] He was a penitent hermit who lived out his life distanced from the rest of society. Countless portrayals of the saint either depict him doing some scholarly activity or standing in front of a cruxifix stiking his breast with a stone. [2]. This painting was commissioned during the Catholic counter-reformation to paint Catholic ideologies and views in a warm light. Description An account of the resource One of the first thing that sticks out at the viewer when looking at Messina's painting is the architecture that he frames the picture in. A yellow or tan limestone arch that is in the Venetian architectural style stands in front of the audience to create a sense of grandeur. The clean curves and edges of the arch are designed carefully maintain a visually appealing aestethic. A peacock, a pigeon, and a golden bowl lie on a step that is part of the arch just, below the view into St. Jerome's study. Both birds have a symbolic meaning to them. The peacock represents the idea of immortality, while the pigeon represents the Catholic Church. These ideas challenge the protestant reformation while also complementing each other since the Catholic Church believes in eternal life after death. As we glimpse inside of the arch, St. Jerome sits at his study, a wooden step-like structure, reading a book. He sits in a very scholarly position, donning red cardinal robes that were awarded to him posthumously[3]. The robes show the hyperrealism that the artist was going for by flowing in the most natural way possible. The books that surround the saint on the shelves only reinforce that he was a scholarly man. To the left of the saint's feet you can see a cat along with two potted plants. On the right is a small chest with a doge's hat resting on top of it. Slightly behind the chest is a lion walking away from the viewer down a hallways of arcades. This lion is in fact St.Jerome, and the robes on the chest are the ones that he has shed as he has become a lion. Above the Saint Jerome are arches of the gothic style that serve to show the status and wealth of not only the saint, but of the church. Through the windows in the back of the image we are given a view of the natural world. On the two windows on the lower floor there are rolling hills of lush green and countless bushes and trees. Outside the windows on the upper level of the building, birds can be seen flying around freely. The floor of this painting is one of the most important aspects to the perspective of the viewer. The design of these tiles makes the image seem to be three dimensional with long hallways and spanning arches. The fact that his work is a painting allows for the effect that we are glimpsing into a window by allowing the artist to carefully create shadows that reinforce the image's three-dimensionality. It also allows the painter to create more constrast between the more muted colors of shadows and the archway and vibrant tones of the books and saint's robes. [1] ANTONELLO DA MESSINA (active 1456—died 1479), Saint Jerome in his Study." In The National Gallery Companion Guide, by Erika Langmuir. 2nd ed. The National Gallery, 2016. [2] Jolly, Penny Howell. "Antonello Da Messina's 'St Jerome in His Study': A Disguised Portrait?" The Burlington Magazine 124, no. 946 (1982): 27-29. [3]Kim, Young Richard. ""Jerome and Paulinian, Brothers"." Vigiliae Christianae 67, no. 5 (2013): 517-30. Creator An entity primarily responsible for making the resource Antonello da Messina Source A related resource from which the described resource is derived "ANTONELLO DA MESSINA (active 1456—died 1479), Saint Jerome in his Study." In The National Gallery Companion Guide, by Erika Langmuir. 2nd ed. The National Gallery, 2016. http://proxy.lib.duke.edu/login?url=https://search.credoreference.com/content/entry/ngcg/antonello_da_messina_active_1456_died_1479_saint_jerome_in_his_study/0?institutionId=2558 Jolly, Penny Howell. "Antonello Da Messina's 'St Jerome in His Study': A Disguised Portrait?" The Burlington Magazine 124, no. 946 (1982): 27-29. Accessed October 7, 2020. http://www.jstor.org/stable/880603. Kim, Young Richard. ""Jerome and Paulinian, Brothers"." Vigiliae Christianae 67, no. 5 (2013): 517-30. Accessed October 7, 2020. http://www.jstor.org/stable/42003525. Antonello, da Messina, 1430?-1479. St. Jerome in his study. https://library.artstor.org/asset/ARTSTOR_103_41822000462703. Publisher An entity responsible for making the resource available Antonio Pasqualino Date A point or period of time associated with an event in the lifecycle of the resource 1475 Contributor An entity responsible for making contributions to the resource Darien Sansosti Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource 46 x 36 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art of London; London, England https://venice.dahvc.org/fall-2020/files/original/Saint_Jerome_in_his_Study/N-1418-00-000032-wpu.jpg c9f2691b3b8091a8fab9f160d71c7200 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Jerome in his Study Description An account of the resource This painting is painted by Antonello da Messina depicting a scene of Saint Jerome in his study space by offering