Tiziano Vecellio, known as Titian, was an Italian 16th century Venetian painter. Biographies were written when Titian was alive; however his birthday is still unknown. One account was written by a close friend of his, Lodovico Dolce who says in his book, “Dialogue on Painting” that Titian was about twenty years old in 1507 when he was working on his painting “Fondaco dei Tedeschi.” However, in a letter Titian wrote to the king of Spain in 1571 he claims to be ninety-five years old, putting his birth year in 1477. If this was true, Titian would have been around one-hundred years old at the time of his death. Based off of the chronology of his works, it is more likely that Titian was born around 1490 and died in 1576. When Titian was about ten years old, he and his brother went to Venice to live with their uncle and to start an apprenticeship with a painter. At this time two of the leading artists were Giovanni Bellini and Gentile Bellini. Sebastian Zuccato, a family friend and painter arranged for the two to work with these two painters. While working with the Bellini’s, Titian was introduced to Giorgio da Castelfranco, later known as Giorgione. Titian and Giorgione collaborated on many works and he was a major influence on Titian’s tonal approach to painting as well as his landscape style. The two artists worked in such a similar manner that the line between them has been hard to distinguish. It is hardest to tell the two apart in their pastoral landscapes in which the beauty of nature is celebrated alongside love and music. With Giorgione dying in 1510 and Giovanni Bellini dying in 1516 Titian no longer faced any rivals in the Venetian School. It was at this time that Titian moved on from his early Giorgionesqu...
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...um.org/Collections/search-the-collections/437827?rpp=20&pg=1&ao=on&ft=antonio+canova&what=Paintings&pos=4 (accessed April 7, 2014).
"The Metropolitan Museum of Art - Venus and the Lute Player." The Metropolitan Museum of Art - Venus and the Lute Player. http://metmuseum.org/Collections/search-the-collections/437827?rpp=20&pg=1&ao=on&ft=antonio+canova&what=Paintings&pos=4 (accessed April 7, 2014).
"The Metropolitan Museum of Art - Venus and the Lute Player." The Metropolitan Museum of Art - Venus and the Lute Player. http://metmuseum.org/Collections/search-the-collections/437827?rpp=20&pg=1&ao=on&ft=antonio+canova&what=Paintings&pos=4 (accessed April 7, 2014).
Earls, Irene. Renaissance Art: A Topical Dictionary. Westport, Conneticut: Greenwood Press, Inc., 1987.
Panofsky, Erwin. Problems in Titian. New York: New York University Press, 1969.
“Mars and Venus United by Love” by Paolo Veronese is done in the Renaissance style of painting. This is done in this style, because Poalo Veroneses was a Renaissance painter as well as his teacher Titan.
3 & 4. 27 B.C – A.D 68 by unknown artist, but restored by Pacetti Vincenzo
Giovanni Pietro Rizzoli also known as Giampietrino spent the vast majority of his known career developing drawings and paintings of nude women from roman mythology under the leadership of the great Leonardo Da Vinci. Under the influential scope of Leonardo, Giampietrino replicated myriad artworks of leonardo’s displaying the importance of honoring the great artists of the late fifteenth and sixteenth centuries, especially those such as Leonardo who remain a significant figure in the discourse of the canon of art in contemporary art society. Although he developed his own techniques and manipulations to refine his own work and bring forth a change in the development of the renaissance and baroque style of art, Giampietrino closely followed the methods taught in the Lombard school of art and those of his mentor Leonardo Da Vinci. Giampietrino’s similar style of painting to Leonardo can cogently be seen in his painting Lucretia and a plethora of other paintings, which convey the influence of the Lombard school from the incorporated formal elements such as color, form, content, and subjec...
The statue titled, Torso of Venus, was a replica of the original work by Praxiteles. The Romans made the sculpture in 1st or 2nd century AD during the time of the Late Antiquity period; more specifically known as the Pre-Constantine period. Like the original, the statue was made out of marble. The Torso of Venus is a statue of the goddess Venus, known commonly as the goddess of love and beauty. It was said that she was born, or emerged, from the sea foam. Venus, or Aphrodite to the Greeks, was the embodiment of beauty, sexuality, love and fertility. I believe the Torso of Venus was the Roman version of “Aphrodite of Knidos”, which was one of the most famous works of the ancient Greek sculptor Praxiteles of Athens in the 4th century BC.
