In Titian’s Venus of Urbino, the woman depicted appears to be the same one that features in another painting owned by the duke’s father, Titian’s La Bella, finished in 1536 (Figure 7). Also, the spaniel from the portrait of Francesco Maria’s wife (Figure 6), Eleonora Gonzaga, finished also in 1536, appears at the foot of the bed. Eleonora’s green tablecloth appears in the painting hung up behind the nude figure emphasizing the reds in the upholstery, the flowers, her blushing cheek, and her lips.
There have been many people who believe that this woman being represented in the painting is actually the goddess Venus, resulting in its name becoming Venus of Urbino. Guidobaldo referred to the picture’s protagonist only as “the nude woman.” It was Giorgio Vasari, who first
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called her “Venus,” thirty years after the painting’s completion. The painting adopts something like the “pudica” (literally meaning “modest”) gesture known from standing ancient statures of Venus. In this case it is ambiguous, and her address is more of an invitation than of modesty. The setting she is placed in is insistently contemporary, a palace interior with modern tapestries on the wall. For Vasari, who saw Titian’s painting in the rooms of the ducal apartments of Guidobaldo’s palace at Pesaro, the subject was a young Venus who was reclining with flowers and fine fabrics around her. Vasari provided a professional’s description of Titian’s work in a published biography addressed to a cultivated audience. However, there is an absence of Cupid and other traditional mythological attributes. For Vasari, the confirmation of her identity was found primarily in her pose. Guidobaldo may have hoped that the beauty of the goddess would somehow enhance the beauty of the children the young Giulia would bear him. Perhaps he saw the painting as a visual wish fulfillment in reference to his bride. Venus of Urbino holds many elements that can be accounted to the idea of marriage. The goddess of love is characterized by her surrounding attributes as the protector of marital love. She holds a bunch of roses, and on the window ledge in the background there is myrtle plant that can be seen silhouetted against the glowing sky. Theses flora symbols, traditionally associated with Venus, combine to define the special kind of love she represents. She represents the fruitful passion of licet love and the permanent bond of marital affection. The Venus of Urbino was Titian’s only domestic interior. The wall hangings, the masonry and column of the window (or loggia), the cassoni, and the square patterns on the pavement all serve as components to assert the measurability of this space. Titian departed from the common Renaissance Venus example in two significant ways. Venus does not cover herself with her right arm, but instead props herself up on the pillows while holding bouquet of roses. Second she not only conceals herself, but also caresses herself. Many observers are reluctant to acknowledge that the goddess’s gesture is an action, not a passive concealment. However, both Giorgione and Titian clearly show her fingers contracted, not extended, as other previous examples and indeed as in other Renaissance depictions of the pudica. The woman’s left hand sits with her fingers curled, as though she were caressing herself. This can be seen as marital evidence due to the theology and medical practices of the Renaissance era. It was believed that the woman’s orgasm was essential for conception. Supposedly, if the woman did not emit her own form of “sperm” through her orgasm, the creation of a baby would not result from the coupling. The woman may be masturbating and can be seen as proof that she wants to conceive a child. Therefore, this can help further proof that this painting was to be for a marital and domestic purpose.¬ The same matrimonial context also explains Venus’ gesture and her glance.
While her eyes indicate love and consent, Venus’s gesture anticipates this consummation and fulfillment. Venus’s body, or more precisely that part of her body associated with procreation in the Renaissance mind, is made both the pictorial center and the connection between Venus’s individual personality, and her societal, familial role which is captured in the domestic background. Venus of Urbino may be understood as a metaphor, Titian’s image of the woman as a wife in order to express the wifely role as perceived by Renaissance people.
