Venus Of Urbino

Nude figures have been featured in art works since around 30 to 25,000 B.C. And throughout the history of art, we can see a lot of artists being inspired and influenced by great talents before them, in one way or another they would carry the style or ideas of those previous artists into their own art and create new masterpieces. One particular example is Édouard Manet’s Olympia from the Realism period, and Yasumasa Morimura’s Futago. The two paintings share great similarities in their composition, but the content and purpose of the paintings, and style wise the two pieces are very different.

For centuries, sexuality and nude figures has been a face of art. Venus of Urbino by Titian and Olympia by Édouard Manet represents the faces of female domination and their ability to lure any men. In this essay we shall talk about the two artists, Manet and Titian, and also compare and contrast between the two painting based on their cultural and structural significance. Manet was born in 1832 in Paris. He was considered as the founder of modern art and a master analyst of visual arts. His artworks were realistic, spontaneous and monumental. Inspite of coming from a privileged family, Manet’s work mostly consisted paintings of the less desirable and the lower class people of Paris. His artworks commonly represented everyday life scenarios

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.

Reclining nude female is a common subject matter in art history since the Venetian Renaissance, Titian’s Venus of Urbino painted in 1538 is one of the earliest reclining nude female in painting history. It described a beautiful young female laying on her bed with her sleeping dog, on the back ground is her maids looking for cloth or her in the cassone. Manet’s Olympia that painted in 1865 is a painting with a similar composition, A nude young female who was suggested a prostitute, behind her is her black female maid holding a big bouquet of flower which is possibly from her customer. On the same part of the composition, there is an animal as well, but this time it is a cat. Titian and Manet’s reclining nude female have a same composition and subject matter, however They are very different in art history, both stylistically and culturally.

The painting was rejected by the official French academy in 1863 because it left the salon jury outraged to how the woman is being shown in the nude with no shame at all. Although nude women had always been the subject of classical art the problem here was that she was being depicted as a normal human being. Her body posture seemed relaxed, by slouching it also creates folds on her stomach. The salon did not approve as she was displayed as a regular modern day woman who happened to take her clothes off (you can see her polka dotted dress and hat towards her left) rather than a goddess or mythological creature. Another problem they had was that she is looking directly into the viewer’s eyes with confidence and self-awareness to which people were not

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

This paper will discuss relative points and insights relating to sculpture of the Paleolithic era, specifically the Venus of Willendorf, through the essays of Christopher Witcombe.

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

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.

Twenty eight years after Giorgione’s death, as a close friend to him, Titian created another version of the reclining female nude, which is also one of the most famous female nude in art history - the Venus of Urbino in 1538. It was an oil painting on canvas, and now located at Uffizi gallery in Florence.

It is believed Manet's technique further inflamed the controversy surrounding Olympia. Rejecting his traditional art training, Manet chose instead to paint with bold brush strokes, implied shapes, and vigorous, simplified forms. "The paint sat there on the surface of the canvas...It wasn't just the fact that she's a nude and she's a lower class nude, but also the fact that she was painted in...what many people read as almost childish or unskilled fashion," explains art historian Anne McCauley in the film. "Olympia shocked in every possible way. That is to say formally, morally, in terms of its subject matter. It had the whole range of outrage," adds art historian Linda Nochlin.

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

Knowing this little fact makes the painting even more understandable. It allows the viewer to visualize the relationship between mother and son. Gentileschi may have wanted to send the message of love between mother and son through this painting. Another way to look at it is if you look at her other paintings Gentileschi revolved her paintings around subject matters of women who were known for their courage, beauty and simplicity. Her paintings mostly consisted of women being dramatically nude in which it showed her style, which is dramatic realism. Therefore there are many ways to interpret the painting Venus and Cupid by Artemisia Gentileschi, it’s just the matter of how you see it.

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 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.