https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Finding_of_the_Body_of_Saint_Mark_[Discovery_of_the_Body_of_Saint_Mark]/SCALA_ARCHIVES_1039779478.jpg 73a65e01a4a823118221555deca35820 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 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, 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 Finding of the Body of Saint Mark (Discovery of the Body of Saint Mark) Subject The topic of the resource Tommaso Rangone, a Venetian patron, commissioned Tintoretto to create a painting cycle that depicted multiple episodes of St.Mark's life. The cycle follows the story of St.Mark's body and how it was found in the city of Alexandria and then returned to the city of Venice. One of the paintings included in the cycle shows the discovery of Saint Mark's body in Alexandria, Egypt and is known as Finding of the Body of Saint Mark. The painting was orignally displayed in the Scuola Grande di San Marco, but it now resides in the Brera Museum of Milan. Description An account of the resource The first thing that viewer's eyes are drawn to is the larger than life man on the left hand side of the painting. He is clothed in blue and light red cloth, with one arm on his hip and one outstretched towards the center of the painting. The cloth that this man is adorned in has been studied by historians and has revealed Tintoretto's technique when achieving perfect coloration.[1] The halo around the man's head allows the audience to determine that this is Saint Mark. As the viewer begins to move around the painting, various figures can be seen strewn across the painting, posed in dramatic position. A seemingly dead body with grey and white skin can be seen lying at the feet of Saint Mark. Kneeling next to the body is a man with grey hair and a beard. He is adorned in a shimmering orange cloak that flows in the traditional Renaissance style. The man, has been identified as Tommaso Rangone, the commissioner of the painting. Four men on the right side of the painting are pulling the body of Saint Mark out of the tomb and lowering it carefully with a sheet. The men are all dressed in shades of red, brown and black that Tintoretto uses to complement the dark color pallete. Towards the bottom of the painting, a small altercation can be seen on the right side. A faceless-man wearing all black is being restrained from a woman dressed in salmon and white. The man restraining the attacker is partially shirtless revealing a carefully porportioned body. The meticulous details on the man show that Tintoretto had an interest in the human body. The background of the painting is truly amazing because of how intricate it is and because of the extra information that it gives us about the painting. For one, the background of the painting is not in Alexandria, but rather the Procuratie in Venice. [2] Tintoretto may have changed the setting to glorify the city of Venice. Furthermore, the lines of the tile flooring are fading, which has allowed scholars to determine that the background was created before the figures. Tintoretto did this so that he could set the stage for his characters and then position them correctly.[3] This unique painting deals with the subject of religion while also glorifying the city of Venice's architecture and its patron saint. [1]Osticioli, I., Pagliai, M., Comelli, D., Schettino, V., & Nevin, A. (2019, June 13). Red lakes from Leonardo's Last Supper and other Old Master Paintings: Micro-Raman spectroscopy of anthraquinone pigments in paint cross-sections. [2]Levey, M. (1965). TINTORETTO AND THE THEME OF MIRACULOUS INTERVENTION. Journal of the Royal Society of Arts, 113(5109), 714. [3]Pham, V. K. (1995). Theatricality in Tintoretto's religious paintings (Master's thesis, Montréal, McGill Univ., Magisterarb, 1995) (pp. 25) Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived References Levey, M. (1965). TINTORETTO AND THE THEME OF MIRACULOUS INTERVENTION. Journal of the Royal Society of Arts, 113(5109), 707-725. Retrieved November 18, 2020, from http://www.jstor.org/stable/41367901 Osticioli, I., Pagliai, M., Comelli, D., Schettino, V., & Nevin, A. (2019, June 13). Red lakes from Leonardo's Last Supper and other Old Master Paintings: Micro-Raman spectroscopy of anthraquinone pigments in paint cross-sections. Retrieved November 18, 2020, from https://www.sciencedirect.com/science/article/pii/S1386142519306638 Pham, V. K. (1995). Theatricality in Tintoretto's religious paintings (Master's thesis, Montréal, McGill Univ., Magisterarb, 1995) (pp. 25-26). McGill University. Tintoretto, J. (1562-66). Finding of the Body of Saint Mark (Discovery of the Body of Saint Mark) [Painting found in Brera Pinacoteca, Milan, Italy]. Retrieved November 18, 2020, from https://library.artstor.org/#/asset/SCALA_ARCHIVES_1039779478 Publisher An entity responsible for making the resource available Tommaso Rangone Jacopo Tintoretto. 1562-66. Finding of the Body of Saint Mark (Discovery of the Body of Saint Mark). painting. Place: Pinacoteca di Brera. https://library.artstor.org/asset/SCALA_ARCHIVES_1039779478. Date A point or period of time associated with an event in the lifecycle of the resource 1562 - 6 Contributor An entity responsible for making contributions to the resource Darien Sansosti 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 396 x 400 cm Type The nature or genre of the resource painting; oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Brera Pinacoteca; Milan, Italy