The Birth of Venus by Sandro Botticelli depicts a moment from Venus birth when she stepping, almost floating, off the seashell that was blown ashore by Zephyors along with Chloris. Horae awaits Venus arrival to shore with a large red cloak to cover her naked body .Venus is the Roman goddess of love, sex, beauty, fertility, and prostitution. Venus is the Roman Aphrodite. Born of seafoam from a singled drop of blood in to the sea from the castration of her farther Uranus by his son Saturn.
Botticelli depicts Venus standing a relaxing pose with long golden wavy hair that falls to her knees skin blemish free and pale as the seafoam she’s born from with one hand (right) gently placed over her right breast she uses the other (left) grasping for
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Venus’s standing inside a large pearl colored seashell with golden edges, represents female genitalia giving a symbolic birthing scene, and has been blown ashore by Zephyors and Chloris who’s floating above the sea on the right of Venus. Zephyors is the god of the west wind ,his face shows strain from the power of his breath his cheeks inflated with air ,lips puckered , forehead wrinkled with by the force he’s expelling the wind. Zephyors skin is tan with long brown hair the same as the color of his angelic wings , his body is in a bracing pose with his arms pushed back with his hand opened his chest exposed and forced forward, his blue cloak tied around his neck is blown back from the winds wrapping around his right arm and pelvis. Zephyors left hand is wrapped around Chloris. Chloris is a nymph associated with spring and blossoming flowers, her arms are wrapped around Zephyors with her fingers intertwine on his right side her right leg is hooked on his upper left pelvis down to his knee. Chloris upper body is facing Zephyors with her head nearly touching his looking towards Venus, her mouth is slightly open face relaxed her eyes focused on Venus almost in awe of her beauty .Chloris cloak tied on her left shoulder rich dark green color with gold highlights draped over her body with her left breast exposed. Her skin …show more content…
Botticelli uses a vast number of techniques in this painting he uses the contrast of the figures with the dark outline of their bodies to have the pop off of the canvas, he used the robes and flowers to show the force and direction of Zephyors breath, elongated limbs to interest the viewer. Botticelli believed to have used the Golden ratio in this painting .The Golden Ratio or Phi (1.618) is basically creating and appreciating a sense of beauty through harmony and proportion. The Birth of Venus can be broken up into three vertical and horizontal, Zephyors and Chloris would be in the left, Venus in the center, and Horae to the right. The way Botticelli uses contrast to draw the viewer to the newly born deity with a dark outline around the body to show emphasis on her pale skin with soft pink or coral tones for shadow on the skin. The way he painted the hair as it gracefully drapes down to be gathered at her pelvis, by using mixture of a yellow ochre color to bring highlights and depth the goddess golden locks. Zephyors tanned skin glows against the soft blue from his silk like robe, Chloris clinging from him her pale skin emphasize his warmth .The use of drapery, waves, and even hair to show movement and direction, the darkness of the background and the bright
From the very start we see Apuleius using references to Roman myths as similes to everyday occurrences. When Fotis, the slave, enters his bedroom to make love to him, he remarks that "she stood, transformed into a living statue: the Love-goddess rising from the sea. The flushed hand with which she pretended to screen her mount of Venus showed that she was well aware of the resemblance; certainly it was not held there from modesty." He describes a slave girl trying to seduce him as Venus rising out of the sea. Some of this description may be a hyperbole for Lucius' love of Fotis. However, Apuleius goes beyond this by linking Fotis directly to Venus. Thus, the most beautiful goddess in the Pantheon is easily seen in a slave girl. Similarly, Thelyphron, when telling the story how members of a household attacked him, describes himself as feeling "like Adonis mauled by the wild boar, or Orpheus torn in pieces by the Thracian women." This...
Placement is an interesting aspect of each of the paintings being analyzed, as each painting uses a different approach. There is no one focal character, as each is placed to draw attention to all three of the characters as a whole, something that is not seen in Titian’s Venus of Urbino. In Titian’s, Venus of Urbino, Venus is clearly intended to be the main focal point, whereas the two other characters in the background are meant to support, but not overpower, Venus herself. The differentiation between these two character placements in each painting is extremely important when it comes to determining the overall meaning and understanding what the artist was trying to portray in their works of art. Color was important to all artists and painters during that period, but the ways in which the use of color differs between these two paintings is important.
...tism. The dove which has been tactfully placed above the Christ’s head, symbolizes the Holy Spirit. The other characters are angels who believed to be witnessing the baptism. The nakedness of the Christ on the other hand symbolizes humility. The general landscape in this picture displays an extraordinary naturalism. The Francesca’s work also marked the era of excessive antiquarian style of sculpturing and tactful use of oil in painting (Prescott, 2005).
The picture has many wholesome elements to it. Venus is only one example. The next wholesome element to the portrait is seen in the upper left corner of the picture. It is in this corner that Zephar and Chloris fly. Zephyr and Chloris are the wind-gods and they are actively blo...
Peter Paul Rubens’ masterpiece, Venus and Adonis, is not only a significant artwork of the baroque-period in Europe during the 17th 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 time 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 understand Rubens’ point-of-view and thus, connect to the painting in a way he or she has never imagined.
