1 10 177 https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Last_Supper/Last_Supper.jpg 5b9c2dda197d18a451128118cb1b1186 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 30: Gallerie dell'Accademia (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="https://library.artstor.org/#/asset/24600752">The Last Supper</a> Contributor An entity responsible for making contributions to the resource Ryan Smith Format The file format, physical medium, or dimensions of the resource 365 cm × 568 cm oil on canvas Type The nature or genre of the resource painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Basilica di San Giorgio Maggiore, Venice Creator An entity primarily responsible for making the resource Jacopo Tintoretto Date A point or period of time associated with an event in the lifecycle of the resource 1592-94 Description An account of the resource The Last Supper is an oil on canvas painting Jacopo Tintoretto painted. This Italian Renaissance artist painted this between the years 1592-1594. The scene portrays a frontal view with multiple people sitting parallel from each other. The painting currently resides at the Basilica di San Giorgio Maggiore, Venice inside of the sanctuary on the right wall. The dimensions of this painting are 365 cm x 568 cm. Tintoretto created The Last Supper during the last stages of his career but is also considered one of his prime work of art. In the Last Supper, a lot of secondary characters occupy the center of the painting. The painting is very dim around the edges but close to the middle of the painting is self-illumination lighting this area up. The area that is lit shows off Christ, while some other characters have a small illumination around them. Near the ceiling, you can see angel-like figures flying around. Across the room are very dramatic characters doing different tasks. The room this is taking place in looks very tight but extremely decorative with the multiple patterns o the floor and wall designs. To the far right of this painting, you see a big table of food that’s being served by a woman and a man. Underneath the man is a lady on her knees washing the dirty dishes. Picturing myself in the room I can hear this scene being very loud and rejoiceful. The supernatural elements into the presentation of this piece ultimately pull it together. Source A related resource from which the described resource is derived Pallucchini, Rodolfo. Tintoretto. 27 May 2020, <a href="www.britannica.com/biography/Tintoretto">www.britannica.com/biography/Tintoretto</a>. Zirpolo, Lilian H. “Last Supper, San Giorgio Maggiore, Venice.” Academic Dictionaries and Encyclopedias, <a href="renaissance_art.enacademic.com/374/Last_Supper,_San_Giorgio_Maggiore,_Venice">renaissance_art.enacademic.com/374/Last_Supper,_San_Giorgio_Maggiore,_Venice</a>. Workshop of Jacopo Tintoretto (Italian, 1518-1594). 1580s. Baptism of Christ. Painting. Place: <a href="http://www.clevelandart.org/">The Cleveland Museum of Art</a>, Cleveland, Ohio, USA, Collection: <a href="https://library.artstor.org/asset/24600752">https://library.artstor.org/asset/24600752</a>. Rights Information about rights held in and over the resource Pallucchini, Rodolfo. Tintoretto. 27 May 2020, www.britannica.com/biography/Tintoretto. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/AHSC_ORPHANS_1071313534.jpg a5948c94158ace18aa3fcb807dff2dba Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 30: Gallerie dell'Accademia (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="https://library.artstor.org/#/asset/AHSC_ORPHANS_1071313534">The Tempest</a> Creator An entity primarily responsible for making the resource Giorgione (Giorgio da Castelfranco) Source A related resource from which the described resource is derived Bosch, Lynette M. F. "GIORGIONE'S "TEMPEST" REVISITED." Source: Notes in the History of Art 10, no. 2 (1991): 7-15. Accessed September 30, 2020. <a href="https://www.jstor.org/stable/23202635">http://www.jstor.org/stable/23202635</a>. Dr. James R. Jewitt, “Giorgione, The Tempest,” Smarthistory, April 17, 2020, <a href="https://smarthistory.org/giorgione-the-tempest/">https://smarthistory.org/giorgione-the-tempest/</a>. Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. <a href="https://library.artstor.org/asset/AHSC_ORPHANS_1071313534">https://library.artstor.org/asset/AHSC_ORPHANS_1071313534</a>. “The Tempest (1508).” The Tempest, Giorgione: Analysis, Meaning, 2020. <a href="http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm">http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm</a>. Publisher An entity responsible for making the resource available Commissioner : Gabriele Vendramin Image Source : Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1510 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions Data : Art Images for College Teaching Image Source : Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 31x29" 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 dell"Accademia, Venice, Italy Description An account of the resource The Tempest was created by Giorgione (Giorgio da Castelfranco) around 1510. The enigma behind this painting baffled many historians over the years and there are different interpretations of this painting. This wasn’t on display for many years as it traveled but in the rendition of the Gallerie dell'Accademia, it is now on display. What is very interesting about this painting is that there has been an x-ray analysis done that shows that there was supposed to be another woman where the man is now [1]. This painting is a classic Renaissance landscape. It sets a scene of two figures sitting by a river with a storm approaching. In the right foreground appears a nude woman breastfeeding her child and the baby is protected by her breast and her thigh. She is looking at the audience with a blank expression. There appears to be sunlight in the top left corner shining down onto the nude woman. The beautiful scenery, which is aesthetic variations of plants, along with the nude woman, is illuminated by sunlight that hasn’t been covered by the storm. The left foreground shows a man who is dressed very thrillingly, holding a stave and looking at the naked woman. You can tell he is a member of the Campagnia della Calza, a fraternity composed of young nobles in Venice, because of his two-toned hosiery [1]. He has a white shirt on, a red throw over that looks like a cape, and multi-colored pants. The red really pops in this painting because that is the only red shown throughout the artwork. He casts a shadow on the right side of his body due to the sun's angle right on top of him. In between the two figures appears a small pond which is shaded by the man. The river, on the other hand, is a lighter blue that has reflections of the wildlife on it. The background reveals several things: a city, a stream that turns in a river, a bridge crossing over the river, and a storm with a lightning bolt appearing through the dark clouds. The