https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Danae/570px-Tizian_011.jpg cbbf9725cc681774773374d509e89bcf 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 Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived “Danae, 1545 by Titian.” Titian.org. Accessed November 4, 2020. https://www.titian.org/danae.jsp. “Titian's Danaë .” National Gallery of Art, June 19, 2014. https://www.nga.gov/press/exh/3951.html. Zarucchi, Jeanne Morgan. "The Gentileschi "Danaë": A Narrative of Rape." Woman's Art Journal 19, no. 2 (1998): 13-16. Accessed November 4, 2020. doi:10.2307/1358400. Image Source: Titian. 1544. Danaë. painting. Place: Museo e gallerie nazionali di Capodimonte. https://library.artstor.org/asset/SCALA_ARCHIVES_10310197960. Publisher An entity responsible for making the resource available 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 Rafael Salazar-Paranhos 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 69cm 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 e gallerie nazionali di Capodimonte, Naples, Italy Description An account of the resource The painting Danaë, by Titian, was made in 1544 and is located in the Capodimonte Museum in Naples, Italy. The painting was made for Cardinal Alessandro Farnese’s bedroom and is representative of his own mistress. The painting was made for the Cardinal during a visit by Titian to Rome, and it represents both his highly respected side as a distinguished patron along with his womanizer personality [1]. The painting is in fact a mythical interpretation of Ovid’s Metamorphoses text by Titian, much like his other work later in his life. In addition, this is once again a very specific, “love” commission similar to other paintings from the artist, such as Bacchus and Ariadne which had a very particular meaning for Alfonso d’Este. The story of Danaë is quite complex. It involves very detailed parts which Titian is able to perfectly depict. In the image, we can clearly see the main subject Danaë as she lays under a shower of gold. This shower is representative of Zeus and Jupiter, as he disguises himself into Danaë’s locked chamber in order to impregnate her and give her a son in Perseus [2]. The painting not only shows Titian’s ability to adapt stories into visual depictions, but also his talent of manipulating colors and shades. The composition is made up of a carefully calculated Danaë, as she is positioned in a relaxed manner on her bed. She is dressed in white representing her purity and the scene looks to be getting light from an outside source, which mainly highlights the woman, and creates a shadow in the middle of the painting. The gold is also now made more vivid through these shadows which highlights the symbolism of Zeus and shows Danaë’s openness to the situation. This strategy is key to making the woman the center of attention for Titian’s patron Farnese [3]. There is also a baby cupid that lays near her feet, which of course represents love and, in this case, it has done its job as Zeus has made his way into the room. As can be seen, Danaë shows Titian’s ability to control color and utilize symbols to transform a mythological story into a visual representation. He is able to conform to his patron, Farnese, while also displaying his artistic skills with his creative freedom. [1] “Titian's Danaë,” National Gallery of Art (June 19, 2014) [2] Jeanne Morgan Zarucchi, "The Gentileschi "Danaë": A Narrative of Rape," Woman's Art Journal 19, no. 2 (1998): 13-16. [3] “Danae, 1545 by Titian,” Titian.org (2020)