a scope into the saint’s living space as we are looking into a doll’s house. St. Jerome was born in the fourth century, he is known for establishing a monastery in Bethlehem and translating the Bible from Greek to Latin [1]. Overall, the painting was created with a Venetian aesthetic, but it also incorporates many traits of Netherlandish painting. For example, Saint. Jerome’s study is a Gothic cathedral architecture that was inspired by Netherlandish paintings [2]. Antonello’s skill was at the peak stage when he created this painting. He perfectly adopted the use of oil paint to recreate the textures of various objects, ranging from the shiny ceramic tiles on the floor to the dull texture of the book on the shelf. If the viewer looks carefully into the painting, their focus will be grasped by the book on the table and the hand of St. Jerome by the highlight of the lighting factor. This was done on purpose by Antonello to honor St. Jerome’s status and his contribution to the Catholic Church. Throughout the painting, the viewer can find many symbolic items that are connected with St. Jerome. In the bottom part of the painting, there is a peacock and partridge standing peacefully on the stair. The peacock is symbolizing immortality and the partridge symbolizes the truth. The lion on the right side implies the story when St. Jerome pulled a thorn out of its paw. And the pyxes on the shelf would refer to Mary’s womb. This painting has included a vast amount of details and the adopted special techniques that have made this painting recognized as one of the finest artworks produced by Antonello. [1] “Saint Jerome in his Study” The National Gallery of UK, Accessed on October 24, 2020. https://www.nationalgallery.org.uk/paintings/antonello-da-messina-saint-jerome-in-his-study [2] Jolly, Penny Howell. "Antonello Da Messina's Saint Jerome in His Study: An Iconographic Analysis." The Art Bulletin 65, no. 2 (1983): 238-53. doi:10.2307/3050320. Creator An entity primarily responsible for making the resource Antonello da Messina Source A related resource from which the described resource is derived “Saint Jerome in his Study” The National Gallery of UK. Accessed on October 24, 2020. https://www.nationalgallery.org.uk/paintings/antonello-da-messina-saint-jerome-in-his-study Jolly, Penny Howell. "Antonello Da Messina's Saint Jerome in His Study: An Iconographic Analysis." The Art Bulletin 65, no. 2 (1983): 238-53. doi:10.2307/3050320. Jolly, Penny Howell. "Antonello Da Messina's 'St Jerome in His Study': A Disguised Portrait?" The Burlington Magazine 124, no. 946 (1982): 27-29. http://www.jstor.org/stable/880603. Ridderbos, Bernhard. "Antonello's 'Saint Jerome in His Study'." The Burlington Magazine 124, no. 952 (1982): 449 . http://www.jstor.org/stable/880731. Publisher An entity responsible for making the resource available The National Gallery of UK https://www.nationalgallery.org.uk/paintings/antonello-da-messina-saint-jerome-in-his-study Date A point or period of time associated with an event in the lifecycle of the resource 1475 Contributor An entity responsible for making contributions to the resource Emily Song Format The file format, physical medium, or dimensions of the resource Oil on lime, 45.7 cm x 36.2 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery of UK https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Portrait_of_a_Lady_[Veronica_Gambara]/Correggio_Ritratto_di_dama_c.1517-1518.jpg f189480425b862107305359be7565fdd 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 a Lady (Veronica Gambara) Subject The topic of the resource Portrait of the Venetian Poet Veronica Gambara Creator An entity primarily responsible for making the resource Antonio da Correggio Publisher An entity responsible for making the resource available The Hermitage Museum, Saint Petersburg, Russia Date A point or period of time associated with an event in the lifecycle of the resource ca. 1517 - 1520 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, 102.0 x 86.0 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 The Hermitage Museum, Saint Petersburg, Russia Description An account of the resource In a pastoral setting of a symbolic laurel and a changeable blue sky, the poet is placed in the imaginary domain of her works. With a half-smile, she turns toward the viewer from her three-quarter pose, apparently seated on the grass or perhaps a log out of view. With dramatically bloused white sleeves and a contrasting black velvet overdress that exposes a smooth expanse of her shoulders, the lady is fashionable, attractive, and modest with no hint of décolletage. Her braided hairnet secured with a jewel marks her as a woman of means, noble bearing, and is perhaps an allusion to her great intellect – other women with exceptional knowledge and creative talent were sometimes depicted with wild hair or turbans to express their genius. It has been suggested that the sitter is Veronica Gambara, who was widowed in 1518. Details suggesting marital loss include the black overdress, the inscription on the silver chalice alluding to sorrow and memory, and the ivy, symbolic of fidelity and undying love [1]. Upon her husband's death, Gambara became the ruler of the court of Correggio, where she developed a thriving literary salon and produced poetry of her own. [1] “Portrait of a Lady,” Hermitage Art Museum, accessed October 2, 2020. <a href="https://www.arthermitage.org/Correggio/Portrait-of-a-Lady.html">https://www.arthermitage.org/Correggio/Portrait-of-a-Lady.html</a> Source A related resource from which the described resource is derived <ul> <li>Adani, Giuseppe. Correggio pittore universale. Cinisello Balsamo: Silvano, 2007.