figures do not seem very worried about this storm approaching. There is a shadow on the buildings in the background either representing rain or the gloomy darkness of the clouds. There have been several interpretations as to what this painting really represents. Marcantonio Michiel portrays this painting as a small landscape with a gypsy and a soldier [2]. To the more specific details, historians believe that the incoming storm has significance. It could have referred to the war of the League of Cambrai or from a biblical point of view, The Flight of Egypt [1]. The town is believed to be either Padua but other historians claim that it signifies Heaven. [1] “The Tempest (1508).” The Tempest, Giorgione: Analysis, Meaning, 2020. http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm. [2] Bosch, Lynette M. F. "GIORGIONE'S "TEMPEST" REVISITED." Source: Notes in the History of Art 10, no. 2 (1991): Page 7. Accessed September 30, 2020. http://www.jstor.org/stable/23202635. https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Sacred_and_Profane_Love/SCALA_ARCHIVES_10310195612.jpg 37a77c66fee494774ba4fe0ae5397c9b 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 <a href="https://library.artstor.org/#/asset/SCALA_ARCHIVES_10310195612" title="Sacred and Profane Love">Sacred and Profane Love</a> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Barolsky, Paul. "Sacred and Profane Love." Source: Notes in the History of Art 17, no. 3 (1998): 25. Cantelupe, Eugene B. "Titian's Sacred and Profane Love Re-examined." The Art Bulletin 46, no. 2 (1964): 219. Goffen, Rona. "Titian's Sacred and Profane Love: Individuality and Sexuality in a Renaissance Marriage Picture." Studies in the History of Art 45 (1993): 124. “Sacred and Profane Love, 1514 by Titian,” Assessed November 16, 2020. <a href="https://www.titian.org/sacred-and-profane-love.jsp">https://www.titian.org/sacred-and-profane-love.jsp</a>. “Sacred and Profane Love by Titian,” Assessed November 16, 2020. <a href="https://borghese.gallery/collection/paintings/sacred-and-profane-love.html">https://borghese.gallery/collection/paintings/sacred-and-profane-love.html</a>. Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1515 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Image Rights: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612</a>. 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 Titian painted Sacred and Profane Love in circa 1515. It was commissioned by Niccoló Aurelio in 1514, a superb chancellor in Venice's city government, on behalf of his matrimony to Laura Bagarotto of Padua [1]. In 1613, this composition was described as "beauty adorned and beauty unadorned," and both figures recommend kinship because they are the identical figure painted twice. If these depicted goddesses actually expressed the idea of Sacred and Profane Love, the left Venus is profane love, and the nude Venus is sacred love. Titian creates two identical Venuses with a Cupid sitting on a sarcophagus shaped fountain in a forest landscape. The sister Venuses, each dominating one half of the painting, express two levels of love, the human and the divine. Each of the elements specifying them contributes to the articulation of this hierarchical relationship [2]. Venus on the left is dressed in a beautiful, baby blue gown with a pink sleeve on her right arm. She is richly dressed, and her gown is commonly recognized as bridal clothing, although in the past, they were said to be typical of a courtesan [3]. She is blonde, sitting on the fountain very peacefully and staring right at the viewer. Venus on the right is nude with a red drape hanging off her shoulder, exposing her body with a white garment across her lap. She is also blonde, holding her weight up with her right hand, and her feet are crossed. She is staring at the other Venus with a pleasant expression on her face. The protagonists are separated by Cupid staring into the fountain and a rose bush in front of the fountain. The center of the painting, containing the two Venuses and Cupid, is more illuminated than the rest of the landscape. The separation of the two Venuses also shows a lighting difference in the background. The background's left side is a cityscape, dark, and crowded; The right side is a pastoral landscape, bright and spacious [4]. The sky is very cloudy, with different shades of blues, and you can see the array of oranges and yellows, depicting a sunset. On this sarcophagus shaped fountain, you can see how the objects carved into the fountain appear to be popping out, expressing a 3D effect. It was noticed a long time ago that Venetian Niccoló Aurelio's coat of arms appears on this sarcophagus, hinting at the commission [5]. [1] Barolsky, Paul. "Sacred and Profane Love." Source: Notes in the History of Art 17, no. 3 (1998): 25. [2] “Sacred and Profane Love, 1514 by Titian,” Assessed November 16, 2020. <a href="https://www.titian.org/sacred-and-profane-love.jsp">https://www.titian.org/sacred-and-profane-love.jsp</a>. [3] “Sacred and Profane Love by Titian,” Assessed November 16, 2020. <a href="https://borghese.gallery/collection/paintings/sacred-and-profane-love.html">https://borghese.gallery/collection/paintings/sacred-and-profane-love.html</a>. [4] Cantelupe, Eugene B. "Titian's Sacred and Profane Love Re-examined." The Art Bulletin 46, no. 2 (1964): 219. [5] Goffen, Rona. "Titian's Sacred and Profane Love: Individuality and Sexuality in a Renaissance Marriage Picture." Studies in the History of Art 45 (1993): 124. Publisher An entity responsible for making the resource available Commissioned by Niccoló Aurelio Image Rights: Titian. c. 1515. Sacred and Profane Love. painting. Place: Galleria Borghese. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612.">https://library.artstor.org/asset/SCALA_ARCHIVES_10310195612.</a> https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Madonna_and_Child_in_a_Landscape/33254-primary-0-nativeres.ptif.jpg c556a23bc5e30f283de19274425b4026 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 23: National Gallery of Art (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="https://library.artstor.org/asset/ANGAIG_10313953461">Madonna and Child in a Landscape</a> Description An account of the resource Giovanni Bellini was an Italian Renaissance painter who had a big impact on Venetian painting by adding a more sensuous and coloristic style. Using effects of light with different color hues, Bellini was able to draw attention towards and away from figures in his paintings allowing the viewers to see what values and aspects of Venetian religion he would highlight [1]. His works show an evolution from being purely religious to having some type of emphasis on place and landscape [1]. His painting “Madonna and Child in a Landscape” is a perfect representation of this transition. It was painted in the late 1480s and is an illustration of the Virgin Mary and her baby Jesus. “Madonna” is the Italian term for “our lady,” so