https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/The_Family_of_Darius_before_Alexander/Family_of_Darius_Before_Alexander.png 62ed484794d257beb578206a4f6e370c 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 The Family of Darius before Alexander Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Greaves, Leonard. "The Family of Darius by Paolo Veronese." Journal of the Royal Society of Arts. 94, no. 4725 (1946): 605-06. Accessed October 6, 2020. http://www.jstor.org/stable/41362458. Richter, Jean Paul. "The Family of Darius by Paolo Veronese." The Burlington Magazine for Connoisseurs 62, no. 361 (1933): 181-83. http://www.jstor.org/stable/865338. Veronese. Princeton: Bates and Guild Company, 1904. Image Source: Artstor, accessed October 5, 2020. https://library.artstor.org/asset/ANGLIG_10313766769. Publisher An entity responsible for making the resource available Image Source: Artstor, accessed October 5, 2020. https://library.artstor.org/asset/ANGLIG_10313766769. Date A point or period of time associated with an event in the lifecycle of the resource c. 1565-1567 Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource <div class="value">Public Domain. Image Source: Artstor, accessed October 5, 2020. https://library.artstor.org/asset/ANGLIG_10313766769.</div> Format The file format, physical medium, or dimensions of the resource Oil on canvas, 236.2 x 474.9 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, London, United Kingdom Subject The topic of the resource The family of Darius III of Persia kneels before a forgiving Alexander the Great after being defeated in battle. Description An account of the resource Paolo Veronese’s The Family of Darius before Alexander depicts the family of Darius III pleading for mercy to Alexander. Mistakenly, the king of Persia’s mother addresses not the Greek king but his closest advisor––Hephaestion [1]. Rather than treat them hostilely because of the dishonor shown to him, Alexander shows restraint and thus acts justly. This message resonates strongly with Venetians at the time, who are then engaged in their own conflict with Turkey. As Venice often stresses its connections with Rome and by extension Greece, Veronese underscores the importance of mercy and fairness to the Republic [2]. The painting capitalizes on chaos to bring out its central meaning. Figures are strewn throughout the work, many of whom are unnecessary bystanders having nothing to do with the actions conspiring around Alexander. Included in this we see a dog ready to attack but held at ease by a guard as well as rearing horses in the background. Yet Veronese is able to cut through this turmoil using the natural, calming figure of Alexander in contrapposto. We are further alerted to his domineering presence by his brilliant red-colored robe, which contrasts with the bright purples, whites, and golds that surround him. Furthermore, Veronese directs our gaze towards the general by placing him at the intersection of the natural light source overhead in the painting and the diagonal line running across the painting separating Alexander, his men, and Darius’ family from the background. The work holds more than just one purpose. Not only does it show off the power of Venice and its commissioning family––the Pisanis––in relation to the might of Greece, it allows Veronese to flex his personal abilities as a painter [3]. He is able to show off his mastery of the use of color, texture, and naturalism in his figures on a massive scale (originally intended for the family’s estate). It therefore serves as a calling card to potential patrons and commissioners that pass through the wealthy household. [1] Jean Paul Richter, "The Family of Darius by Paolo Veronese," The Burlington Magazine for Connoisseurs 62, no. 361 (1933): 181. [2] Leonard Greaves, "Paolo Veronese––The Family of Darius before Alexander," Journal of the Royal Society of Arts. 94, no. 4725 (1946): 605. [3] Veronese, Princeton: Bates and Guild Company, 1904, 35.