Distortion Of Venus

Titian uses very rich, saturated colors in the painting. The painting shows Venus in the reclining nude position holding an instrument while her son Cupid is behind her placing a crown on her head. Venus is completely nude except for two bracelets, a necklace, and a small piece of cloth across her thigh. There is a cello next to her and a young man playing the lute while looking at her. There is a sense of movement created by the young man looking at Venus and Venus looking off into the distance. Venus’ body is one of the brightest parts of the painting drawing the viewer’s eye to her body and then to her face, which is looking out of the painting.

First, he was affected by the landscape of Catalonia in which he spent his childhood. In most of his paintings we could find the desert of Catalonia, which he sees it as his whole life. Another element could be Gala, who is the person that he adored. Dali drew either a portrait for her or he drew her watching the scene of the picture. The last element was sexuality, which he gained from the Surrealism. He either drew nude women either for enjoying it or, in sometimes, he drew nude persons as a symbol of poverty and slavery. In his picture “ Slave Market with Disappearing Bust of Voltaire” (1940) Dali gathered between all the three elements landscape of Catalonia, Gala, and sexuality which shows how he was strongly affected by them (Biography 1929-1941).

The painting shows five women naked with flat figures, disintegrated planes and faces, inspired by African masks. The compacted space the figures occupy appears to project forward in jagged shards; a fiercely pointed slice of melon in the still life of fruit at the bottom of the composition teeters on an impossibly upturned table top. In this painting, Picasso makes a radical departure from traditional European painting by adaptation of Primitivism and abandonment of perspective in goodwill of a level two-dimensional picture of a plane.

This painting depicts the scene from the Bible known as the last supper, where Jesus and his twelve disciples ate their last meal together before Jesus died. Dali is not the only artist to paint this famous scene, Leonardo Da Vinci, along with many other artists, created their own version as well. The difference is that Dali used his surrealism background to create this scene in a completely unique way. Instead of painting the twelve disciples of Jesus as individuals, Dali painted them symmetrically so that each man had another mirroring the same pose across the table. This element, along with placing the setting of the last supper in a dodecagon and showing the beautiful background, creates a calm and peaceful environment for the disciples to pray. Dali also created two focal points in this painting, while most artists tend to only choose one. The floating torso is obviously the surrealist element of this painting, but also completes the message that Dali is communicating. Though the three elements, symmetry, setting and focal points, Dali created a completely unique rendition of the last

The Death of Cleopatra created Gerard Hoet, in Netherlands, about 1700-1710. It is oil on canvas. This piece caught my attention because it’s a painting portraying a moment in history, though it was painted hundreds and hundreds of years later.

Venus of Willendorf shares many common features with the other figures from Venus series. They all have particularly pronounced gender features. Venus of WIllendorf and other Venus figures have large breasts, huge and massive genitals, and big buttocks. Another distinctive feature is the absence of the feet. The figures also don’t have facial features. The figures often have hair and lack hands. All figures are rather

In “Venus of Urbino,” Titian formed a good composition that balances somewhat the delicate static character of the reclining Venus with a consistent dynamic component. The painting

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.

Spain has in its possession a very interesting depiction of the goddess of love Venus; this particular depiction is known as Afrodita agachada or Venus crouching and is illustrated in figure 4. As we all know by now, Venus was the Roman goddess of love and beauty, and is usually compared or associated to the Greek goddess Aphrodite. The name of the Goddess Venus is made out of symbols for “daughter”, “son”, and “Isis.” According to author John Erskine, the name “Venus” identifies her as a daughter of Isis, as well as it also identifies the “original Venus,” as one of the confirmed virgin daughters of Isis. In Roman times, Venus was a sex symbol.

Surprisingly the name “Venus” given to those statuettes has no connection with the Roman Goddess Venus but since they carry such feminine traces and resemblance, they are considered a representation of a female goddess by some.

Next is Dali’s use of his famous method of multiplicity. The man and woman on the bottom left corner of the distortion are another version of Venus and the man interacting with her. Both women are covering their face, both have a feature showing their femininity- Venus has breasts, the woman has a vaginal opening on her face, both have a male feature- Venus’s head, the woman’s boot and both have a reference to castration- Venus’s penis, the woman’s bloody handkerchief, and both are masturbating- Venus’s large hand and the woman’s finger in her vaginal opening. Both men are interacting with their woman and both men have a sea symbol- the anchor and the net.

This artwork is an oil painting called ‘Venus of Urbino’ by Titian Vecellio and painted in 1538. This painting was commissioned by Guidobaldo Rovere and Duke of Urbino to celebrate his marriage in 1534. It exemplifies the Venetian Renaissance style. It also contains use of colorito (color and light), emphasis on mood, and sensual erotic subject matter. In this artwork, there was a long standing debate on who the woman in the painting actually is. Since there is no concrete written evidence of Titian’s thoughts, the question is open to multiple interpretations.

The planet Venus is a terrestrial planet, meaning it has a rocky and solid surface. The surface is covered in thousands of volcanoes, sizing from very small to gigantic sized ones. The volcanoes are all over the planet, and in no apparent patterns, meaning there isn't tectonic plate activity like we have on Earth. Interestingly, these volcanoes aren't as explosive as they would be on Earth, presumably due to the thickness of the atmosphere of Venus. Instead the volcanoes on Venus seemed to just have liquid lava flows. While it is possible that most of the volcanoes are either dead or dormant, there may be some active volcanic activity on Venus. Among the surface volcanoes of Venus are very few impact craters from meteors. This is because thickness

The “Black Venus” has many visual elements. Some of the elements apparent to are line, shape, colors, texture, balance and symmetry. Lines form shapes on the bathing suit worn by the Black Venus. Shapes that appear in the figure are hearts and flowers which contribute to the intended message of this piece of art. Colors that also contribute to the artwork are yellow, orange, white, blue, red and green. All of those selected colors are very lively, giving the solid black figure a live mood. The figure is sculpted in all black. The texture of the Black Venus appears to be a shiny, solid texture like the figure was polished. Lastly, the figure’s lower body even has the principles of an asymmetrical balance. As one leg stands straight up from the

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.