Venus Of Urbino By Titian Analysis

structure of feeling, a set of assumption and practice that clearly marks a number of critiques of the modern project if not a breaking point with the just-past. Architecture claims to have a date for the death of modern architecture, 15th July 1972, in Missouri a prize winning complex of modern blocks of flats that had won awards as ‘modern design’ some 20 years earlier , had to be demolished when it proved to be unsuitable to live in (Plate 6,7). Such an action proclaims the death of International Style of modernist architecture, the end of buildings as machine for living in as suggested by Le Corbusier . Of course it would be wrong from our side to strictly state that what stands before the decade 1960-1970 is modern and what is after is

In Titian’s Venus her mythological nature is replaced by an erotic allegory. Venus the goodness of love is staring at the viewer, the brightness of her nudity in contrast with the darkness of the background evokes her beauty and eroticism. The reclining female body, the indoor setting and her coquettish glance overstresses her sensuality, but details such as the dog symbol of fertility, or the poses of roses she holds in her right hand, recall the intimacy between man and woman, the significance of sexuality within the dynamic of a couple. Manet’s Olympia resembles Titian’s Venus but Manet produced a new painting moving into Impressionism. The orchid in her hair, her bracelet, the black ribbon around her neck, the pearl earrings, the dog replaced by a black cat, all elements that indicate Olympia as a courtesan but by giving a face to a courtesan Manet humanizes prostitution. While Venus’s right hand would rest on her genitals, Olympia’s gesture seems blocking the view which has been interpreted as symbolic of her independence from men. The black maiden on the back labels the bloody experience of French colonialism and a clear artistic condemn. All considered there are elements, prostitution, feminism, colonialism that

Art is to be understood through the notion of accumulation rather than progress. Brunelleschi in the XIV century invented the linear perspective, to some extent we could conclude that without him we wouldn’t have had all what came after him, we wouldn’t have had Renaissance, we wouldn’t have had Expressionism neither abstractionism. Without pointillism we wouldn’t have had impressionism, and yet we don’t dare to label the process of artistic evolution as progress. Why is so? Because art before being connected is independent, art is gifted of an independent beauty which transcends the epoch it was conceived in, and it is enough to itself. Art survives while history dies. For this reason for instance Michael Cunningham’s novel The Hours is a moment of postmodern art more than a copy of earlier art. The novel echoes Woolf’s Mrs. Dalloway, there is the similar cast of characters, and a similar plot, a woman named Clarissa has to buy flowers for her party, but she is Clarissa Vaughan and she lives in New York at the end of the Twentieth century. The devise Cunningham uses, stream of consciousness, time disorder, events unfolding through the prism of one single day, mirrors that of Woolf, but it is the acknowledge of our finitude what most the novel is concern of. We go back to one of the main claim of Postmodernist theory, the death of the subject and the loss of aura called on board by