this title gives respect for the Virgin Mary. Bellini uses light colors to depict the skin of both the figures while using dark colors for other aspects of the painting including the dark blue cloth draped on Virgin Mary and gloomy shades of green/blue for parts of the landscape like the clouds and grass. I believe he used this striking contrast in color to emphasize the importance of the two figures. Additionally, faint halos can be seen over the head of both the Virgin Mary and baby Jesus, which insinuates that these figures are angelic and of higher being [2]. Bellini represents the love shared between Virgin Mary and baby Jesus as heavenly. While focus is put on these two figures, the landscape does not go unnoticed. By placing Virgin Mary and baby Jesus in a common and informal landscape, Bellini shows how divine beings may live among Venetians. The landscape is filled with vivid shades of green and blue emphasizing the naturalism in the painting. Through this landscape, Bellini shows how Venetians connect to religious beings on a personal level [2]. The use of light and different color shades places emphasis on the Virgin Mary and baby Jesus. However, Bellini makes sure to include these divine beings in a common Venetian landscape to represent how religion is molded into aspects of Venetian life. [1] Giles Robertson, Giovanni Bellini." The Burlington Magazine 92, no. 562 (1950), 25, 26 [2] Helen Cooksey, Madonna and Child in a Landscape, Annual Report (Fogg Art Museum), no. 1972/1974, 62 Creator An entity primarily responsible for making the resource Bellini, Giovani (Italian) Source A related resource from which the described resource is derived Robertson, Giles. "Giovanni Bellini." The Burlington Magazine 92, no. 562 (1950): 25-26. Accessed September 22, 2020. http://www.jstor.org/stable/870405. Helen Cooksey. ""Madonna and Child in a Landscape" by Girolamo Mazzola-Bedoli." Annual Report (Fogg Art Museum), no. 1972/1974 (1972): 58-66. Accessed September 22, 2020. http://www.jstor.org/stable/4301365. Giovanni Bellini, Italian. 1480. Madonna and Child in a Landscape. Painting. Place: The National Gallery of Art (Washington, D.C.), Ralph and Mary Booth Collection. Accessed September 21, 2020. https://library.artstor.org/asset/ANGAIG_10313953461. Thomas B. Cole, MD. “Madonna and Child in a Landscape.” JAMA. American Medical Association, December 21, 2011. Accessed September 22, 2020. https://jamanetwork.com/journals/jama/fullarticle/1104741. Publisher An entity responsible for making the resource available The National Gallery of Art (Washington, D.C.) Date A point or period of time associated with an event in the lifecycle of the resource 1480 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource NGA Images, National Gallery of Art, 4th Street and Constitution Avenue, NW Washington DC 20565, ngaimages@nga.gov Format The file format, physical medium, or dimensions of the resource Oil on Panel, 71.7 cm x 52.8 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC, United States https://venice.dahvc.org/fall-2020/files/original/Saint_Christopher/Saint_Christopher_Titian.jpg 4078d16228c20d21773c5add3f86e3dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="http://www.titian.net/saint-christopher/">Saint Christopher</a> Creator An entity primarily responsible for making the resource Titian Date A point or period of time associated with an event in the lifecycle of the resource 1524 Contributor An entity responsible for making contributions to the resource Seamus Harding Format The file format, physical medium, or dimensions of the resource Fresco; 310 x 186 cm Type The nature or genre of the resource painting (fresco) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice, Italy Source A related resource from which the described resource is derived After Titian. early 16th century. St. Christopher with the infant Christ. drawing. Place: British Museum, http://www.britishmuseum.org/. <a href="https://library.artstor.org/asset/AGERNSHEIMIG_10313152801.">https://library.artstor.org/asset/AGERNSHEIMIG_10313152801.</a> Krén, Emil, and Daniel Marx. “St Christopher.” St Christopher by TIZIANO Vecellio, 1996. https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html. “Saint Christopher.” Saint Christopher by Titian, 2018. <a href="http://www.titian.net/saint-christopher/">http://www.titian.net/saint-christopher/</a>. Phillips, Claude. The earlier work of Titian. No. 34. Seeley, 1897. <a href="https://books.google.com/books?hl=en&lr=&id=K7YVAAAAYAAJ&oi=fnd&pg=PA3&dq=saint+christopher+titian&ots=RFw7aEGzpF&sig=oQhswBjZf7pFtzGfClyvDp_y_PI#v=onepage&q=saint%20christopher%20titian&f=false">https://books.google.com/books?hl=en&lr=&id=K7YVAAAAYAAJ&oi=fnd&pg=PA3&dq=saint+christopher+titian&ots=RFw7aEGzpF&sig=oQhswBjZf7pFtzGfClyvDp_y_PI#v=onepage&q=saint%20christopher%20titian&f=false</a> Wivel, Matthias. "Titian's "St Roch"." Print Quarterly 29, no. 2 (2012): 131-41. Accessed October 27, 2020. <a href="http://www.jstor.org/stable/43826208">http://www.jstor.org/stable/43826208</a>. Publisher An entity responsible for making the resource available Commissioned by the Holy Church Krén, Emil, and Daniel Marx. “St Christopher.” St Christopher by TIZIANO Vecellio, 1996. <a href="https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html.">https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html.</a> Image Rights: After Titian. early 16th century. St. Christopher with the infant Christ. drawing. Place: British Museum, http://www.britishmuseum.org/. <a href="https://library.artstor.org/asset/AGERNSHEIMIG_10313152801.">https://library.artstor.org/asset/AGERNSHEIMIG_10313152801.</a> Description An account of the resource This painting is extraordinary because it survived two extreme fires of the Ducal Palace in 1574 and 1577. Titian created it in 1524, and it is currently in the Ducal Palace, over the staircase leading to the Doge's private apartment. There are few frescos in Venice, this one included, due to the city being built on water, the humidity, and water can seep through the walls, making the plaster peel off the painting. The Saint Christopher painting was Titian's first performance as a frescante since the completion, twelve years previously, of the series at the Scuola del Santo of Paula. This painting has been compared to Titian's St. Roch, implicitly suggesting a contemporaneous date and highlighting the possibility that it reflects a lost painting by the master [1]. In this painting, Saint Christopher appears as a very handsome man with well-formed muscles and strong defined legs. This detail is an excellent way of representing him because he is the patron saint of travelers. His strong body shows us that he is a strong man and capable of doing strong things, such as carrying the Light of the World across this river. Instead of being described as a man of fearsome countenance, he is portrayed as this strong bearded man with tousled hair and fine muscles [2]. Christ is displayed as an adorable baby with chubby legs, and he seems to be enjoying the ride with Saint Christopher. Saint Christopher is dressed in a white, baby blue, and red gown carrying a large branch with leaves on top. He is looking at the baby Jesus, who is wearing a white gown, looking down at the water. The sky is very blue with some clouds, viewing the Bell Tower in the Piazza San Marco and the mountain range surrounding Venice. You can see the beginnings of the mountain range in Venice on a sunny day. This painting is broad and stable in execution, brilliant, and rich in color for a fresco and relatively preserved [3]. At the top of the masterpiece are archways that cover the top of Saint Christopher's branch. Pordenone has created multiple versions, one in the British Museum and one on the wall of a house near the Town Hall of Udine. None of these can beat the original that presents natural beauty and resistless energy. [1] Wivel, Matthias. "Titian's "St Roch"." Print Quarterly 29, no. 2 (2012) [2] “Saint Christopher.” Saint Christopher by Titian, 2018. <a href="http://www.titian.net/saint-christopher/">http://www.titian.net/saint-christopher/</a>. [3] Phillips, Claude. The earlier work of Titian. No. 34. Seeley, 1897. Rights Information about rights held in and over the resource Image and original data provided by the Gernsheim Photographic Corpus of Drawings from photo campaigns that began in 1939. Krén, Emil, and Daniel Marx. “St Christopher.” St Christopher by TIZIANO Vecellio, 1996. <a href="https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html.">https://www.wga.hu/html_m/t/tiziano/02_1520s/4christo.html.</a> Image Rights: After Titian. early 16th century. St. Christopher with the infant Christ. drawing. Place: British Museum, http://www.britishmuseum.org/. <a href="https://library.artstor.org/asset/AGERNSHEIMIG_10313152801.">https://library.artstor.org/asset/AGERNSHEIMIG_10313152801.</a> https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/The_Feast_of_the_Gods/ANGAIG_10313966996.jpg ba5f1831e6a55ef5498b8e7acefde17e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 23: National Gallery of Art (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, Washington, DC Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="https://library.artstor.org/#/asset/ANGAIG_10313966996">The Feast of the Gods</a> Description An account of the resource The Feast of the Gods was created by Giovanni Bellini in 1514 and then later done by Titian in 1529. This painting has a mythological subject matter. This painting is very different from what Bellini mainly produces because it was the end of the first decade of the 16th century and people had more of an interest in the mythological subject matter. The Duke of Ferrara commissioned the Feast of the Gods because he wanted a series of paintings for his studio or the camerino d’alabastro. This painting was an example of restoration that does not have to be done when the painting needs it, such as flaking and its exposure to the elements, but rather the patron’s demands. Titian came in around 1529-1530 and did some interventions to the landscape. The Feast of the Gods came to the National Gallery in 1942, and they discovered that it was painted repeatedly before [1]. We also know that he opens up the sky on the right side because of documentation and x-ray analysis. He helped unify the painted cycle and the other paintings that Titian did for the studio for Duke Ferrera. This painting was most likely based on Ovid’s Fasti as there were many Olympians, gods, and nymphs in this painting. There is a free-like quality of this painting, which is very similar to other Titian paintings. The figures have free-like quality because they are free gallivanting in the woods. Everyone painted is organized in a straight vertical line across the painting in a frozen way. It is very animated because the figures interact with one another, drinking, giving each other glares, and some people are doing things they aren’t supposed to do. This painting is a mythological story brought to life. This painting is placed in a forest because you can see the various trees and a giant hill in the background with more trees. Some of the leaves in the various trees are painted in different colors such as green, light green, dark green, and brownish. The sky is opening on top over the hill with various blue hues and peeking through the trees on the painting’s right side. The scene of this painting is various gods, Olympians, and nymphs having a feast. There are around 20 mythological characters such as Jupiter, Neptune, and Apollo present in this painting, as well as many other gods. They form in a straight line across the lower bottom of the painting in a frieze-like state. The various gods and goddesses are dressed in vibrant clothing with colors such as blue, pink, green, white, and red. This makes viewers eyes’ pop because these colors aren’t used anywhere else in the painting except for the clothing. Everyone is interacting with one another; they are drinking, placing pots and bowls on their heads, and glaring at one another. The gods appear to be having a great time with one another. They are doing things they aren’t supposed to do, laughing, talking, giving glares. They are having a godly party in this forest. A critical tale brought to life is that Priapus, the god of fertility, lifts up the gown of the sleeping nymph, Lotus, shown in the lower right of the painting. He will then be foiled by the loud, obnoxious noise of Silenus’s donkey and everyone laughs at Priapus’s failure. This painting is currently placed in the National Museum of Art on display, as well as several other paintings completed by Bellini. This was a combined masterpiece as Bellini completed it, and Titian added more detail and edited a few things. This painting is significant because it was created when mythological ideas were popular; it was created by two artists (one who completed it and one who added detail and touch-ups to it) and made this mythological story come to life. It is a stunning masterpiece with such meaning and devotion to it. The people reading left to right are: Silenus, Bacchus, Faunus or Silvanus, Mercury, Jupiter, an unidentified goddess holding a quince, a fruit associated in the ancient world with marriage, Pan, Neptune, Ceres, Apollo, Priapus, and Lotis. [1] Bull, David. "The Feast of the Gods: Conservation and Investigation." Studies in the History of Art 45 (1993) Creator An entity primarily responsible for making the resource Giovanni Bellini and Titian Source A related resource from which the described resource is derived Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. <a href="https://library.artstor.org/asset/ANGAIG_10313966996.">https://library.artstor.org/asset/ANGAIG_10313966996.