Analyzing Titian Vecellio's Venus Of Urbino

On the left side of the painting, Venus is resting her arm on a red cushion, watching her lover sleep. She appears very composed and in control of her body; in contrast to Mars who seems lost in a different world and in a very relaxed pose. She is fully clothed, whereas Mars in naked and only partially covered by a small white cloth. Botticelli portrays Venus as a beautiful, young woman in contemporary clothing. Her dress consists of multiple layers of thin, white fabric which appears sheer in places e.g. her legs. The way in which the bodice draws attention to and accentuates her curves, emphasizes her physical and sexual desirability (Rubin, 2000). Her braids are arranged in a complex hairstyle and are clasped together

Some features include the size of the women and appearance. The size of the women in the sculpture shows that she is big and powerful. And the appearance and how she is sitting shows that she is a royalty or like Mellaart said goddess. Another understanding could of been that it was just a sculpture pertaining to body image.

The main focus of the painting intended by Titian is a nude woman, Venus, looking straightforwardly at the audience. The young woman’s nipples are erect; with her left hand covers her pubic area, the sexuality of this painting is unquestionable. She is completely naked except for the ring on her little finger and the bracelet around her wrist. It is clear that the intention of this painting is to evoke sensual feelings in its audience.

In 1538, the Venus of Urbino was commissioned by the Duke of Urbino Guidobaldo II Della Rovere, to his bride as a wedding gift. Titian referenced his teacher’s work, which is Giorgione’s Sleeping Venus , It described Venus sleeping on the ground, in nature, nude. Her gesture is almost same as Titian’s Venus of Urbino, distinguished by the position of her right arm. Titian used the “Velatura” as known as “glazing” technique, which is a technique of applying multiple layers of transparent thin paint to create the final piece, the charm of this technique is the painting is as smooth as glass and the

The love of marriage is shown in the small myrtle flower lying beside Venus, the flower petals and shell above her head are both said to be in connection to marriage. What's also very important to the painting is the way the bodies are positioned and what they are doing. Venus lying down placing her hand amongst her chest, this further resembles the institution of marriage in partnership and brings forth desire. Cupid on the other hand, which I was curious about, is peeing in Venus’s direction, through an ivy plant which is mentioned to represent fertility. On the Museums website this act along with the veil, crown, and pearl earrings, represent fertility referenced by “Italian Venetians”. What I found most interesting about this painting is the tiny snake near Venus. Why is it there? Especially in a painting that resembles marriage. The museum website mentions that this snake reveals the “darker aspect” of marriage. That is, “illicit”, not approved of. I also wondered about the rod that lies near Venus, and the website does say that it is most likely used to discipline Cupid. Nevertheless, the meaning of the painting is marriage as a happy institution, the museum also mentions that the message of “epithalamia” is conveyed as necessary, and that marriage is something everyone must do, and experience, and that this is in our nature to do so. Which explains the very natural

The visual work I have chosen is the Bith of Venus and is one of the world’s most famous works of art. Painted by Sandro Botticelli between 1482 and 1485, it is the first example of painting on canvas. The written work I have chosen is the Stanze per la Giostra. It was written by Angelo Poliziano, written between 1475-8. Both works are examples from the Italian Renaissance era, during the Medici rule, and share the theme of beauty and humanism. The works I've selected share the same subject matter, Venus, and is the perfect example of beauty and humanism. She is the epitome of beauty and her birth from the sea is an example of her metamorphosis of humanism. For this paper, I will compare both works then discuss how the shared theme is seen in contemporary works. How does Venus and her beautiful metamorphosis fit into contemporary forms of beauty and humanism?

