https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Bacchus_and_Ariadne/download.jpg 13aebc5e0dd50a10a1e9db080b28a8a3 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 Bacchus and Ariadne Description An account of the resource Bacchus and Ariadne, painted by Titian ca. 1520-1523, depicts the story of Bacchus, the god of wine, encountering Ariadne, the daughter of King Minos, for the first time. In the painting, we see Bacchus jumping from his chariot in such a haste that his clothes are flying off, as he struck by Ariadne's beauty. As the story goes, told by the Roman poet Ovid, Ariadne has been abandoned by her lover, Theseus. As she watches him sail away, Bacchus' chariot approaches her, and upon seeing her, Bacchus immediately declares his love for her, and proposes, offering to be a better husband to her than Theseus. [1] Titian uses a remarkable amount of detail to capture both the dynamic senses of the scene, as well as more obscure aspects to add depth to the characters' backgrounds. As Bacchus approaches Ariadne, he is surrounded by a seemingly excited group of followers, who carry a strange assortment of times, from a beheaded animal to metal cymbals. As mentioned before, Bacchus' clothing is slipping from his body and blows behind him as Titian captures him in midair. The pink color of the robe is shown in the painting only in Bacchus' clothes, drawing attention to both the haste with which he is jumping off the chariot, as well as the meticulously painted individual folds of the cloth, allowing the observer to truly feel as if it is in motion. Titian uses light to draw attention to Bacchus as well – his skin tone is notably lighter than most of his followers, and he stands in the center of the painting illuminated, demonstrating both his holy presence, as well as how he approaches Ariadne. Titian creates depth and layering of the painting by making Bacchus appear in the foreground and his chariot and followers in the background. The chariot is drawn by two cheetahs, a rather exotic animal, while a small dog faces his followers who carry parts of a beheaded animal. The head of the animal can be seen laying on the ground, towards the foreground of the painting. Titian continues to capture the dynamic scene by painting Ariadne in movement as well, as she appears startled but makes direct eye contact with Bacchus. Her clothing, the beautiful bright blue cloth, also slips away from her figure, and one hand is tucked behind her to hold on to her clothing, while the other is outstretched towards the water, presumably reaching out for Theseus as he leaves her. Titian's use of light and color draws attention to Ariadne in a unique method. While she is mildly highlighted by the coloring of her skin, similar to Bacchus, predominantly, the white and lighter blue clouds in the sky seem to point towards her figure. Around her head, there is a large white cloud, potentially in similar use to a halo, showing her upper-class status, especially as she receives attention from a god. Titian also uses facial expressions to bring to life the interactions between figures. Ariadne looks up at Bacchus with a startled look, but their eye contact suggests interest and connection. [2] Titian's use of color is largely unique to him as an artist – he uses blue as a main feature in the frame, one of the most expensive pigments at the time. The painting was commissioned by Alfonso d'Este, the Duke of Ferrara (1505-1597). As a notable member of upper-class society, the Duke was able to commission various mythological paintings, bringing Titian his first notable commission. [3] Thus, Titian was able to experiment with using expensive colors and styles admired by d'Este. Throughout the painting, Titian is believed to have placed a number of acknowledgments towards d'Este to allude to his appreciations as well as his notable status. While Bacchus' chariot is usually depicted being pulled by tigers or panthers, Titian paints cheetahs, largely believed to be due to d'Este's menagerie with exotic cats at the castle of Ferrara. [4] Ultimately, through Titian's use of pigment, lighting, and dynamic interaction between figures, he brings to life the famous tale of Bacchus and Ariadne, adding unique detail and elements to the series of paintings for Alfonso d'Este. [1] "Bacchus and Ariadne, 1521-23 by Titian" 2018. https://www.titian.org/bacchus-and-ariadne.jsp. [2] Gould, Cecil. The Studio of Alfonso D'Este and Titian's Bacchus and Ariadne: a Re-Examination of the Chronology of the Bacchanals and of the Evolution of One of Them. London: National Gallery. Publ. Dep., 1969. [3] Tiziano, Walter, "Mythological Paintings for the Castle of Ferrara (1516-1524)" 2017. https://www.wga.hu/html_m/t/tiziano/08a/index.html. <div>[4] Swartz, Mark. “Bacchus and Ariadne (1520-23),” no. 8 (1998): 47. https://doi.org/10.2307/25563285.</div> Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library.artstor.org/asset/ANGLIG_10313768527 "Bacchus and Ariadne, 1521-23 by Titian" 2018. https://www.titian.org/bacchus-and-ariadne.jsp. Gould, Cecil. "The Studio of Alfonso D'Este and Titian's Bacchus and Ariadne: a Re-Examination of the Chronology of the Bacchanals and of the Evolution of One of Them." London: National Gallery. Publ. Dep., 1969. Tiziano, Walter, "Mythological Paintings for the Castle of Ferrara (1516-1524)" 2017. https://www.wga.hu/html_m/t/tiziano/08a/index.html. Swartz, Mark. “Bacchus and Ariadne (1520-23),” no. 8 (1998): 47. https://doi.org/10.2307/25563285. Huffman, Kristen. “A Virtual Tour: National Gallery of Art London.” Duke University. Lecture presented at the Duke University, September 2020. Publisher An entity responsible for making the resource available Castle of Ferrara Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. https://library.artstor.org/asset/ANGLIG_10313768527. Date A point or period of time associated with an event in the lifecycle of the resource 1520-1523 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Rights Information about rights held in and over the resource The National Gallery of Art, London Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 176.5cm x 191cm Type The nature or genre of the resource Oil on Canvas Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery of Art, London