Comparing Venus And Ovid's Metamorphosis

In ‘The Marble Statue’ the author, Joseph Van Eichendorff demonstrates the use of song, and the symbolism of color and flowers to characterize beauty and emotion, mainly within the statue of Venus, but also throughout other characters in the novel. Throughout the story, these characteristics are what draw the main character, Florio, deeper into his infatuation with the Venus statue. However, the deeper meaning of the statue throughout the story leads to the conclusion that one’s dream fantasy is not always what one thinks it is.

In his painting, there is a term to expressing how light varies from its original light. For instance, the background of the painting is adding with brown color, yet using tint and shade effect to the sun sets with distinctive brightness. Brightness is adjusted by horizontal movement, and Breton increases, and decreases his painting’s brightness at the background view. Upper part of the pieces, twilight shines with varying brightness, depending on the darkness of the sky surface. Brightness for the mid-gray tones in the surrounding space, with significantly affecting the highlights and shadows. Overall painting allows depress emotion. Figures is luminous such as the sky and houses, also for the woman, she is apparently describing with a energetic sense of natural, and mournful atmosphere. The light at the back part of the drawing gives viewers to pay attention to the woman rather than the background, since there is bright white T-shirt with dress, and the woman’s face. Breton uses tint and shade effect at the upper part of the painting, and clouding of the back scene maintains a tenderness. Breton uses bright light at the sun sets, and it expressed that it was the dawn and bring message with a bright future will come soon to the woman, and the

Texture and pattern are very easy to identify in this painting. The street’s cobblestones show texture and pattern in the way that they are arranged. Texture is also demonstrated through the paint strokes on the buildings, the tree, and even the sky. These thick, uneven strokes add a layer of depth and texture to all elements of the painting.

The effect that forms are that of biometric feel beside the people they have more of geometric feel. The colors do impact this artwork greatly because each color is harsh and sot of clash with one another. The colors are black, gold, red, brown, white and light blue. The colors are mixed. The color on the mother's dress is a harsh black versus that of her children which are every light and airy. The hue of the piece of art is very light in some spaces but in other places it can be very dark. The saturation is very different in many places if you look at the woman's dress and in the dog, you can see that it is very saturated but if you look at the two girl's dresses you can tell that its less saturated. When

The foremost reason for this being the abundance of movement both contained in the composition and implied by it. Lucretia’s figure may be, generally speaking, characterized by its classical orientation, standing upright with no peculiar manipulation to her poster—her chest is roughly aligned with the plane of the composition. What’s more, her figure is characterized by its well-balanced composition with respect to both the domains of shape and color, the most obvious observation being that each element depicted to the figure’s left is also depicted to the figure’s right (and vice versa), the dagger falling neatly between what is almost bilateral symmetry in her frame. Nevertheless, by means of only a few understated alterations to this otherwise archetypal stance, the painting is effective in intimating a sense of motion. Note the curved diagonal implied by her outstretched arms through the length of the dagger and leading upward through her bend, slightly corked neck. What’s more, counterpoint this observation with the perpendicular intersections of this line with those implied by the union of her arms, the breath of her shoulders, the spread of her jewelry, and the floating, lilting ends of Lucretia’s bonnet which appear at either upper corner of the composition quite as ghostly apparitions. The shading corresponding to both of these tails gives to the

The foreground of the painting displays quite a few important formal quality details. The lower right quadrant exhibits a comparatively focused escalation in the chiaroscuro of the tree trunks. The crustiness of the deep earthy tones and the lushness make the lower right quadrant appear darker and more jungle-like. In opposition, there are some blue hydrangeas in the same vicinity that provide for a visually appealing contrast to the darker tones that surround them. The blue hydrangeas manifest themselves as wild and uncultivated.

The texture of the canvas works very well with the subject matter portrayed in the painting. The grassy hill side and the leaves of the trees are especially complimented by the canvas. It makes the leaves feel like they are slightly moving, this combined with the lack of detail itself the leaves. This is contrasted nicely with the very detailed renderings of the trunks and branches of the trees, the

We can also see the use of black shades to create a hole at the bottom part of the rock. With his excellent use of colors, we can identify the good, healthy and green grass from the bad, unhealthy, brown grasses. Looking beyond the main focus of the painting, he uses colors to separate the sky from the land in the background creating a solid form of perspective on the painting. He also uses colors to create water forms as seen behind the young character. Now, for the sky, he uses shades of white to magnificently differentiate the thick clouds from the light ones. He also uses this to create a source to light to the whole area. All these put together creates a splendid, realistic and familiar atmosphere for the viewers to relate with.

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

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

As one of the most well-known and studied artists of the Italian Renaissance, Sandro Botticelli changed many of the ideals of Renaissance painting. His devotion to the depiction of “the Beautiful” resulted in rhythmic and poetic art that has left realism and logic behind in the quest for divine beauty. Through abstraction and the divine, Botticelli “transposed onto a plane of pure spirituality where no distinctions or fine shades are any longer possible, where all values are balanced out and merged”, transcending the natural to show sublime images of divine beauty. This paper will examine two of Botticelli’s paintings of Venus, in the Birth of Venus (Fig.1) and in the Primavera (Fig.2), and will consider that the two pieces were created as sister works. Through analysis of ancient and Renaissance texts, it shows that the two paintings, when considered together, they show key concepts of Neoplatonic philosophy, specifically that of the two Venuses: Earthly and Heavenly. Both the Birth of Venus and Primavera add to a narrative that implies a physical manifestation of the derivation of divine beauty and love from Heaven to Earth.

In one word, the author Ovid describes the overall content and theme of his poem with the word “Metamorphoses” in the title. Some relative synonyms of this word among others are; altar, change, mutate, develop, and reshape (metamorphose). But Ovid goes further to describe the theme within the first two lines of the poem.

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 feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the

The first is a medieval painting, created by the Italian painter Duccio creation, we can see that his paintings are characterized by a typical dark tones, because it is the early Virgin image, painting skills are not too mature, more oil painting Has not been born, cannot be repeated stacking, repeated changes, and thus in the character image of the expressive force is not perfect, it is not a strong light and shadow effect, but on the basis of flat painted slightly darker blooming, so that the face of the Structure and clothing pattern to show the bumps. However, as time goes on, the earlier the icon on the image, the less the effect of three, the basic lines are outlined in the plane, with color is simple and bright. But the phenomenon of rigid expression until the 16th century when the image has not been