W3

Question 1

Who made this painting?

Answer 1

Titian

sixteenth-century artist from Venice in Italy

Question 2

What is the name of this painting?

Answer 2

Bacchus and Ariadne

Question 3

When was this made?

Answer 3

1520-23

Question 4

“Paragone”

Answer 4

comparing two different art forms: painting vs sculpture

Question 5

Titian himself described his mythological paintings as

Answer 5

‘Poesie’
the pictorial equivalent of poetry or literature, because this is art that tells a story.

Question 6

at the centre the figure of the young god ____ leaping from his chariot, his cloak billowing behind him

Answer 6

Bacchus

Titian has done here is to give physical form to the idea of love at first sight

Question 7

he object of the god’s gaze, that has inspired his leap, is this young woman, ____

Answer 7

Ariadne

who seems uncertain, caught in motion, looking towards Bacchus, and at the same time turning away. It is a masterful telling of an emotionally charged encounter.

Question 8

Bacchus is the god of ___

Answer 8

ecstasy and celebration

Question 9

Titian uses Ariadne’s pose to tell us more than this. Her spiralling form leads the eye out to ___

Answer 9

sea, where in the distance, we see the whites sails of a tiny ship sailing away.

Question 10

the ship belonging to

Answer 10

Theseus

Question 11

story of the ship

Answer 11

ariadne first met Theseus when he arrived in Crete to fight the minotaur that the king, her father, kept locked in a labyrinth. This should have meant certain death for Theseus, but Ariadne fell in love with the stranger and promised to help him escape. But after they fled Crete, Theseus callously abandoned her on this island,

his is why Titian shows the heroine looking so dishevelled, her robe pulled from her shoulder….her chemise in disarray. She is an abandoned princess.

Question 12

After embracing Ariadne, Bacchus literally promised her ___

Answer 12

the stars. Taking the crown from her head, he set it as a constellation in the sky, to bring her eternal glory. With this pose, you can almost imagine it being thrown there, like a discus.

Question 13

Ovid, The Art of Love major changes

Answer 13

Titian’s Ariadne is not fainting; Silenus is pushed into the background

Question 14

Ovid, Metamorphosis
Gives us some ___

Answer 14

of the back story, minotaur.

Question 15

Catullus, Poem 64, the wedding of Peleus and Thetis.
Any figures missing?

Answer 15

(little boy satyr)

Question 16

The figure of the snake dancer is based on the celebrated ancient sculpture

Answer 16

Laocoön

Question 17

What does the snake represent

Answer 17

It illustrates an episode from the Trojan War.

It shows the Trojan priest Laocoön and his two young sons being crushed by sea serpents. He had been the only Trojan to recognise the Trojan horse for what it was - a Greek trick – and warned his fellow citizens not to let it into the city. This angered the goddess Minerva, who was on the side of the Greeks, and she sent the sea serpents to destroy him.

Question 18

Titian has transformed the agonised contortions of the priest into an ecstatic dance of celebration, turning him into the Bacchic follower described by

Answer 18

Catullus

Question 19

This young satyr is modelled as

Answer 19

one of Laocoon’s sons

Question 20

The twisting pose of the Laocoon-figure sets off a ____ pattern that continues through the whole painting.

Answer 20

dance-like

Ariadne’s pose is mirrored by the girl with the cymbals, in exactly the same pose but seen from a different angle. And mirrored by the girl carrying the tambourine.

Question 21

Titian makes a claim for the superiority of painting in this painting by showing that ___

Answer 21

like sculpture it can show a figure from every angle. Like sculpture it can convey powerful emotion. Better than sculpture, it has the advantage of colour.

Question 22

Titian’s Bacchus and Ariadne was one of a group of paintings that the duke commissioned to decorate his private study in his main residence at Ferrara, a room known as the ____

Answer 22

camerino.

Question 23

titian’s first independent contribution to the camerino was ___

Answer 23

The Worship of Venus,

Question 24

Titian’s final contribution to the camerino was this work,

Answer 24

The Andrians

(Titian was also showing that he could outdo his own teacher, Giorgione, who in 1510 had painted this picture of Venus, the Roman goddess of Love)

Question 25

Patrons rivalry

Answer 25

Alfonso d’teste - Camerine, Ferrara

Isaella d’teste, sister, studiolo, mertna

pope - ultamatly aquired

Question 26

Artists rivalry

Answer 26

Giovanni Bellini - produced deast of the Gods

Raphael
Fra Bartolomneo
Dosso Dossi - lombardo
Gtorgione - teacher

Question 27

Paiting/litature rivalry

Answer 27

orid - art of love, metamorphoses

Catullos - poem 64 - peleus and thetys

Question 28

Painting/sculpture rivalary

Answer 28

contomplating sulpture/figures

Lacoon (dancing snake sculptureO

Antonio Lumbardo

Question 29

Classical Past/Renissance rivalraly

Answer 29

re brith - re descovery of acent past - making acent sem modern and modern seem ancent

Question 30

Vasari - lives of the artists

Answer 30

theyre all stister arts

Paragone

Question 31

Patenting vs Scpture

Answer 31

Question 32

What is not in the literature?

Answer 32

[the lapdog, the child satyr]

Question 33

“paragone”

Answer 33

(debate comparing two art forms).

Question 34

Is Bacchus and Ariadne political?

Answer 34

[references from reading: Bacchus as exemplary ruler; the camerino also included a frieze based on Virgil’ Aeneid; remember also Doges’s Palace decorations from last week where myths project the myth of Venice itself].