Titian painted Venus and Adonis because of the tale called Ovid’s Metamorphoses. Basically, the tale was about the goddess Venus getting struck by cupid and her falling desperately in love with Adonis. Adonis, a hunter was leaving with his hunting dogs but the goddess Venus does not want him leaving. She foresees the hunt will be dangerous for him and tries very hard for Adonis not to leave. Titian grabbed the moment of the goddess Venus, giving of her warning, and Adonis’s death and basically painting the emotionally charged moment of Adonis’s departure for the hunt (Venice). The goddess Venus in this painting is portrayed as more of a frantic women rather than a dignified feminine ideal. Also the role is sort of reversed and the goddess Venus is portrayed more as masculine than feminine. Since she was struck by love so hard, she is depicted as sort of an aggressive women in

Venus of Urbino demonstrates a beautiful, young woman, Venus, lying nude on what appears to be a reclined couch or bed. However, the woman illustrated means much more than merely a nude woman. There have been many interpretations of this beautiful woman over the years but many art historians agree that the Venus of Urbino has to do unambiguously with the male sexual desire for the female nude body.

Inspired by Giorgione, Titian’s Venus has a lot of similarities with Giorgione’s Venus. Similar to the sleeping Venus, Titan used curved and flowing lines to depict the beautiful figure of the female nude and as well the cloth underneath her. The shape is close or the same to Giorgione’s Venus: a nude women reclining on the mattress with her hand covered on her private. The light source is unknown too; it could be the natural light from a window or spot light from a lamp. Like the sleeping Venus, value

To the right of the painting is Nymph, also known as "The Hours", Greek goddesses of the seasons. She has on a very elegant dress and holds a robe out for Venus which is decorated with red and white daises, as well as yellow flowers of some sort, and blue cornflowers. These are all flowers of spring time which is appropriate for the theme of birth. The Nymph also wears garland which is also decorated with roses. The Nymph seems to be welcoming not only Venus, but the season of spring as well. This open arms welcome is very comforting to view.

La Primavera is set in a grove, with fruit trees and many types of flowers blooming on the ground. The figure in the center is that of an elongated woman, her head tilted to the viewer’s left and her right hand held up as if she is indicating something on that side. Her gaze comes out of the painting, as if to entreat the viewer to step into the scene. Her form divides the space into two sides. The greenery around her creates a circular shape. Given the subject matter of Botticelli’s other paintings in this collection and the other figures represented, the woman is interpreted to be Venus. At the top of this circle, the figure of a blindfolded male toddler with wings has notched an arrow from the quiver on his back and points it to the left of the painting. His position over Venus and possession of the bow designates him to be Eros, the son of Venus. Following the point of the arrow and the right arm of Venus, there are three dancing women, draped in wispy white with their fingers interlaced. These figures are the Three Graces, identifiable by the way they connect with each other and their dance – in mythology, the Graces

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

Titian’s Venus is awake, starring directly at us unlike the Sleeping Venus. The reclining nude continued to evolve with painters such as Velasquez. In 1644 artist, Velasquez shows us a new Venus with her back to us, admiring herself in the mirror.

The picture symbolizes the aftermath of incestuous actions. Venus is evidently present at the center of the painting, recognizable by the golden apple in her left hand from the Greek myth The Judgement of Paris. A robust adolescent male figure with wings can be seen entwined with her. It is her son, Cupid. The undeniable sexuality of their embrace has long been debated over as scandalous behavior. Rather than channeling the act of incest in itself, Bronzino exploits these two as symbols for the personification of male and female sexuality. Whichever case it may be, the erotic narrative of the painting becomes instantly clear. Venus, determined to get Cupid’s arrow submits to dire endeavors when Cupid refuses and tries to distract him by seducing him while she takes the arrow from him. Venus and Cupid are painted

The fixation is set on her in the center of the painting due to the triangle of light used to create a focal point for the viewer. Surrounding her on both sides are the linear equivelants of past and future. From the left we see her creators helping her along with strength and the force of the wind. To the right we see her handmaiden ready to usher her into the world, where she will be clothed and no longer represent innocence. Both exhibit two very different forms of love and caring to Venus.