Essay On Venus And Cupid

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

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.

The painting depicts Penelope seated in a open wall chamber focusing on weaving a shroud for her father-in-law. She was surrounded by suitors because of her husband's 20 year absence. She said that she would choose one of them when she finished weaving the shroud, but each night she would deconstruct the work apart again. The painting features bright tones and clear drawings. There is a contrast from the darkened interior of her room and the bright weather seen outside of her chamber. She is clearly ignoring the unwanted suitors lingering outside, and especially a drunken one who is extending to her a bouquet of flowers which she ignores. Penelope is clearly the focal point of the painting as she sits attired in a simple yet elegant red robe doing her weaving. Although two other women are in the room with her they seem to fade in the background as if Penelope is clearly the focus of attention. The manner in which she is portrayed shows her commitment to be faithful and dutiful to Odysseus.(Trippi,Peter

Ever since the beginning of the Stone Age around 25,000 B.C. and throughout the late classical period in 400 B.C., we can infer and see that both men and women have been portrayed in many ways when viewing particular cultures around the time period. The representation of the female body can be seen through numerous pieces of Art. Ladies and Gentleman the figurine in front of you is called “The Venus of Willendorf”, and it is the oldest female figurine statuette. It most likely symbolizes female fertility. Now some of you may be wondering why this figurine is half naked. The reason for this again ties back to the cultures of Mesopotamia. Multiple Mespopotamian related cultures seem to have made this

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 Mazarin Venus at the Getty has been restored extensively. Scholars believe the head actually belonged to another ancient statue. Nevertheless, it is still a beautiful piece that demonstrates how the ancients viewed their gods. Venus has a beautifully proportioned and shapely figure. She has a lovely face, also classically proportioned, that is framed by curls. Her hair cascades down her back and falls over one shoulder. She gazes off to the side. She is graceful and elegant, showing herself with neither boldness nor undue modesty. She represents the female ideal of her times. Her beauty mirrors the beauty of love. The Greek sculptor who originally created the figure and the Roman sculptor who copied it did

Given the accuracy of the representation of the anatomy depicted in the Venus of Willendorf, that is the way the breasts hang and the way the "fat"

Venus of adonis was painted by Tiziano Vecellio and dates back to A.D 1400-1600. He was one of the greatest italian renaissance painter and he was recognized as a great painter early in his life. He was a master of the oil medium and a supreme colorist. Many of his paintings represent either religion, antiquity and/or beauty. In his painting of Venus and Adonis it was inspired by a tale called Ovid’s Metamorphoses and therefore was called poetry in paint, also known as poesie (The MET). The painting portrays the goddess Venus has fallen in love with Adonis. The goddess Venus is trying to hold back Adonis because she does not want him leaving, since he is a hunter. While the goddess Venus is trying to hold Adonis back, his dogs are

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.

Florence, Italy. He left Florence in 1480 to help decorate the Sistine Chapel in Rome with some of his art which only the most famous painters of that time were invited to do. In 1482, Botticelli returned to Florence and shortly

Artemisia Gentileschi, Venus and Cupid, ca. 1625-30. Oil on canvas, 38 x 56 5/6 inches. Virginia Museum of Fine Arts, Richmond, VA.

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.

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

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.