Veronese Venus And Adonis

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

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.

In Botticelli’s Birth of Venus, the subject is Venus herself, the Roman equivalent to Aphrodite: goddess of love and beauty (Kleiner 461). Throughout the piece, Botticelli applies a variety of techniques and details that greatly

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?

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

Consequently, many of the colors used in Titian’s Venus of Urbino rematerialize in numerous of Titian’s other works, for example the green in the curtain behind the young woman’s head. The green depicted was painted

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.

While Gian Lorenzo Bernini’s sculpture “Apollo and Daphne” depicts a Romanian story of forbidden love, Ron Mueck’s “Two Women” portray two elderly women hyper-realistically. By analysing the meaning behind the two sculptures, evidence is given that the two artists had different intentions for their work. The story “Apollo and Daphne” is from a roman poem named “Metamorphoses” by a man named Ovid. In the story, Apollo is hit by a magical arrow from a god of

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.

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.

La Primavera is set in a grove, with fruit trees and many types of flowers blooming on the ground. The figure in the center is that of an elongated woman, her head tilted to the viewer’s left and her right hand held up as if she is indicating something on that side. Her gaze comes out of the painting, as if to entreat the viewer to step into the scene. Her form divides the space into two sides. The greenery around her creates a circular shape. Given the subject matter of Botticelli’s other paintings in this collection and the other figures represented, the woman is interpreted to be Venus. At the top of this circle, the figure of a blindfolded male toddler with wings has notched an arrow from the quiver on his back and points it to the left of the painting. His position over Venus and possession of the bow designates him to be Eros, the son of Venus. Following the point of the arrow and the right arm of Venus, there are three dancing women, draped in wispy white with their fingers interlaced. These figures are the Three Graces, identifiable by the way they connect with each other and their dance – in mythology, the Graces

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.