https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae_[with_Cupid]/danae.jpg dcd686a1d8dd83d195a90d5c1970bbd9 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 Danaë (with Cupid) Creator An entity primarily responsible for making the resource Titian Publisher An entity responsible for making the resource available Commissioner: Cardinal Alessandro Farnese. Image Source: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Date A point or period of time associated with an event in the lifecycle of the resource 1544 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 117 x 69 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 Titian, known as the greatest Italian Renaissance painter of the Venetian school, was known for penetrating human character in his canvases. In many of his paintings, he carefully represented physical beauty and a level of eroticism that has not been matched [1]. Titian’s Danaë, painted in 1544, was a commission made for the Cardinal Alessandro Farnese. It is the first of six versions of the same composition made in the 1540s through 1560s. The painting depicts the myth of Danaë, in which her father (Acrisius) receives a prophecy from an oracle that declares his death would be at the hands of his future grandson. In this composition, Danaë is imprisoned in a tower by her father following the oracle’s warning. Danaë is shown fully naked on a bed of white sheets, used to denote her innocence and virtue [2]. Knowing the consequences, Danaë let herself be seduced and impregnated by Zeus. Zeus, appearing as a shower of gold coins, broke the defenses used by Danaë’s father through this disguise. With a white cloth partially draped across her leg, Danaë’s eyes face the shower of gold coins, representing her acceptance of Zeus into her space. Titian contrasts the direction of her eyes with the direction of her body, which faces towards the frame, once again depicting her openness to Zeus. Danaë’s beauty lives up to the standards of Venetian females as she represents the ideal body with her pale skin [2]. Titian uses subtle details like soft body texture and jewelry to emphasize Danaë as a perfect representation of beauty. The figure of cupid on the right gazes upon the scene at the shower of gold coins as he seemingly leans out of the frame. This action symbolizes his acceptance and support for Danaë’s decision. Titian’s Danaë is known as one of the most erotic and sensual works of the time [1]. Titian creates a tranquil scene where Zeus penetrates through Acrisius’s barrier and impregnates his daughter. This painting is often used to evoke the rivalry between painting in Venice and Rome (specifically Michelangelo’s works). Michelangelo is said to have visited this painting, appreciating it for its coloring and style, but mentioned the lack of Venetians ability to draw [3]. [1] Harold Wethey, Titian (Encyclopedia Britannica) 1, 2. [2] Madlyn Millner Kahr, Danaë: Virtuous, Voluptuous, Venal Woman (The Art Bulletin 60, no. 1, 1978) 47, 48. [3] Zhenya Gershman, Rembrandt: The "I" Witness (Arion: A Journal of Humanities and the Classics, 2011), 65. Source A related resource from which the described resource is derived Wethey, Harold. “Titian.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed November 4, 2020. https://www.britannica.com/biography/Titian. Kahr, Madlyn Millner. "Danaë: Virtuous, Voluptuous, Venal Woman." The Art Bulletin 60, no. 1 (1978): 43-55. Accessed October 30, 2020. doi:10.2307/3049743 Gershman, Zhenya. "Rembrandt: The "I" Witness." Arion: A Journal of Humanities and the Classics, Third Series, 19, no. 2 (2011): 65-91. Accessed November 4, 2020. http://www.jstor.org/stable/41308565. Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960.