</li> <li>Hermitage Art Museum. “Portrait of a Lady.” Accessed October 2, 2020. <a href="https://www.arthermitage.org/Correggio/Portrait-of-a-Lady.html">https://www.arthermitage.org/Correggio/Portrait-of-a-Lady.html</a></li> <li>Lucco, Mauro. Mantegna a Mantova 1460-1506. Milan: Skira, 2006. Image Source: Hermitage Art Museum</li> </ul> https://venice.dahvc.org/fall-2020/files/original/Ponte_di_Rialto/92.jpg b30adc1a9d5bd9e72fddc9dfd8956857 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 Ponte di Rialto Description An account of the resource This bridge, one of four that traverse the Grand Canal, is an icon of Venice and offers quick passage to the city's main financial district Rialto. The bridge itself is a stone-arch with three lanes and two rows of shops. Creator An entity primarily responsible for making the resource Antonio da Ponte, Antonio Contino Source A related resource from which the described resource is derived https://www.britannica.com/topic/Rialto-Bridge Publisher An entity responsible for making the resource available The city of Venice Date A point or period of time associated with an event in the lifecycle of the resource 1591 Contributor An entity responsible for making contributions to the resource Vik Manocha Format The file format, physical medium, or dimensions of the resource 25 meters long, 20 meters wide, and 7 meters high Type The nature or genre of the resource Bridge Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Venice, Veneto, Italy https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Scala_dei_Giganti/Scala_dei_Giganti.jpg 1c44e5e8cff95742bfc25f4e762cad06 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Scala dei Giganti Creator An entity primarily responsible for making the resource Antonio Rizzo Source A related resource from which the described resource is derived Fenlon, Iain, Piazza San Marco, (Cumberland: Harvard University Press, 2009), Accessed September 13, 2020, ProQuest Ebook Central. Muir, Edward, "Images of Power: Art and Pageantry in Renaissance Venice," The American Historical Review 84, no. 1 (1979): 16-52, doi:10.2307/1855658. Rizzo, Antonio, (Italian architect and sculptor, born before 1440, died 1499 or after) sculptors. 1486-1497 (creation). Scala dei Giganti, View: full, View from inside the passage. stairs. Place: Palazzo Ducale (Venice, Italy)Venice, Venezia, Veneto, Italy. https://library.artstor.org/asset/HUCB_SHARE_109913123485. Wiebke Pohlandt, "Antonio Rizzo," Jahrbuch Der Berliner Museen 13, (1971): 162-207, doi:10.2307/4125724. Wolters, Wolfgang, "Rizzo, Antonio," Grove Art Online, 2003; Accessed 13 Sep. 2020. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000072338">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000072338</a>. Publisher An entity responsible for making the resource available Doge Foscari Date A point or period of time associated with an event in the lifecycle of the resource c. 1486-1497 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource © Loren Partridge Format The file format, physical medium, or dimensions of the resource Limestone and colored marble, originally partially gilt Type The nature or genre of the resource Sculpture/Architecture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice, Italy Description An account of the resource The Scala dei Giganti, which is depicted, is an entrance to the Doge’s Palace. Made of limestone and marble, this staircase is one of many representations of Venetian power and wealth. Although the staircase itself was commissioned to Antonio Rizzo, it is important to recognize that its title is derived from the two sculptures that stand tall at the top of the staircase. Translated into English, Scala dei Giganti literally means “staircase of giants” and refers to the two mythological figures at the top. Standing at the base of the staircase, immediately the quatrefoil design in the base in front of the steps is noticed. When approaching the staircase as depicted in the image, it is important to recognize the role of the two statues at the top: Mars and Neptune. While their symbolic meaning is important, we shall focus on the image for now. Both sculptures create vertical lines, creating a space in between in which the viewer’s eyes follow. As the viewer climbs the steps, the eyes follow the railing of the staircase (which are embedded with high relief imagery) to the two arches flanking the staircase that are below the feet of the sculptures. In their own niches, a coat of arms is shown on each arch, with two divine figures pointing to the coat of arms in high relief. Upon reaching the top of the