</a> Colantuono, Anthony. "Dies Alcyoniae: The Invention of Bellini's Feast of the Gods." The Art Bulletin 73, no. 2 (1991): 237-56. “The Feast of the Gods,” 2020. <a href="https://www.nga.gov/collection/art-object-page.1138.html">https://www.nga.gov/collection/art-object-page.1138.html</a>. Krén, Emil, and Daniel Marx. “The Feast of the Gods.” The Feast of the Gods by BELLINI, Giovanni, 1996. <a href="https://www.wga.hu/html_m/b/bellini/giovanni/1510-/207feas.html">https://www.wga.hu/html_m/b/bellini/giovanni/1510-/207feas.html</a>. Manca, Joseph. "What Is Ferrarese about Bellini's Feast of the Gods?" Studies in the History of Art 45 (1993): 300-13. Bull, David. "The Feast of the Gods: Conservation and Investigation." Studies in the History of Art 45 (1993): 366-73. Publisher An entity responsible for making the resource available Commissioned by the Duke of Ferrera National Gallery of Art, Washington D.C. Image Rights: Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. <a href="https://library.artstor.org/asset/ANGAIG_10313966996.">https://library.artstor.org/asset/ANGAIG_10313966996.</a> Date A point or period of time associated with an event in the lifecycle of the resource 1514 / 1529 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Courtesy of National Gallery of Art, Washington Image Rights: Giovanni Bellini and Titian, Italian. 1514/1529. The Feast of the Gods. Painting. Place: The National Gallery of Art (Washington, D.C.), Widener Collection. https://library.artstor.org/asset/ANGAIG_10313966996. Format The file format, physical medium, or dimensions of the resource Oil on canvas overall: 170.2 x 188 cm; framed: 203.8 x 218.4 x 7.6 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 Art (Washington, D.C.) Widener Collection https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Doge_Leonardo_Loredan/ANGLIG_10313768375.jpg 75ba2ed716df6100b3d5444ee37419c9 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 <a href="https://library.artstor.org/#/asset/ANGLIG_10313768375">Doge Leonardo Loredan</a> Description An account of the resource The portrait of Doge Leonardo Loredan is one of Giovanni Bellini's most famous paintings, and it is currently in the National Gallery in London, United Kingdom. Doge Leonardo Loredan ruled Venice from 1501 to 1521, and Bellini completed the painting around the time of his inauguration. This painting is also one of Bellini's most admired paintings and one of the best-preserved out of all of his known artworks [3]. Doge Leonardo Loredan was a contentious chief magistrate, but he was also very dominant towards his people. Bellini wanted to capture that mentality in this portrait, and he painted Loredan as a very powerful, meaningful doge. Loredan is dressed in a corno ducale, the official hat, worn over a linen cap, and his formal silk robe with baroque buttons. This painting was inspired both by the Netherlandish Renaissance and the noble portrait busts of Ancient Rome. [1] It expresses the extravagant and aristocratic nature of Venetian artwork. Behind Loredan is a blue background, which contains ultramarine, ultimately showing the direct subject as Loredan. Ultramarine is one of the most costly blue pigments with white mixed in it. [4] This painting appears to be life-like, showing Loredan's wrinkles and his exact facial structure, which viewers might not always get to see up close in artworks. His pale blue eyes express his intelligence because of the intensity of his gaze. He is looking to the right, but the left eye faces the audience more than the right eye. His nose is well defined, casting a shadow on the left side of his nose. He has an earnest face, which extends the sort of gravitas seen in Roman Emperors. [1] It is almost as if he is about to break his pose, going into a one-sided smile or a smirk. He appears to be well lit, having light cover the majority of his face. His face's left side has some shade because of the light angle coming from the right side. Bellini pays much attention to what Loredan was wearing. The silk robe has a beautiful design to it that shows his royalty and wealth. The silk robe and the corno ducale correspond with the white, blue, and green patterns. The corno ducale also appears to have a gold headband that wraps around the official hat. Bellini painted the gold buttons with such devotion, making the silk robe more valuable. Bellini portrays him with a fair amount of life still in him, and the angle of sunlight Bellini uses hints the time of day to be late afternoon or early evening. Across the bottom of the painting, a brown table like structure has a signature in the middle of it. The words represented at the bottom of the portrait are "Ioannes Bellinvs." When zoomed in, the signature has three folds that show four squares. There is some damage to the signature and some differentiation on some of the letters. The signature casts a shadow on the white cartellino with the black letters with even space between each letter. [2] It looks like Bellini added it at the last minute, and his imprint on the table is called a false modesty, which is how Bellini showed his skill at painting a range of materials, reinforcing their different textures by painting the one on top of the other [4]. [1] “Portrait of Doge Leonardo Loredan (1502).” Portrait of Doge Leonardo Loredan, Giovanni Bellini: Analysis, 2020. http://www.visual-arts-cork.com/famous-paintings/doge-leonardo-loredan.htm. [2] Pincus, Debra. "Giovanni Bellini's Humanist Signature: Pietro Bembo, Aldus Manutius and Humanism in Early Sixteenth-Century Venice." Artibus Et Historiae 29, no. 58 (2008): Page 93. Accessed October 5, 2020. http://www.jstor.org/stable/40343651. [3] “The Sainsbury Wing at London’s National Gallery.” 1995. Cortlandt Forum 8 (5): 176. https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9508290503&site=ehost-live&scope=site. [4] “Giovanni Bellini: Doge Leonardo Loredan: NG189: National Gallery, London.” The National Gallery, 2016. https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan. Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Image Source: Giovanni Bellini, active about 1459; died 1516. 1501-2. Doge Leonardo Loredan. Place: The National Gallery, London, Bought, 1844. <a href="https://library.artstor.org/asset/ANGLIG_10313768375.">https://library.artstor.org/asset/ANGLIG_10313768375. </a> “Giovanni Bellini: Doge Leonardo Loredan: NG189: National Gallery, London.” The National Gallery, 2016. <a href="https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan.">https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan.</a> Heath, Elizabeth. "Octavia Hill: The Reluctant Sitter." In Octavia Hill, Social Activism and the Remaking of British Society, edited by Baigent Elizabeth and Cowell Ben, 119-38. London: University of London Press, 2016. Accessed October 7, 2020. doi:<a href="https://www.jstor.org/stable/j.ctv4w3whm.13">10.2307/j.ctv4w3whm.13</a>. “Portrait of Doge Leonardo Loredan (1502).” Portrait of Doge Leonardo Loredan, Giovanni Bellini: Analysis, 2020. <a href="http://www.visual-arts-cork.com/famous-paintings/doge-leonardo-loredan.htm.">http://www.visual-arts-cork.com/famous-paintings/doge-leonardo-loredan.htm.