https://venice.dahvc.org/fall-2020/files/original/November_11_Metropolitan_Museum_of_Art_or_The_Frick_Collection/Mars_and_Venus_United_by_Love/Mars_and_Venus_United_by_Love.jpg 3dd0f01935b79dbba3ccc7b7597b2502 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 11: Metropolitan Museum of Art or The Frick Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Metropolitan Museum of Art or The Frick Collection, New York, USA 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 Mars and Venus United by Love Description An account of the resource Depicted in this painting are Venus and Mars, looking down as a putti ties their legs together, symbolizing unity through marriage. Mars dons golden armor with high-quality rose colored drapery, almost indicative of movement and animation. On the other hand, Venus is nearly naked, only adorning fine jewelry, specifically pearls, which match the color of her skin tone. The gazes of Mars and Venus, in addition to the line created by their body position, directs the viewer’s attention towards the putti, thus emphasizing the main theme of the painting: unity through love/marriage--as indicated by the title. This concept is further solidified by the shape of the figures’ bodies: together, the figures create an outline of a heart, with the point of the heart meeting where their legs intersect. In addition, the painting doesn’t merely portray the theme of marriage--it develops it, characterizing marriage as a concept that builds upon sacrifice, strength, fertility, and transparency. In the middle ground of the painting, another putti presents Mars’ sword to a calm and tranquil horse. Here we see the concept of sacrifice: it is assumed that Mars forgoes his violence for Venus’s love, symbolized through the actions of the second putti, as well as the tether to which Mars’ horse remains bound to.¹ Returning to the main subject matter, we see the concept of transparency through the white cloth hanging behind Venus. Rather than covering herself for Mars, Venus exposes herself, allowing Mars to see her completely. In addition, we see fertility--Venus cups her right breast, allowing milk to flow--and strength--Mars is sat upon a stone slab with Veronese’s signature, allowing support for himself and Venus who rests upon his shoulder. Unlike many other paintings including representations of Venus which focus on extreme eroticism intended to evoke strong responses, this painting uses Venus, characterized by her lack of clothing as well as the putti, to show the civilizing nature of love.² As mentioned before, even Mars--the Roman god of war and violence--puts down his weapons for love. In addition to Venus’ representation of love, one may argue that Venus serves to represent the role of a wealthy woman in Venetian marriage: although it has been claimed that no amount of female wealth or power could dissolve the male control over Venetian social institutions, the very opposite may be true in private relationships. Despite strong relationships and loyalty to the family of origin, strong bonds in marriage often overpower older, stronger relationships. However, men in Venetian society often found themselves walking a thin line, maintaining a balance between familial relationships and the matrimonial relationship.³ <ol> <li style="font-weight:400;">Richard Cocke, ”Wit and Humour in the Work of Paolo Veronese," Artibus Et Historiae 11, no. 21 (1990): 138-39. Accessed November 9, 2020. doi:10.2307/1483387.</li> <li style="font-weight:400;">Catherine Belsey, "The Myth of Venus in Early Modern Culture," English Literary Renaissance 42, no. 2 (2012): 179-202. Accessed November 9, 2020. <a href="http://www.jstor.org/stable/43607524">http://www.jstor.org/stable/43607524</a>.</li> <li style="font-weight:400;">Stanley Chojnacki, Women and Men In Renaissance Venice: Twelve Essays On Patrician Society, (Baltimore: Johns Hopkins University Press, 2000) <a href="https://hdl.handle.net/2027/heb.04157">https://hdl.handle.net/2027/heb.04157</a>. EPUB.</li> </ol> Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived <ul> <li>Journal Article I: BELSEY, CATHERINE. "The Myth of Venus in Early Modern Culture." English Literary Renaissance 42, no. 2 (2012): 179-202. Accessed November 9, 2020. <a href="http://www.jstor.org/stable/43607524">http://www.jstor.org/stable/43607524</a>.</li> </ul> <ul> <li>Journal Article II: Cocke, Richard. "Wit and Humour in the Work of Paolo Veronese." Artibus Et Historiae 11, no. 21 (1990): 138-39. Accessed November 9, 2020. doi:10.2307/1483387.</li> </ul> <ul> <li>Book: Chojnacki, Stanley. Women and Men In Renaissance Venice: Twelve Essays On Patrician Society. Baltimore: Johns Hopkins University Press, 2000. <a href="https://hdl.handle.net/2027/heb.04157">https://hdl.handle.net/2027/heb.04157</a>. EPUB.</li> </ul> <ul> <li>Museum: “Mars and Venus United by Love.” metmuseum.org, 2020. <a href="https://www.metmuseum.org/art/collection/search/437891">https://www.metmuseum.org/art/collection/search/437891</a>.</li> <li>Image Source: Paolo Veronese (Paolo Caliari) (Italian, Verona 1528-1588 Venice). 1570s. Mars and Venus United by Love. Painting, Paintings. Place: <A HREF=https://www.metmuseum.org/>The Metropolitan Museum of Art</A>. <a href="https://library.artstor.org/asset/SS7731421_7731421_11764786">https://library.artstor.org/asset/SS7731421_7731421_11764786</a>.</li> </ul> Publisher An entity responsible for making the resource available Possibly commissioned by Emperor Maximilian II Date A point or period of time associated with an event in the lifecycle of the resource 1570s Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource The person who associated a work with this deed has dedicated the work to the public domain by waiving all of his or her rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 205.7 x 161 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 Metropolitan Museum of Art