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      <src>https://venice.dahvc.org/fall-2020/files/original/September_23_National_Gallery_of_Art_[Visual_Analysis]/Madonna_and_Child_in_a_Landscape/madonna_and_child_in_a_landscape_1946.19.1.jpg</src>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>September 23: National Gallery of Art (Visual Analysis)</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>National Gallery of Art, Washington, DC</text>
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          <name>Title</name>
          <description>A name given to the resource</description>
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              <text>Madonna and Child in a Landscape</text>
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          <name>Description</name>
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              <text>Giovanni Bellini painted this work of art. He was a painter of the Venetian School who was sensitive to the colors and adept at using them to convey messages in his painting. He was also known for the ability to crate realist drawings with the effect of light ranging from landscapes to portraits. The medium of this drawing was oil paintings. He favors oil paintings because he could add depth and complexity to the hues in shaping his works for capturing natural light reflections [1]. &#13;
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When viewers first look at the Madonna and Child in a Landscape painting, their attention would be drawn to the Virgin’s face and the baby because the bright color contrasted from the background. The shadows and the wrinkles on the baby’s body creates a sense of three-dimensional feeling rather than just a painting. This painting emphasizes the unconditional love that is shared between the Virgin and the baby. Also, the Virgin’s face draws most of the attention to the viewer’s eye, which is the main message that Bellini wants to convey. As mentioned earlier, Bellini is excellent at using the effect of light. From the lines and folds on the black cloak reflecting with the sunlight to the layers of clouds in the background further conveys a sense of the naturalist setting of this painting. Furthermore, the variety of color and the paintbrush stroke technics adopted when portraying the texture of the cloth wore by the Virgin to achieve a naturalist feel. &#13;
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[1] National Gallery of Art. “National Gallery of Art.” Artist Info. Accessed September 20, 2020. https://www.nga.gov/collection/artist-info.936.html. </text>
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              <text>Giovanni Bellini</text>
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          <name>Source</name>
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              <text>Bellini, Giovanni." Benezit Dictionary of Artists.  January 22, 2014. Oxford University Press. https://www-oxfordartonline-com.proxy.lib.duke.edu/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00015815&#13;
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Bätschmann, Oskar. Giovanni Bellini. 9781861893574  1861893574: London : Reaktion Books, Limited April 2008 Chicago : Chicago Distribution Center, 2008. https://find.library.duke.edu/catalog/DUKE005265577&#13;
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National Gallery of Art. “National Gallery of Art.” Artist Info. Accessed September 20, 2020. https://www.nga.gov/collection/artist-info.936.html.&#13;
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              <text>Courtesy National Gallery of Art, Washington DC&#13;
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https://www.nga.gov/collection/art-object-page.33254.html&#13;
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          <name>Date</name>
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              <text>1430 - 1516</text>
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          <name>Contributor</name>
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              <text>Emily Song</text>
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              <text>Open access for fair use </text>
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          <name>Format</name>
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              <text>Oil on panel,  71.7cm x 52.8 cm </text>
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          <name>Type</name>
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              <text>Painting</text>
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              <text>National Gallery of Art, Washington DC , USA</text>
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