Carl Orff’s “Carmina Burana” and Modeste Moussorgsky’s “Pictures At An Exhibition” which was orchestrated by Maurice Ravel are both two incredibly composed pieces of music. However, the two pieces have their differences as well as similarities. Although these beautiful pieces are similar because of the effort to represent works of art, “Carmina Burana” and “Pictures At An Exhibition” are different because of the background of the composers, the instruments used, and the influences that led Carl Orff and Modeste Moussorgsky to create these epic works of art.
Many might have been working on Good Friday, but many others were enjoying The Frist Museum of Visual Arts. A museum visitor visited this exhibit on April 14, 2017 early in the morning. The time that was spent at the art museum was approximately two hours and a half. The first impression that one received was that this place was a place of peace and also a place to expand the viewer’s imagination to understand what artists were expressing to the viewers. The viewer was very interested in all the art that was seen ,but there is so much one can absorb. The lighting in the museum was very low and some of the lighting was by direction LED lights. The artwork was spaciously
larger than life statue of the Arte dei Mercani di Calimala’s(the guild of the merchant
On the archeology the term of Venus is a description of a Stone Age statue of women. Many Venuses were found through Europe, France to Siberia. These sculptures had a similarity in size and shape most of them on an obese or pregnant. They were carved on all different materials. The Venus of Monruz/Neuchatel was one of the last and smallest Venus figurines to be carved during the Paleolithic Era. The Monruz pendant was discovered on July 1990,during a construction at Monruz(La coudre) along with remains of stone tools, animal bones and hearths The Venus of the Monruz is a 16 mm in height figurine. The Venus is a pendant carved out of black jet which it’s basically a hard variety of coal, but easily to carve the Venus was carved in shape
Venus, what do you symbolize? Venus figurines were created during the upper Paleolithic period, ranging from 50,000 to 10,000 years ago. The famous Venus figurines are found all throughout Europe. These figurines have been carved by Stone Age sculptors many years ago. They sculpted these famous figurines with numerous materials like limestone, bone, ivory, wood, or clay. There are many styles of the famous Venus: Venus of Willendorf, Venus of Tan-Tan, Venus of Engen, and countless more. Each one made with its own unique style. Although Venus figurines are different from where they originated from they all share similarities: in size, the shape of their belly is wide and diamond-like, and they generally do not have feet, arms or facial detail. Many scholars don’t know that she stands for, but there are various theories for what they may stand for.
Cavallo, Adolfo Salvatore.Medieval Tapestries in the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1993.
Knowing Venus of Willendorf is a sculpture, she has very nice defined lines. She has a nice combination of vertical, horizontal and curved lines. The artist has given her a nice horizontal line crossing across her breast that her arms create that draw you in. From the horizontal line to the vertical line that draws your eye down to look at her genitalia. She also has nice curved lines that form all around her. From the top of her head, to her breast, to the middle of her stomach, that bring your eye to her behind and back to the front of her legs. The artist has created a nice curved lines that surrounds her breast, as well as her stomach and rear hind. Another way to view her is from the side, which gives you a nice sense of her curved lines that you eye follows down in a flow.
Raphael. Madonna del Granduca. 1505. Oil on wood. 33 in. x 22 in. Palazzo Pitti, Florence.
“The “Portrait of a woman with a man at a casement” dates from around 1440-1444. It is made with tempera on wood by a Florentine artist, Fra Filippo Lippi. The painting is 64,1 x 41,9 cm. A very interesting detail is the message on the cuff of the woman, reading the word “lealtà” which is Italian for loyalty. The painting is part of the Marquand Collection and is to be found at the Metropolitan Museum of Art, where it was given as a gift by Henry G. Marquand in 1889.”
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.
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