At a first glance, it is apparent that Titian’s Venus of Urbino and Cranach’s Nymph of the Spring share many similarities. One major similarity between these two pieces is the time period in which both were made in. Titian’s Venus of Urbino was made in 1538 while Cranach’s Nymph of the Spring was created around the year 1537. Both paintings depict women laying down comfortably in the nude as the main subjects of each piece. Both pieces could be considered portraits of these women.
After showing respect for a certain period of time, Roman women believed venus would make them prettier and more attractive to men. This was a huge reward for ancient Roman
Botticelli's The Birth of Venus was created in 1482-1486. It is a tempera on canvas. Tempera on canvas is a type of painting which is painted on oil painitng cloth. Botticelli's The Birth of Venus is a horizontal painting, which scaled 5'8" x 9'1. Raphael's Galatea, on the other hand, was created in 1513.
Louise Shewan is bio-archaeology researcher at University of Sydney who has studied “Venus figures” and stated in one of her articles “... the figurines have been variously considered to be fertility idols, self-representations of pregnancy, mother goddesses or charms among other interpretations”. Even today, fertility, reproduction and sexual behaviors towards women are on-going issues in our modern culture. The artist emphasizes her breasts, which suggests that the figure can take care of a child. We can also realize that the figure was originally painted in red ochre, symbolic of menses, and, her navel is not carved; rather, it is a natural indentation in the stone.
Botticelli also used exaggerated proportions to express beauty with his soft technique that left no brushstrokes visible. Sadly, many of Botticelli’s great secular works did not survive his own conversion into a follower of Savonarola, where all non-Christian items shall be burned in the bonfire of the vanities. Luckily, the Primavera as well as the Birth of Venus and a small list of others survived the trying times of Savonarola’s Florence. Because of the surviving secular works of art, Botticelli changed the painting world forever with the adaptation of his own style which suggests the strongest interest of the painting deliberately be the most important feature. Botticelli’s profound impact on the twisting and turning of
The Venus and the Lute Player was created by Tiziano Vecelli(o), also referred to as Titian. This piece of art was created on a canvas using oil circa 1565-1570. The artwork was made in a style similar to that of a portrait. The background is portrayed as a nature scene with only the left half of it exposed. The middle ground is composed of a red curtain which creates the division between the background and the foreground.
This website gives great insight and information about this famous piece of art. The Venus of Willendorf dates between 24,000 - 22,000 B.C.E., this makes the Venus of Willendorf one of the most famous and oldest works of art that gives so much insight to how the society viewed women. For example, we should start this essay off with talking about art and its meaning. Dr. Bryan Zygmont who wrote this
While the Venus de Milo “stands some 6 feet 8 inches tall, without its plint”(VisualartsCork) which is a bit bigger than a typical woman. Moving on to details, in both faces of Virgin Mary and Aphrodite we can see the perfect and young characteristics both artistic periods focused on. On the Pieta, Virgin Mary looks very young to be the mother of a 33-year old Christ. Michelangelo claimed that “woman who are chaste retain their beauty longer”. Aphrodite was the goddess of physical love and beauty so her sculpture made her look flawless.
In the 1480s, Botticelli created the large format mythological and allegorical paintings, including Primavera and The Birth of Venus, that have become some of his most famous
The created cover of antiquity gives the fourteenth-century poet license to pay close attention to form, the delight of the image, a depth we can see in the description of the statue of Venus in the Knight 's Tale. A remarkable feature of this description is its three-dimensionality, a particular attention to extremities, props and supports that draws the attention away from the centre to the margins, a technique that allows the statue to be viewed as a carved and painted sculpture. From the fragment below, we can see how the narrator goes on with the support and moves smoothly downwards and then up, but not right through the centre; rather, through the margins: Repeated references to the action of sight in this ekphrasis also switch on the sensory. With the line of sight located in the double position as that which can simply record with delight, the action of a gaze also appears to bring the statue almost to life. 'Glorious for to se ' in the first line of the description disrupts the declarative statement on the statue 's nudity and its pleasure, though the poet willingly focuses on covering up the exposure.
Sasha’s Description Paragraphs: Sleeping Venus (1510): In the painting entitled “Sleeping Venus”, by Giorgione, there is a nude woman reclining in the countryside with her right hand behind her head, and her left hand on her groin. She covers the whole width of the painting. She has amber-colored hair that is parted in the middle and braided around the sides. The woman is resting atop a red and gold gown, which her cream-colored skin contrasts with.
Olympia By Manet Article “Venus to Olympia: An Art Timeline” by Heather Goldstein and “Olympia” by Jonathan Jones both commentates on the contextual meaning of Manet’s Impressionist painting “Olympia”. Heather Goldstein’s “Venus to Olympia: An art timeline” provides a take on Manet’s “Olympia” through a cultural frame. She introduces Manet as the “Father of Modernism” who enjoyed to “stir things up in the art world” as his artwork often lead to many controversial issues during that time. She then recounts how “Titian’s Venus of Urbino [has] inspired one of his most famous paintings, Olympia”. The final composition however, have caused “quite a stir” amongst the 19th century viewers, “when it was presented at the 1865 Salon”.
Made from parian marble sculpted separately before being fixed with vertical legs, this piece of art is usually thought to portray Aphrodite, the ancient Greek goddess of physical love and beauty. Venus de Milo is a statue of a naked woman with no arms, restoration experts have said that the statues arms and original base or plinth have been lost almost since the work arrived in Paris in 1820. It has been said that this was partly due to an error of identification because when the statue was originally reassembled, the other pieces that came of the left hand and arm were not believed to belong to it because of their overall rough appearance. This goddess is often shown with mystery, her attitude always tends to be unknown. However to this day, many experts are confident that these additional pieces were part of the original work of art despite the variation in the final product since it was often common to spend less time and effort to the parts believed to be less visible of a sculpture, Many sculpture reconstruction experts guess that the separately carved right arm of the Venus de Milo laid across her torso with her right hand rested on her raised left knee, hence her clasping the clothing covering
In the painting, we can see that Venus being pushed by the winds that is personified by Zephyrus and Chloris on the left, and she is standing on the seashell, almost reaching the shore where there Pomona is waiting to wrap her naked body. All the figures in the painting are floating which is a difference from the usual Renaissance style where the paintings are usually painted based on the real naturalism. However, in The Birth of Venus, Botticelli has created something that is different from what can be usually found in Renaissance paintings which suggests that Botticelli has been taking ideas from the Greek vase paintings which usually had the figures floating on air and implements it into his
he Madonna and the Carnation, or Madonna with Vase (1474), is an early oil painting completed by Leonardo Da Vinci. The painting shows a common Virgin and Child iconography, yet is completed with much more elaborate inclusion of detail. Mary is seated, and adorned in precious clothing, jewelry and hairstyle. The clothing is masterfully draped over Mary’s lap, and the intensity of the hue creates juxtaposition between the darkness and the shadowy elements of the background and the lightness that is used for the faces of Christ and Mary, which contributes to the disconnect throughout the image. The intricacies in Mary’s fashion, as well as the drapery, vase, and bouquet all depict the great skill of Leonardo in painting, but the combination and positioning of the elements in the plane of the painting creates an