</a> Pincus, Debra. "Giovanni Bellini's Humanist Signature: Pietro Bembo, Aldus Manutius and Humanism in Early Sixteenth-Century Venice." Artibus Et Historiae 29, no. 58 (2008): 89-119. Accessed October 5, 2020. <a href="http://www.jstor.org/stable/40343651.">http://www.jstor.org/stable/40343651.</a> “Portrait of Doge Leonardo Loredan.” Portrait of Doge Leonardo Loredan by Giovanni Bellini, 2020. <a href="http://www.giovannibellini.org/portrait-of-doge-leonardo-loredan/.">http://www.giovannibellini.org/portrait-of-doge-leonardo-loredan/.</a> “The Sainsbury Wing at London’s National Gallery.” 1995. Cortlandt Forum 8 (5): 176. <a href="https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9508290503&site=ehost-live&scope=site.">https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9508290503&site=ehost-live&scope=site.</a> Publisher An entity responsible for making the resource available The National Gallery of UK <a href="https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan">https://www.nationalgallery.org.uk/paintings/giovanni-bellini-doge-leonardo-loredan</a> Image File : Giovanni Bellini, active about 1459; died 1516. 1501-2. Doge Leonardo Loredan. Place: The National Gallery, London, Bought, 1844. <a href="https://library.artstor.org/asset/ANGLIG_10313768375.">https://library.artstor.org/asset/ANGLIG_10313768375.</a> Date A point or period of time associated with an event in the lifecycle of the resource 1501-1502 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Photograph: ©The National Gallery, London Giovanni Bellini, active about 1459; died 1516. 1501-2. Doge Leonardo Loredan. Place: The National Gallery, London, Bought, 1844. <a href="https://library.artstor.org/asset/ANGLIG_10313768375">https://library.artstor.org/asset/ANGLIG_10313768375.</a> This image is licensed for non-commercial use under a Creative Commons agreement by the National Gallery of UK. Format The file format, physical medium, or dimensions of the resource Oil on poplar; 61.6 x 45.1 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery, London, United Kingdom https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae_with_Cupid/ARTSTOR_103_41822000941995.jpg a0eab98e6ca9c16abbbd30d6e041b4cb 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 4: Gallerie degli Uffizi or Capodimonte Museum 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 degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="https://library.artstor.org/#/asset/ARTSTOR_103_41822000941995">Danaë with Cupid</a> Creator An entity primarily responsible for making the resource Titian Date A point or period of time associated with an event in the lifecycle of the resource 1545-46 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Data from: University of California, San Diego Titian, ca. 1488-1576. [n.d.]. Danae with Cupid. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000941995">https://library.artstor.org/asset/ARTSTOR_103_41822000941995</a>. Format The file format, physical medium, or dimensions of the resource Oil on canvas; 121 x 172 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 Museum of Capodimonte, Naples, Italy Description An account of the resource The Danaë with Cupid by Titian is the earliest version of this painting, and it was created in 1545-46. The Danaë with Cupid was a commission for Cardinal Farnese, and he did not seem too worried about the ecclesiastical office interfering with his lifestyle. It actually hung in his bedroom throughout most of Farnese’s life. Titian had a love for the gods, and it became a favorite theme of Titian’s princely patrons. He became the greatest and most influential interpreter of works of art from the ideas in Ovid’s Metamorphoses and other literary texts throughout his career. [1] In this theme of the Danaë, some specific psychological ramifications do not frequently find their way overtly into literature or art because they express profoundly disturbing fantasies. This young woman is getting impregnated by the father of all gods, hinting an erotic relationship between father and daughter. [2] Danaë appears naked lying in bed with her white dress over her upper thighs and wrapped underneath her butt, covering up her lady genitalia. This scene represents Danaë having sex with the god Jupiter, who is in the form of a gray shadow. She is very relaxed in bed, looking up at the shadow with gold coins drizzling down from the cloud. She appears to have a visible bracelet and a ring on her right hand. Titian painted her with very human-like characteristics, such as the distinct details in her breasts, body, and legs. She makes up most of the painting’s left side, while a nude angel makes up the right side of the oil on canvas. The angelic baby appears to have dirty blonde hair and is looking at Jupiter as he impregnates Danaë. The two figures are glowing but shades appears from their heads up due the cloud of Jupiter. According to Ovid’s Metamorphoses (IV, 697-8), Danaë was locked up in a tower because of a warning that her father would be killed by any son she bore. Then, Jupiter impregnates her, and she births Perseus, who accidentally kills his grandfather with a discus, thus fulfilling the prophecy. [3] The covers of the bed appear to be white with a reddish brownish blanket at the end of the bed. The angel is stepping on this blanket, watching Jupiter impregnate Danaë. You can see the sky in the background, and it appears very blue. There have been several different Danaë paintings over time, and Titian’s is more related to the textual sources in that they leave it unclear as to whether or not Danaë was a willing participant in the seduction. [4] [1] Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43. Accessed November 1, 2020. <a href="https://www.jstor.org/stable/3049743">doi:10.2307/3049743.</a> [2] “Danaë with Cupid,” March 19, 2019. <a href="https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface">https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface</a>. [3] “National Gallery of Art.” Titian's Danaë, June 19, 2014. <a href="https://www.nga.gov/press/exh/3951.html">https://www.nga.gov/press/exh/3951.html</a>. [4] De Jong, Jan L. "LOVE, BETRAYAL, AND CORRUPTION: "MARS AND VENUS" AND "DANAË AND JUPITER" IN THE PALAZZI STATI-CENCI AND MATTEI DI PAGANICA IN ROME." Source: Notes in the History of Art 19, no. 1 (1999): 23. Accessed November 1, 2020.<a href="http://www.jstor.org/stable/23206713"> http://www.jstor.org/stable/23206713</a>. Source A related resource from which the described resource is derived “Danaë with Cupid,” March 19, 2019. <a href="https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface">https://wallacelive.wallacecollection.org/eMP/eMuseumPlus?service=ExternalInterface</a>. De Jong, Jan L. "LOVE, BETRAYAL, AND CORRUPTION: "MARS AND VENUS" AND "DANAË AND JUPITER" IN THE PALAZZI STATI-CENCI AND MATTEI DI PAGANICA IN ROME." Source: Notes in the History of Art 19, no. 1 (1999): 20-29. Accessed November 1, 2020.