Other observers who acknowledge the caressing gesture see it as a confirmation of the woman’s immodesty, an implication of lasciviousness. Under normal circumstances, medieval and Renaissance theologians and physician unequivocally condemned this kind of self-caress. But they endorsed it in one particular situation, based on a mistaken view of gestation: the women’s so-called emission was generally believed relevant to conception. Conception was the primary justification for sexual intercourse, according to church teaching. Female masturbation was deemed acceptable and sometimes
necessary. Titian has provided an overtly yet subtly alluring subject, both psychologically and physically. He has created, using space and color, a scene in which the viewer has no choice but to look at the woman, which is the subject of the painting. There is a huge difference between the foreground and the background. There are servants in the background and furniture creates a landscape for Titian’s reclining Venus. Titian uses lighting to help create a distinct difference in the space. There are also diagonals leading the viewer’s gaze directly to the woman. The woman herself holds a firm gaze of the viewer, inviting him to come closer. There are obscure interpretations of Titian’s Venus of Urbino that include a marital interpretation, erotic interpretation, and an interpretation of marital fidelity and motherhood. However, the most likely interpretation of his painting would be the marital interpretation. It is obvious that Titian’s painting was supposed to commemorate Guidobaldo’s wedding to Giuliana and also to serve as a reminder of her duties as a wife. Because of all of these interpretations that can be procured from Venus of Urbino, it can be said that this painting is Titian’s most well-known. He based his work on his master’s work and used his many talents to create this work of art. Titian decided to put his subject in an indoor setting rather than outside which causes it to become more domestic and relatable. It is clear that Venus of Urbino was a gift for a wife and as a tool for teaching and displaying her duty to the Duke.
Venus of Willendorf is a very popular Paleolithic art. The artist made the sculpture to represent what was going on during those times. I also think it gives off a representation of power for women, and being a strong woman. Fertility is one of the most powerful things about a woman and I also think that it could possibly signify confidence. That is why she could be made in the nude as well. Although nobody knows the facts of what the actual prehistoric art means, we can use our analysis to figure out the point the artist was trying to
Venus, the “mother” of the Roman people, might view this as end to an era, yet sees possibilities of a new beginning. When this poem is read with this in mind, one can see the possibilities of this explanation. She seems to mourn what is to come and states, “And her life’s one wedlock show her flushed with the beauty no man saw,” (643) She reflects bewilderment at the absence of recognition in the charm and beauty of Rome. Her love for Rome is legitimate, and is proven with this poem, she hopes for love, and looks forward to possible peace.
The sexual lifestyle of women during the medieval time period was quite different among married and single women. Medieval women were not accurately informed of their sexual organs due to bad medical research. They thought they must perform sexual acts on a regular basis to preserve themselves. The third-century writer Galen was looked upon as an authority for medical information on sexual activities. Galen stated that, “a woman’s womb was ‘cold’ and needed constant warming by ‘hot’ sperm” (Time Traveler’s 55). One would assume that hu...
The Arnolfini Double Portrait was dated 1434, and was likely completed in the same year. The medium for the painting was oil paint on oak panel, and is one of the few surviving panels from fifteenth century northern Europe. While the identity of the sitters for the painting is still a subject of debate amongst scholars, it is typically accepted that the male subject is Giovanni Arnolfini and the female subject was his wife. After all, Arnolfini was a successful Italian merchant with the means to commission such a painting, and was later used as a sitter for another of Van Eyck’s painting. The general consensus in the ...
Vinci, Lenardo Da. Portrait of Isabella d'Este. Paris, France, Louvre, 1499. Charcoal drawing on paper.
Artemisia Gentileschi (1593 – 1652), daughter of a well-known Roman artist, was one of the first women to become recognized in her time for her work.. She was noted for being a genius in the world of art. But because she was displaying a talent thought to be exclusively for men, she was frowned upon. However by the time she turned seventeen she had created one of her best works. One of her more famous paintings was her stunning interpretation of Susanna and the Elders. This was all because of her father. He was an artist himself and he had trained her and introduced her to working artists of Rome, including Michelangelo Merisi da Caravaggio. 1. In an era when women artists were limited to painting portraits, she was the first to paint major historical and religious scenes. After her death, people seemed to forget about her. Her works of art were often mistaken for those of her fathers. An art historian on Artemisia, Mary D. Garrard notes that Artemisia “has suffered a scholarly neglect that is unthinkable for an artist of her caliber.” Renewed and long overdue interest in Artemisia recently has helped to recognize her as a talented renaissance painter and one of the world’s greatest female artists. She played a very important role in the renaissance.
If I speak of the name, Mona Lisa, you will not be unfamiliar. She is a woman in the portrait of Leonardo Da Vinci, becoming a household person. Mona is the Italian abbreviation and respectful address in Renaissance, so the literal translation of the portrait, Mona Lisa, should be "Mrs Lisa".
