https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/Bacchus_and_Ariadne/ANGLIG_10313768527.jpg 2904ebd3de40a04a03c1b47dd4df8e2e 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 October 7: National Gallery of Art, London (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 National Gallery of Art, London, UK 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 Bacchus and Ariadne Description An account of the resource Depicted here we see the Roman god of wine and fertility, Bacchus, jump from his chariot to meet with the Cretan princess, Ariadne, with whom he has fallen in love. Titian highlights these two figures, using a lighter shade for their skin compared with the rest of the figures in the image. We also see great articulation in the clothing of the figures. Directing the eyes of the viewer to the main subject matter, there are multiple diagonal lines pointing towards Ariadne, who looks out onto the sea as her lover--Theseus--leaves her stranded and sails away, an interpretation that many have come to agree with after Venetian historian Carlo Ridolfi suggested it in 1648 [1]. The faces, as well as the body positions, point downward and to the left. Even Bacchus, with his rich maroon scarf, looks down upon Ariadne with desire. In addition to directing attention, this line also separates major elements of the composition. In terms of color, both in the foreground and the background, this diagonal line separates the rustic browns, greens, and gold from the rich blues, whites, and maroon. It is also important to note the use of a rare and highly expensive color: ultramarine blue. The use of such a color speaks not only to the importance of the painting but also to the importance of the commissioner--Alfonso d’Este, Duke of Ferrara. In addition to color, the line also separates the geography of the image. Once again, the blues of the sky and the sea are separated from the greenery of the mainland. Intended for decor in the castle of Alfonso d’Este, this painting was a part of a series of paintings that depicted scenes from the tales of Ovid and other classical subject matters [2]. As a result, many interpretations of this one art piece can be generated. Contrary to the belief that this is the first meeting between Bacchus and Ariadne, for example, there have been interpretations that argue that this is the last meeting between the two, with evidence drawn from Ovid’s Fasti [3]. Often, the preferences and attributes of the donor were embedded into an art piece in Renaissance Venice, as many other artists at the time did. Titian is no exception, although he worked primarily with royalty. As mentioned before, the use of expensive and rare pigment--the ultramarine blue--not only shows Titian’s ability but also shows the power and wealth of his commissioner, Alfonso d’Este. In addition, the presence of exotic animals speaks to the wealth of Alfonso d’Este: according to records, d’Este had a hobby of ‘collecting’ exotic pets for his court. Thus, through the stylistic and compositional elements, Titian is able to showcase the wealth of Alfonso d’Este, the Duke of Ferrara. [1] Graves H. Thompson, "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 5, 2020. <a href="http://www.jstor.org/stable/3292884">http://www.jstor.org/stable/3292884</a>. [2] Cecil Gould, "Titian." Grove Art Online. 2003; Accessed 4 Oct. 2020. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242</a>. [3] Angus Easson, "The Source of Titian's Bacchus and Ariadne." Journal of the Warburg and Courtauld Institutes 32 (1969): 396-97. Accessed October 5, 2020. doi:10.2307/750625. Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived I) Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. <a href="https://library.artstor.org/asset/ANGLIG_10313768527">https://library.artstor.org/asset/ANGLIG_10313768527</a>. II) Journal Article 1: Gould, Cecil. "Titian." Grove Art Online. 2003; Accessed 4 Oct. 2020. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000085242</a>. III) Journal Article 2: Easson, Angus. "The Source of Titian's Bacchus and Ariadne." Journal of the Warburg and Courtauld Institutes 32 (1969): 396-97. Accessed October 5, 2020. doi:10.2307/750625. IV) Journal Article 3: Thompson, Graves H. "The Literary Sources of Titian's "Bacchus and Ariadne"." The Classical Journal 51, no. 6 (1956): 259-64. Accessed October 5, 2020. <a href="http://www.jstor.org/stable/3292884">http://www.jstor.org/stable/3292884</a>. V) Book: Phillips, Claude. “Bacchus and Ariadne.” Essay. In The Earlier Work of Titian, edited by Jonathan Ingram, Wilelmina Mallière, and Project Gutenberg Online Distributed Proofreading Team. Seeley & Co., Ltd., 1897. <a href="https://www.gutenberg.org/files/12626/12626-h/12626-h.htm#Bacchus_and_Ariadne">https://www.gutenberg.org/files/12626/12626-h/12626-h.htm#Bacchus_and_Ariadne</a>. VI) Museum: Titian. “Titian: Bacchus and Ariadne: NG35: National Gallery, London,” 2020. <a href="https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne">https://www.nationalgallery.org.uk/paintings/titian-bacchus-and-ariadne</a>. Publisher An entity responsible for making the resource available Court of Ferrara Image Source: Titian, active about 1506; died 1576. 1520-3. Bacchus and Ariadne. Place: The National Gallery, London, Bought, 1826. <a href="https://library.artstor.org/asset/ANGLIG_10313768527">https://library.artstor.org/asset/ANGLIG_10313768527</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1520-1523 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource ©The National Gallery, London Format The file format, physical medium, or dimensions of the resource Oil on canvas, 176.5 x 191 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 National Gallery, London