flight, the viewer is overcome by the two sculptures, Mars (left) and Neptune (right), which stand in contrapposto, another characteristic of Roman art that had made its way into Venetian culture. Mars, the Roman god of war, is depicted as muscular, with a shield behind his right leg and a Roman war helmet on his head. Adjacent to him stands Neptune, the god of the sea, who is also depicted as muscular, with great detail being put into his hair, almost giving the sculpture and sense of animation and fluidity. Both vertical lines of the sculptures lead up to a sculpture of St. Mark’s lion, embedded into the arcade behind the two Roman gods. Each arch has a mixture of high and low relief motifs that lead down towards the doric pilasters which are assimilated into the facade. Given that Venice was an expanding state, with its foreign interests ranging from Milan to the Eastern Mediterranean, it was important that Venice built on this concept of power and righteousness. By incorporating the Roman gods--Mars and Neptune--not only does Venice make the statement that they are powerful on both land and sea, but Venice also makes the statement that they have a seat at the international table with just as much, if not more, authority and power than Rome. This, in conjunction with the fact that this staircase was used for royal processions as well as welcoming honorary guests from foreign lands, serves as strong evidence for the self-promotion of the Venetian state. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Corisca_and_the_Satyr/1920px-Corisca_and_the_Satyr_by_Artemisia_Gentileschi.jpg 81be598ca012142bea954fb13c89981f 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 Corisca and the Satyr Subject The topic of the resource Corisca, a nymph in Battista Guarini's Il Pastor Fido, evades a satyr through deception Creator An entity primarily responsible for making the resource Artemisia Gentileschi (with Massimo Stanzione) Date A point or period of time associated with an event in the lifecycle of the resource ca. 1630-1635 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, 155.0 x 210.0 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 Luciano Pedicini Collection, Naples, Italy Description An account of the resource In this painting, we see a young woman fleeing a satyr seated upon the ground. Gentileschi highlights Corisca's movement through the figure's spatial dominance of the picture plane and her billowing garments with highly articulated drapery. Her figure leans diagonally away from the satyr, who parallels her motion, leaning forward to reach for her. Corisca's bright white, gold, purple and green clothes draw the viewer’s eye and position her as the protagonist of the scene through their contrast with the dark, monotonous landscape. The satyr recedes into the background, the lower half of his body barely distinguishable from the dark ground. With his body mainly cast in shadow, the light on his forehead and left shoulder draw attention to his enlarged, pointed ear which marks him as Other. Further creating contrast between the two figures are the exposed expanses of their skin: the satyr's muscular brown torso and arms, and Corisca's bared arms, chest, and front foot, lit by an unidentified source. The differences in their coloring may have been used as tropes of light and dark to communicate their information about the characters' virtue to an early modern audience. Artemisia Gentileschi collaborated with fellow painter Massimo Stanzione to create this image – their individual contributions may be identified through the differing brushstrokes used to depict the figures and the background. While Corisca and the satyr are painted with seamless, virtuosic strokes, the tree, hills and sky behind them are more painterly, that is, the brushstrokes themselves are more visible. This contrast was likely intentional as the narrative depicted belongs to a play: the realistic figures could be understood as interacting in an artificial setting as actors on a stage. In the early 1630s when this painting is believed to have been produced, Artemisia Gentileschi was working for the Duke of Alcala, the Spanish Viceroy of Naples. Prior to Naples, Artemisia had spent four years in Venice, though no known work from this period has survived [1]. It was likely in Venice that she encountered Battista Guarini's play Il Pastor Fido, which became extremely popular throughout Europe and was reprinted multiple times after 1585 [2]. In the scene depicted, the nymph Corisca tricks the satyr by wearing a wig, enabling her to escape his sexual advances while he is left grasping at the wig, surprised to have lost his prey. In early modern Italy this narrative was often understood as a moralizing message for men to beware the wiles of women. Mary Garrard has reinforced the narrative’s connection to Venetian literary circles and reads it as a political statement of an active woman capable of outsmarting a man [3]. [1] Jesse Locker, Artemisia Gentileschi: The Language of Painting (New Haven: Yale University Press, 2015), 4, 85. [2] Jesse Locker, “Artemisia Gentileschi: The Literary Formation of an Unlearned Artist,” in Artemisia Gentileschi in a Changing Light, ed. Sheila Barker (Turnhout: Harvey Miller, 2017), 97. [3] Mary D. Garrard, “Identifying Artemisia: The Archive and the Eye,” in Artemisia Gentileschi in a Changing Light, ed. Sheila Barker (Turnhout: Harvey Miller, 2017), 31. Source A related resource from which the described resource is derived <ul> <li>Garrard, Mary D. “Identifying Artemisia: The Archive and the Eye.” In Artemisia Gentileschi in a Changing Light, edited by Sheila Barker, 11-40. Turnhout: Harvey Miller, 2017.