... right is the only part of the painting that has gold leaf in it, on her gown, what looks to be a gold collar, and a gold necklace with a pearl. The gold she is garnished in represents royalty and the holy. An interesting illusion is seen the left angel’s hair and how it’s illuminated by the sun creating a halo.
The Black Venus is obviously my favorite piece of artwork. I immediately became drawn into it, not even know the background information behind the piece or the artist. The artist behind the “Black Venus” is Niki De Saint-Phalle. I found out some of her other works contrast from the Black Venus, however, I did find one piece which is similar is its message. A similar sculpture by Niki De Saint, called “Les Trois Grâces” (“The Three Graces”) can be compared to the “Black Venus” due to the large, full-figured sculptures, standing tall with grace. It is likely that her artwork was a part of a feminist movement. According to Lipton (2015), “In 1968, Niki De Saint Phalle wrote on a drawing, “I had to take my diet pills …gained five pounds around
The author of the Latin poem, The Vigil of Venus, remains a mystery, along with the date it was penned. Many have speculated who might have written this piece of poetry, but no one can be certain. It is assumed that it was written in early spring on the eve of the festival of Venus, and set it what might be Sicily. The writer is focused on the natural world, and seems motivated by love, spring, and hope of the renewal of both. Some believe this particular piece is seen through the eyes of Venus, known in Greek mythology as the mother of the Roman people. Critics might argue that this poem somehow suggests the imminent fall of the Roman Empire, and while I agree with this possible explanation, I could argue
Long, J.C., (2008). Botticelli’s Birth of Venus as wedding painting. Aurora, The Journal of the History of Art, 9, p.1. ISSN 1527-652X.
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; the most recent estimate of age was in the 1990’s and was placed at 24,000 to 22,000 BCE after scientific research was performed on the rock stratification. This statuette was discovered by Josef Szombathy in 1908 near the town of Willendorf, Austria, in an Aurignacian loess deposit, which loosely defined is a yellow brown loamy geological deposit dating to the Paleolithic period. The name Venus was first associated with the figurine as a joke. The small, crudely carved statuette of an obese woman contrasts heavily from the graceful classical forms of sculpture such as Aphrodite of Cnidos, Praxiteles, 350 BCE. Although it would be difficult to associate the word beautiful with this statuette, there can be no doubt that it reflects the female form. The statuette has also been known as “la poire” or “the pear” due to its size and shape and more recently was donned the Woman from Willendorf. The removal of the title Venus served to take away the figurine’s status of goddess and lower it to the human level, therefore allowing more consideration of the figurine’s purpose (Witcombe, sec. 3).
The Venus of Willendorf and the Venus de Milo are two ancient day venus sculptures representing two different views on beauty. The Venus of Willendorf is a small 4.5 inch limestone figure of a Goddess which is believed to be used as a fertility symbol, while the Venus de Milo is a tall ancient Greek statue of a Goddess which is said to represent love and beauty. The Venus of Willendorf’s body structure is very different than that of Venus de Milo. The venus of Willendorf appears to be a short lady with a large emphasis on her reproductive organs, breasts and stomach area whereas the Venus de Milo appears to be very tall with smaller breasts, and a really athletic build. She appears to have abs and looks as if she has not had children before, while the Venus of Willendorf looks like she has had children due to her huge breasts and stretched out belly button. The Venus
Long, J.C., (2008). Botticelli’s Birth of Venus as wedding painting. Aurora, The Journal of the History of Art, 9, p.1. ISSN 1527-652X.
This painting is a great example of asymmetrical balance. The angels are placed nearly exactly identical on each side of the throne. The angels themselves are sort of mirroring one another. Besides the navy cloak worn by the woman this painting does a great job at equally distributing the visual weight. The yellow hue is found to be consistent throughout. Giotto did a good job at blending and balancing the colors from yellow all the way to green. There is also a great deal of emphasis found throughout Giotto’s painting. The woman holding her child is definitely the main focal point of the painting because it is found directly in the center on a throne worshiped by angels. There is also a great deal of emphasis found on each character of the painting by the light yellow halo found above their heads. This does a good job at emphasizing everyone’s importance in the
Through the depiction of the idealised female figure, the changing idea of beauty is highlighted. With females illustrated with "stomachs like pears and breasts like apples" (The Body in Western Art Booklet) in the 15th C; robust and fleshy by Rubens and trimmer figures by Boucher and Fragonard in the Rococo age in the 17th C; and naturalistic female figures depicted in everyday setting by Realist artists like Courbet and Degas who challenged the traditional idealised female figure in the 19th C. Through this changing attitude towards sexuality and sexual politics, the nude is one of the most highly charged of all the genres. In the artwork, 'The Toilet of Venus' by Velazquez which has been classically idealised, the female figure is pale and
“The Tale of Cupid and Psyche” is a tale about the relationship that the God of Love, Cupid, has with a mortal named Psyche. Venus, the Goddess of beauty and the mother of Cupid, was offended when people believed in a rumour that Psyche, the most beautiful of the three daughters of the king and queen, is Venus’s daughter from a union with a mortal. She ordered Cupid to revenge in her behalf. However, Cupid, fell in love with Psyche.