https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Feast_in_the_House_of_Levi/SCALA_ARCHIVES_1031314658.jpg d10995dda53127c82d2d179da96e80e4 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 September 30: Gallerie dell'Accademia (Visual Analysis) 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 dell'Accademia, Venice, 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 Feast in the House of Levi Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Paolo Veronese. 1571-73. Feast in the House of Levi. painting. Place: Gallerie dell'Accademia di Venezia. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314658. Rosand, David. "Theater and Structure in the Art of Paolo Veronese." The Art Bulletin 55, no. 2 (1973): 217-39. Accessed September 29, 2020. doi:10.2307/3049096. D'ARGAVILLE, BRIAN T. "Inquisition and Metamorphosis: Paolo Veronese and the "Ultima Cena" of 1573." RACAR: Revue D'art Canadienne / Canadian Art Review 16, no. 1 (1989): 43-99. Accessed September 29, 2020. http://www.jstor.org/stable/42630415. Young, Carolin C. Food in the Arts: Proceedings of the Oxford Symposium on Food and Cookery, 1998. United Kingdom: Prospect Books, 1999. Publisher An entity responsible for making the resource available Image source: Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. https://library.artstor.org/#/asset/SCALA_ARCHIVES_1031314658;prevRouteTS=1601164610394 Date A point or period of time associated with an event in the lifecycle of the resource 1571-73 Contributor An entity responsible for making contributions to the resource Rhea Niyyar 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, 556 x 1280 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 Gallerie dell'Accademia di Venezia, Venice, Italy Description An account of the resource In this painting, we see a crowded banquet, replete with a multitude of Biblical figures including Jesus Christ and Judas. Veronese highlights Jesus’ holiness by using light colors and gold around his head as a halo, making his immediate surroundings lighter. This contrasts with the wide variety of rich and deep colors Veronese uses to depict the many figures along the long table. In addition, more emphasis is put on Jesus and his surroundings by the three arches that frame the painting in the foreground. The division through the arches of the painting into thirds combined with the concentration of light in the center pulls the viewers focus to the center of the painting. In addition, Veronese uses composition to draw attention to the middle. It is much more crowded with people on the two sides, meaning that it is harder to focus on the sides. In addition, Jesus’s robe is much more textured than most of the other pieces of clothing in the mid-ground, focusing the viewer’s eye on him. David Rosand believes that because of the vastness of the work, the audience needs to find spaces to focus on. Thus, the division of the arcade needed to occur in order to focus the viewer’s attention on a specific portion. [1] This work was painted for the refectory of the Dominicans of San Zanipolo in Venice to replace Last Supper by Titian destroyed in the fire of 1571. Veronese had originally intended it to show the Last Supper in the house of Simon, a famous depiction; however, when the Inquisition, spurred by the Counter-reformation, were angered by the paganism depicted by the inclusion of German soldiers, buffoons, and dwarfs, he was forced to change the title to Feast in the House of Levi, a much less celebrated Biblical tale. Brian D’Argaville also theorizes that other parts of the painting were also changed, such as the addition of two figures that face away from Christ. This adds to the pagan nature of the painting because of the lack of focus on Christ [2]. Carolin Young also shows that the boisterous depiction of the dinner adds to the pagan feel of the painting. The large amounts of people and servants enjoying the meal and making conversation adds to the hedonistic quality of the supper [3]. [1] David Rosand, "Theater and Structure in the Art of Paolo Veronese," in The Art Bulletin (New York: CAA, 1973), 225. [2] Brian T. D’Argaville, Inquisition and Metamorphosis: Paolo Veronese and the "Ultima Cena" of 1573," in RACAR: Revue D'art Canadienne / Canadian Art Review (Ontario: UAAC, 1989), 45. [3] Carolin C. Young, Food in the Arts: Proceedings of the Oxford Symposium on Food and Cookery (United Kingdom: Prospect Books, 1999), 234.