<a href="http://www.jstor.org/stable/23206713"> http://www.jstor.org/stable/23206713</a>. Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43-55. Accessed November 1, 2020. <a href="https://www.jstor.org/stable/3049743">doi:10.2307/3049743.</a> “National Gallery of Art.” Titian's Danaë, June 19, 2014. <a href="https://www.nga.gov/press/exh/3951.html">https://www.nga.gov/press/exh/3951.html</a>. Titian, ca. 1488-1576. [n.d.]. Danae with Cupid. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000941995">https://library.artstor.org/asset/ARTSTOR_103_41822000941995</a>. Publisher An entity responsible for making the resource available Commissioned by Sir Richard Worsley; the Yarboroughs of Brocksley Park; Col. C. de W. Sibthorp; his sale, Christie's, 12 April 1856, no. 555; Samuel Mawson for Richard Seymour-Conway, 4th Marquess of Hertford. https://venice.dahvc.org/fall-2020/files/original/October_14_Prado_Museum_[Visual_Analysis]/Saint_Margaret_and_the_Dragon/LESSING_ART_10310120561.jpg 0cfee459e881957fa609af4eafbe916c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October 14: Prado Museum (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Nacional del Prado, Madrid, Spain Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="https://library.artstor.org/#/asset/LESSING_ART_10310120561">Saint Margaret and the Dragon</a> Description An account of the resource Titian created Saint Margaret and the Dragon in ca. 1565 and it is currently in the Museo del Prado in Madrid, Spain. Philip II owned two paintings of this saint: one remains of the Escorial, which came in 1574, and the version in the Museo del Prado has better quality and most likely belonged to Mary of Hungary [1]. Saint Margaret and the Dragon is one of Titian's later masterpieces as he has adapted to the religious-themed Renaissance. Saint Margaret appears in the center of the painting with her left leg in front of the other. It appears as if she is floating in the middle of the painting as well. Titian's painting reminds me of the portrait effect on an iPhone camera because Saint Margaret is clearly present in the center of the artwork and the background around her is blurry. Margaret is wearing an olive green dress over a white shirt with a pinkish scarf around her neck. She is looking down at her right, holding out a cross with her left hand, protecting herself from the black dragon that appears on the right side of the painting. Margaret is a conjurer of beasts because the dragon vaporizes as the cross appears, causing the dragon to explode. The original story portrays that Margaret has been swallowed by the devil, which is in the shape of a dragon, but after she makes the sign of the cross, the creature explodes into many pieces, freeing her and not harming her [2]. Despite the Council of Trent's ban on the representation of such unhistorical events, Titian placed pictorial tradition over ecclesiastical admonitions. There was more of a sense of context because she is inhabiting the wilderness and the visual background is a reference to Venice prior, a city like St. Christopher. The background of this painting presents a burning city, ultimately Venice burning up. When you zoom in on this painting, you see the fires across the skyline with various buildings and boats in the water. This landscape provides an illusionistic interplay with Venice's view burning in the background and the moon shining over the lagoon. Titian used fire frequently in his paintings even if the fire was not literally described in the painting, such as an explosive force [3]. This painting provides both the fire in the background, depicting Venice prior, and the story of Saint Margaret has the devil explode into several pieces due to the cross she was holding. The distinct blue sky is somewhat present in the background but mostly covered by the smoke from the city below. You also can view the rocky cave on the right side of the painting that holds the dragon and a skull in the lower-left corner. [1] “Saint Margaret - The Collection.” The Collection - Museo Nacional del Prado, 2015. <a href="https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.">https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.</a> [2] Kordecki, Lesley. "Margaret and the Dragon: Lydgate's Adoption of the Apocryphal." Preternature: Critical and Historical Studies on the Preternatural 9, no. 1 (2020): 53-75. [3] Hills, Paul. "Titian's Fire: Pyrotechnics and Representations in Sixteenth-Century Venice." Oxford Art Journal 30, no. 2 (2007): 187-204. (187) Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Hills, Paul. "Titian's Fire: Pyrotechnics and Representations in Sixteenth-Century Venice." Oxford Art Journal 30, no. 2 (2007) Kordecki, Lesley. "Margaret and the Dragon: Lydgate's Adoption of the Apocryphal." Preternature: Critical and Historical Studies on the Preternatural 9, no. 1 (2020) “Saint Margaret - The Collection.” The Collection - Museo Nacional del Prado, 2015. <a href="https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.">https://www.museodelprado.es/en/the-collection/art-work/saint-margaret/d41df4be-0e10-43a1-9ed9-44d8e675a3d8.</a> Image Rights: Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. <a href="https://library.artstor.org/#/asset/LESSING_ART_10310120561">https://library.artstor.org/asset/LESSING_ART_10310120561.</a> Publisher An entity responsible for making the resource available Royal Collection (Royal Palace of El Buen Retiro, Madrid, "pinturas recogidas de las Casas Arzobispales", 1747, no. 59; New Royal Palace, Madrid, "paso de tribuna y trascuartos", 1772, no. 59; Royal Palace, Madrid, "pieza azul", 1814-1818?). Image Rights: Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. <a href="https://library.artstor.org/asset/LESSING_ART_10310120561.">https://library.artstor.org/asset/LESSING_ART_10310120561.</a> Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1565 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y. Image Rights: Titian. 1540-1550. Saint Margaret and the Dragon. painting. Place: Museo del Prado, cat. 445.. <a href="https://library.artstor.org/asset/LESSING_ART_10310120561.">https://library.artstor.org/asset/LESSING_ART_10310120561.