Comparison Of Adgio Bronzino And Robert Campin

Peter Paul Rubens’ masterpiece, Venus and Adonis, is not only a significant artwork of the baroque-period in Europe during the seventeenth century, but it also tells the mythological story that begins with love, and ends in tragedy. Displayed in the Metropolitan Museum of Art, this painting is admired for representing the unique baroque-style of this era, as well as Rubens’ particular use of the medium and how it reaches those who are viewing it. His attention to detail and crafty use of symbolism within the painting assist viewers in deciphering the story, along with the values of the period in which Rubens was living. In studying the composition of the work and noting the historical context from which it came, one can ultimately

You can practically feel the intensity of the moment that Manfredi decided to pick to tell us this mythological tale. We can see all the destressed emotion that each of the characters are displaying at this moment. The male figure, who I assumed to be Mars, has an expression of determination, and has sort of a soulless/emotionless look on his eyes that shows no remorse or regret. In his hand we see that he is holding a rope, and is in motion to whip. In this position see Mars overpowering the smaller male, assumed to be Cupid, as he is trying, and failing, to pull away from Mars’ powerful presence. We see that Mars is not even holding a tight grip on Cupid, who is very frightened of Mars’ presence and is submitting to him and is dreading the punishment he is about to receive. Cupid, even though he is too god, his is presented as a child like being, having more a boyish appeal to the viewers of the painting. Cupid is presented with white wings, a cloth over his eyes, and is trying to flailing away from his punisher. The position that Mars is putting Cupid in makes the harsh motions of his action look as if it was a father punishing a youth. And the role that the woman, Venus, is playing is the mother, whose actions of stopping Mars from punishing Cupid, but her actions are futile. In her hand you see that she is holding on to some of Cupid’s arrows, Venus is shown in the image of a

The painting this paper will focus on is titled The Abduction of Europa by Noël-Nicolas Coypel. In this painting, the artist uses composition, light, color, and expressive qualities to achieve the mood of romance and playfulness in a mythological scene. The huge painting is representing a known myth that involves the Roman equivalent of a Greek myth of a powerful god being so infatuated with a nymph that he kidnapped her. In the this painted visual, we are specifically witnessing the moment Jupiter is swimming away with Europa and taking her far from her home.

The grotesque and incestuous relationship that the Dorsets sustain functions as another gothic element in the text. One of the definite obscurities in the Dorsets’ house would be the hanging of various pictures, specifically Bronzino’s “Venus, Cupid, Folly and Time”. It is a tiny color print and described as “simply being tacked on the wall, and obviously been torn from a book or magazine” (Taylor, 765). The picture could be interpreted as a family interacting and behaving immorally, further enhancing the notion that the Dorsets do not just have a sibling relationship but rather a more intimate connection. This print acted as a focal point of the house and further detailed the Dorsets’ incestuous relationship. In the end, the Dorsets are overcome by their monstrous

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.

I have chosen a famous oil on canvas painting: Venus and Cupid by Lorenzo Lotto made around the fifteenth and sixteenth century during the Italian Renaissance period. Overall, this piece is extremely intriguing to me, I cannot imagine how the artist created it with such detail and precision. Overall, this painting has this happy and positive mood, but it is also makes me curious as to what this painting is about. It also gives me this feeling to smile for Cupid and Venus in the painting, rather than with them, as there faces are conveyed as being happy together. Its colors similarly, just like the overall painting, has this beautiful bright and cheery color that seem to suit Venus and Cupid well.

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?

In comparison with Giorgione and Titian’s influential paintings, Velazquez “replaced the full sensual opulence of the Venetian model with an intensely personal nervous vitality and youthful grace.” Additionally, the Italian artists developed a more voluptuous Venus, whereas The Rokeby Venus had a more slender figure and wore none of the usual mythological accessories such as jewelry, roses or myrtle. When the piece was released to the public it was just described as “a nude woman”, as the portrayal of a naked Venus was an erotic image and controversial for its time. One art historian noted that in The Rokeby Venus, “realism and allegory are folded together in a particularly striking manner, not through his favored device of painting within painting, but through a complex process of overlaying of sources – most notably, the Venetian nudes, either the original in the royal collection or their shadows in the works of other emulators” . However, even with the identification of figures in an allegorical painting, the meaning can still remain elusive.

The great thing about art, is that there are multiple portrayals of one idea but, the artist’s own personal style allows one to feel something that another may not. Early Renaissance painters, Giotto di Bondone and Duccio di Buoninsegna established their own unique style to depict a biblical scene known as, The Betrayal of Christ. Through a close analysis of each artist’s representation of, The Betrayal of Christ, one is able to compare and contrast the artists own understanding of the scene through their attention to detail, character, and space throughout the painting. When examining these two works, one will have a stronger emotional response towards Giotto’s interpretation rather Duccio’s, due to his methods of handling organization, figures, and space.

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

These, as well as the cupid by the clock, are symbols of the Venus, the Roman goddess of love. These references to Venus hint at Madame de Pompadour’s role as the king’s mistress, but also reveal Rococo artists’ interest in love and pleasure. The difference in these comparisons beautifully reflects the different interests of the two period. Connecting Louis XIV to the sun god reminds the viewer of his power and raises him to a divine level, whereas connecting Madame de Pompadour to Venus emphasizes the Rococo fixation on both lust and

Giambologna’s follower’s bronze statue “Venus and Cupid” depicts the womanly figure of Venus wringing her hair, while a youthful Cupid clings to her leg. Venus stands with one foot atop a dolphin, which spits water into the fountain, while a piece of cloth drapes across her lower body, partially covering her nudity. Clutching her leg, Cupid stretches out a conch shell to catch the falling drops of water from his mother’s hair. The sculpture is especially fascinating in that water not only spurts from the mouth of the dolphin, but a drop of water occasionally drips from Venus’s hair, lending to the realism of the action. Another interesting aspect of the portrait is the modified proportions of the figure of Venus, such as her elongated legs

nude goddess and depicted the same image in his painting The Birth of Venus (1482). This

Also known by the titles "Venus, Cupid, Folly, and Time" and "A Triumph of Venus", this painting was on purpose designed as a complex, erotic allegory that includes an extent of iconographic symbols from the ancient world of mythology. It was a present from Cosimo de Medici to King Francis I of France. Being rich and vivid in symbolism relating to the constituting ideas of the High Renaissance, the painting gives Bronzino the opportunity to establish his maestro figure painting and portrait art. Through personification of qualities and varying contrast and brightness, Bronzino is able to justify that personal gains outweigh anything and everything that is moral.

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.