Raphael’s painting is arranged with the Madonna in the middle and the two infants placed in her arms and at her feet, allowing for them to capture the viewer’s attention as well. There is no one focal character, as each is placed to draw attention to all three of the characters as a whole, something that is not seen in Titian’s Venus of Urbino. In Titian’s, Venus of Urbino, Venus is clearly intended to be the main focal point, whereas the two other characters in the background are meant to support but not overpower Venus herself. The differentiation between these two character placements in each painting is extremely important when it comes to determining the overall meaning and understanding what the artist was trying to portray with their works of
Peter Taylor’s short story Venus, Cupid, Folly and Time tells the tale of an odd brother-sister duo, Alfred and Louisa Dorset, who reside in the small, presumably southern, town of Mero. From the very beginning, readers are led to believe that the Dorsets are more than just brother and sister – they are lovers. Several occurrences throughout the story hint at a depraved relationship, however the story offers no firm confirmation of an incestuous relationship actually occurring. Despite their peculiarities, Mr. and Miss Dorset seem to have a great deal of influence on the social traditions of the town, the most important one being the annual party they host for the young children in the community. These parties are exclusive events that
I choose to look at the painting “The Toilet of Venus” or more commonly referred to as “The Rokeby Venus” by Diego Velalazquez. The “Rokeby” part came into effect, because the painting was originally displayed in the Morritt Collection at Rokeby Hall in Yorkshire, before being moved to its current home in the National Gallery. Diego Velazquez was born in Seville in 1599, and went on to become one of the most brilliant and influential painters ever to come from Spain. He lived in Madrid for most of his adult life, and was employed as a court painter. Throughout his career, he tackled a wide variety of subjects, such as landscapes, scenes from real life, and mythological/religious figures. He was a master realist who excelled at capturing essential features upon the canvas. He painted “The Rokeby Venus” between 1647 and 1651, and was his only nude portrait, as well as the first one in Spain, at that time. Initially the painting met with some disapproval, especially from the Church, since it was a nude, but eventually the work received great praise, and became known, as being one of the most beautiful and significant portrayals of Venus in the history of Western Art.
This paper explains the history and development of the nude art in the Renaissance and Medieval period. In the Renaissance age the patrons and artist readopted the antiquity of the classical Greek into representation of nude. This is an epoch when drastic changes occurred in which Christian authorities no longer viewed the nude art as something conflicting or shameful. In contrary they believed that nude being reformed in ancient in classical antiquity portrays divine characteristics and emancipates the light that is pure and heroic (Long, 2008; Bonfante, 1989; Tinagli, 1997). To establish a further understanding why during the Renaissance age nude art brilliantly portrayed human anatomy, the work of some most remarkable artists such as Michelangelo, Botticelli, Masaccio and Durer are described (Long, 2008) These minds welcomed the classical antiquity into their paintings and sculpturing and often the Greek athletic figures and mythological Venus figure were used as ideal models in depicting nude art (Bonfante, 1989). The classical renewal of nude art had specific roles attached to both male and female nude, in the world of art. The religious figures were depicted in antique forms as to convey their theological status and importance. In contrast to the Renaissance period, the Medieval representation of nude art was rare and Religious authorities oppose its development as they believed it may lead to sin and degradation (Long, 2008; Steinberg, 1983). In short this paper will present a historical overview of the nude art and how the diverse cultural attitude towards depiction of nude existed in each period.
Long, J.C., (2008). Botticelli’s Birth of Venus as wedding painting. Aurora, The Journal of the History of Art, 9, p.1. ISSN 1527-652X.
Miranda’s character in the play represents the ideal woman of Elizabethan era. She is portrayed as a goddess among the men. “Most sure, the goddess/Oh whom these airs attend!”(1.2.425-426). Fer...
The Birth of Venus is a beautiful Renaissance canvas masterpiece created by Sandro Botticello. The picture illustrates the birth of Venus in a very mystical way. Venus has emerged from sea on a shell which is being driven to shore by flying wind-gods. She is surrounded by beautiful roses which are painted in a truly remarkable color. As she is about to step to land, one of the Hours hands her a purple cloak. The back drop includes the sea and a forest. The overall effect of this painting are almost overwhelming, color and beauty meet the eye in every angle.
“The “Portrait of a woman with a man at a casement” dates from around 1440-1444. It is made with tempera on wood by a Florentine artist, Fra Filippo Lippi. The painting is 64,1 x 41,9 cm. A very interesting detail is the message on the cuff of the woman, reading the word “lealtà” which is Italian for loyalty. The painting is part of the Marquand Collection and is to be found at the Metropolitan Museum of Art, where it was given as a gift by Henry G. Marquand in 1889.”