</a> Format The file format, physical medium, or dimensions of the resource Oil on canvas; 209 x 183 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo del Prado, Madrid, Spain https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/The_Dream_of_St._Ursula/SCALA_ARCHIVES_1039488911.jpg 677c8c4c87cbbf047a48cf7a12518275 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 9: Scuole Painting Cycles Description An account of the resource Painted in 1495, Vittore Carpaccio's "Dream of Saint Ursula" is a part of his series depicting the tale of Saint Ursula, titled "Stories from the Life of Saint Ursula". "Dream of Saint Ursula" was Carpaccio's fifth painting out of a total of eight in the series, and continued his tendency to paint religious scenery. The legend of Saint Ursula from the north was very popular throughout the Middle Ages, and Carpaccio was commissioned by the Confraternity of Saint Ursula in Venice to tell her story. The legend describes Saint Ursula, a martyr who led 11,000 virgin maidens through travel, all of whom were brutally massacred by the Huns in Cologne. "The Dream of Saint Ursula" in particular depicts Saint Ursula in her bed, and is meant to show her dreaming of the angel who informs Saint Ursula of her impending death and martyrship. Carpaccio is widely praised for his close attention to detail, which he demonstrates magnificently in this painting, showing the room with beautiful ceilings, plants on the windows, a dog laying next to the bed, and the shadowy figures around the room that cast a mysterious and dreamy vibe throughout the painting. Creator An entity primarily responsible for making the resource Carpaccio, Vittore Source A related resource from which the described resource is derived Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula: det.: windows. https://library-artstor org.proxy.lib.duke.edu/asset/ARTSTOR_103_41822001712643 Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926. Ruskin, John. Saint Ursula: I. The Story of St. Ursula. II. The Dream of St. Ursula. Duke Libraries . New York: The Devin-Adair Company, 1912. Det:https://find.library.duke.edu/catalog/DUKE008071078?utm_campaign=bento&utm_content=bento_result_link&utm_source=library.duke.edu&utm_medium=referral Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926 Gronau, Georg. "An Unknown Work by Vittore Carpaccio." The Burlington Magazine for Connoisseurs 44, no. 251 (1924): 59-65. Accessed September 8, 2020. http://www.jstor.org/stable/862109. Publisher An entity responsible for making the resource available The University of California, San Diego Date A point or period of time associated with an event in the lifecycle of the resource 1495 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas – 273cm x 267cm 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 di Venezia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="https://library.artstor.org/#/asset/SCALA_ARCHIVES_1039488911;prevRouteTS=1599341543425">The Dream of St. Ursula</a> Description An account of the resource The Dream of Ursula was created by Vittore Carpaccio in 1495 and is currently placed in the Gallerie dell'Accademia in Venice, Italy. This painting is the fifth canvas out of the nine large paintings in the series "Stories from the Life of St Ursula". Vittore Carpaccio was born in circa 1460 in Venice, Italy and is known as the greatest early Renaissance narrative painter of the Venetian school. The genre scene of the Dream of St. Ursula has been especially praised for its wealth of naturalistic detail [1]. According to the ninth‐century legend, St. Ursula left Britain, where her father was king, to avoid a dynastic marriage to a pagan [2].The context of this image is that Vittore Carpaccio reveals St. Ursula, sleeping in her bed on the left side of the bedroom, encountering a dream by an angel on the right side of the bedroom. Ursula’s eyes are closed and her head is leaning on her right hand, which is by her cheek. The angel, Gabriel, is wearing a blue and black outfit with a bow and arrow in his hands. Gabriel tells her about an imminent martyrdom. There is a heavenly glow behind the angel bringing intense light around the bed frame and into the room next door, but the light is not completely illuminating the room. The patron of this picture is indeed the angel informing St. Ursula of an imminent martyrdom. The room is decorated very well, with various plants on display as well as statues of Hercules and other figures [2]. The walls are green on the bottom and there is a connector that goes all across the walls, separating the lower green walls from the upper cream walls. My walls were like this when I was younger, so I’m happy to see that this design has come a long way. [1] “Vittore Carpaccio.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 2019. https://www.britannica.com/biography/Vittore-Carpaccio. [2] Meyers, Jeffrey. "Carpaccio and D'Annunzio's Il Fuoco." Style 47, no. 2 (2013) [3] Sherman, Deena. “Carpaccio's Dream of St. Ursula.” Sleep and Health Journal Chicago, January 2, 2007. https://www.sleepandhealth.com/carpaccios-dream-st-ursula/. Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Krén, Emil, and Daniel Marx. “The Dream of St Ursula.” The Dream of St Ursula by CARPACCIO, Vittore, 1996. <a href="Kr%C3%A9n,%20Emil,%20and%20Daniel%20Marx.%20%E2%80%9CThe%20Dream%20of%20St%20Ursula.%E2%80%9D%20The%20Dream%20of%20St%20Ursula%20by%20CARPACCIO,%20Vittore,%201996.%20https%3A//www.wga.hu/html_m/c/carpacci/1ursula/2/50dream.html.">https://www.wga.hu/html_m/c/carpacci/1ursula/2/50dream.html.</a> Krén, Emil, and Daniel Marx. The Stories from the Life of St Ursula (1490-96), 1996. <a href="https://www.wga.hu/html_m/c/carpacci/1ursula/index.html">https://www.wga.hu/html_m/c/carpacci/1ursula/index.html.</a> Meyers, Jeffrey. "Carpaccio and D'Annunzio's Il Fuoco." Style 47, no. 2 (2013): 185-92. Popham, A. E. "Drawing by Vittore Carpaccio." The British Museum Quarterly 9, no. 3 (1935): 83-84. Rodini, Elizabeth. "The Politics of Marriage in Carpaccio's St. Ursula Cycle." Early Modern Women 8 (2013): 85-117. Sherman, Deena. “Carpaccio's Dream of St. Ursula.” Sleep and Health Journal Chicago, 2007. <a href="https://www.sleepandhealth.com/carpaccios-dream-st-ursula/.">https://www.sleepandhealth.com/carpaccios-dream-st-ursula/.</a> Vittore Carpaccio. 1495. Scenes from the Life of Saint Ursula. Saint Ursula's Dream. painting. Place: Gallerie dell'Accademia di Venezia. <a href="https://library.artstor.org/#/asset/SCALA_ARCHIVES_1039488911;prevRouteTS=1599341543425">https://library.artstor.org/#/asset/SCALA_ARCHIVES_1039488911;prevRouteTS=1599341543425</a> “Vittore Carpaccio.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 2019. <a href="https://www.britannica.com/biography/Vittore-Carpaccio.%C2%A0">https://www.britannica.com/biography/Vittore-Carpaccio. </a> Publisher An entity responsible for making the resource available <div></div> <div> <div class="value">University of California, San Diego Image Rights: Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000556629">https://library.artstor.org/asset/ARTSTOR_103_41822000556629</a>.</div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 1495 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Carpaccio, Vittore, 1455?-1525?. c.1495. Image Rights: Legend of St. Ursula: Dream of St. Ursula. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000556629.">https://library.artstor.org/asset/ARTSTOR_103_41822000556629</a>. Format The file format, physical medium, or dimensions of the resource Oil on Canvas; 274 x 267 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