</li> <li>Locker, Jesse. Artemisia Gentileschi: The Language of Painting. New Haven: Yale University Press, 2015.</li> <li>Locker, Jesse. “Artemisia Gentileschi: The Literary Formation of an Unlearned Artist.” In Artemisia Gentileschi in a Changing Light, edited by Sheila Barker, 89-102. Turnhout: Harvey Miller, 2017. Image Source: Art Tribune, January 2012. http://www.artribune.com/wp-content/uploads/2012/01/ART_24_bassa_1.jpg</li> </ul> Publisher An entity responsible for making the resource available Image Source: Art Tribune, January 2012. http://www.artribune.com/wp-content/uploads/2012/01/ART_24_bassa_1.jpg Rights Information about rights held in and over the resource Public Domain. Image Source: Art Tribune, January 2012. http://www.artribune.com/wp-content/uploads/2012/01/ART_24_bassa_1.jpg https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Moderata_Fonte/Meritodelledonne007.jpg 6feebc123a3826cc412489d5c1c247b2 https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Moderata_Fonte/Meritodelledonne001.jpg d602732ddf4275dd9d3dc6b9c5799b8e https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Moderata_Fonte/Moderata_Fonte.png a37688c3a4ab46ad14de744ee8089e16 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 Moderata Fonte Subject The topic of the resource Portrait of Moderata Fonte (Modesta Dal Pozzo) printed in her book Il merito delle donne (1600) Creator An entity primarily responsible for making the resource Artist Unknown; printed by Domenico Imberti Source A related resource from which the described resource is derived <ul> <li>Deslauriers, Marguerite. "Patriarchal Power as Unjust: Tyranny in Seventeenth-Century Venice." British Journal for the History of Philosophy 27, no. 4 (2019): 718-737.</li> <li>Fonte, Moderata. Il merito delle donne. Venice, 1600.</li> <li>King, Margaret. Women of the Renaissance. Chicago: University of Chicago, 1991.</li> </ul> Image Source: Fonte, Moderata. Il merito delle donne. Venice: Domenico Imberti, 1600. Publisher An entity responsible for making the resource available Domenico Imberti Date A point or period of time associated with an event in the lifecycle of the resource 1600 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 Print, various dimensions Type The nature or genre of the resource Print Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Venice, Italy Description An account of the resource “I await fame and glory in life, and then in death” [1]. Like Tullia d’Aragona’s dialogue, Moderata Fonte’s Il merito delle donne (1600) is a commentary on the dialogues of philosophers and humanists, which were almost exclusively composed of male voices in early modern Italy. In a Venetian garden, virgins, matrons, and crones discuss the soul, knowledge, and virtues; they form a perfect female society in which women gain strength from one another and live autonomously [2]. While Fonte lauds the city of Venice, there is critique embedded in this praise: the political apparatus of Venice was an object of admiration to statesmen throughout Europe, but it remained oppressive to women [3]. The quote above foreshadows the author’s fate: Fonte died in childbirth one day after finishing her book. Eight years after her death, two of her children submitted her book for publication, which means that the author’s portrait is a posthumous portrait. Perhaps for this reason, her portrait is less individualized than the portraits of <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/28">d’Aragona</a> and <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/27">Franco</a>. She wears a fashionable Venetian costume with a starched lace collar and a horned hairstyle that was at one time synonymous with courtesans, though noblewomen also wore it. The intricacy of the lace detailing on her gown and her pearl necklace communicate her status as a reputable lady, yet there is little that is distinct about her appearance. This woodcut print can be understood as a generic image type rather than an individualized portrait of a historic woman. One detail that distinguishes this woman from similar images is the crown of laurel leaves signifying her achievement in letters, an honorific which nearly blends in with her curls, fading from view. Notably absent are the traditional literary attributes of books, letters, or a pen. The image of the author becomes first and foremost the image of anonymized female respectability. [1] Moderata Fonte, Il merito delle donne (Venice, 1600), 4. [2] Margaret King, Women of the Renaissance (Chicago: University of Chicago, 1991), 228. [3] King, Women of the Renaissance, 231.