The Birth of Venus

Also, referred to as The Allegory of Spring, it is filled with allegorical meanings that can be very abstruse. However, the most commonly accepted interpretation is that Zephyrus, the west wind, abducts Chloris, who transforms into Flora, the Spring Goddess. The relationship between the two figures on the right is heavily debated; however, many speculate that the two female figures are the same person. The middle figure is Venus, who is said to represent the humanities, and directly above her is Cupid. On the left of the painting, Mercury is pushing away the winter clouds. To the right of Mercury are the Three Graces, who appear to be dancing represent, the virtues of Chastity, Beauty, and Love. The overall ideas behind this painting are the coming of spring, love, beauty, and

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

Secondly, the light and colors help to enhance the piece. Due to the oil painting,

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 Venus of Willendorf was found in 1908 by a workman named “Johann Veran” (Selen). It was found by archeologists at a Paleolithic site. Here at the Naturhistorisches Museum in Vienna, Austria, we have the only authentic Venus Figurine (Naturhistorisches Museum Wien). The artifact’s purpose is still being speculated by many. But from what I can infer, the figurine was used a a maternal figure, and it shows the richness of female fertility.

As indicated by the shape in the foreground, the lines that signify the contour of the rocks and freestanding structure merge. The lines lead the eye vertically as it meets the center. When looking at the painting as a whole, the viewer can see how the artist uses straight

The initial focus of the painting is Mary as a whole, or perhaps specifically her face and outstretched arms. El Greco, however, uses a Cartesian grid to relocate the focus to the geometric center of the canvas, a clearly intentional move necessary to create the basis of Mary’s upward motion. “Assumption” is strongly divided into four quadrants. The heavens, occupying the upper-half of the canvas, are divided in half vertically by Mary’s body, while the Earth is split by a clear part in the crowd that extends directly downward from that same line. The divine and mortal realms are separated fittingly by a line of clouds vertically centered on the canvas. The result is a crosshairs locked in on the area just below the Virgin’s feet—the area that will become the most important part of the canvas. The

Venus is a term that has long been associated with artwork, most specifically the classical forms of beautiful women. The term Venus has also come to represent female sculptures of the Paleolithic era. The most notable of these female sculptures is the Venus of Willendorf, 24,000-22,000 BCE. The age of the figurine has been changed several times. Originally when found the date was estimated to be 15,000 to 10,000 BCE. During the 1970's the time period was adjusted to 25,000 to 20,000 BCE; the date was again recalculated in the 1980's to 30,000 to 25,000 BCE;

Principle of design is shown through the artist 's use of various elements in his work of art. In this painting balance, proportion, emphasis, variety, and unity are all exemplified. The balance is not to even but leans more to the left. I believe it leans more to the left because there is more going on in that area than on the right side. Proportion and emphasis is greatly shown through the goddess Venus and her hunter Adonis because they stand out the most. Through the use of the brush, Titian represents them as three dimensional.

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.

• The focal point of the painting is the sun-drenched valley and river. The emphasis comes from the diagonal of the tree to the left that directs the view of the scene down the valley toward the farmland.

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 scale makes the shell of high importance, hinting at the sexual arousal that Venus illuminates.

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 shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the