Galatea is one of Raphael’s frescos which was commissioned by Agostino Chigi in 1513. Raphael produced this fresco during the golden age of Rome under the rule of de Medici Pope. He created the scene based on Ovid’s Metamorphoses that telling the story about “Galatea’s escape from her rough lover” (“Session 14”). Raphael’s Galatea depicts the scene of mythology; similarly, Botticelli’s Birth of Venus is also a masterpiece which telling the mythological story about the birth of the goddess Venus. Birth of Venus is one of Botticelli’s paintings and was produced during 1484 to 1486. Botticelli received inspiration from the Florentine poet Angelo Poliziano’s poem “Stanze per la Giostra” then painted on canvas using tempera (Encyclopedia of Art …show more content…
Firstly, Birth of Venus is example of the classical Early Renaissance’s composition while Galatea displaying the High Renaissance’s characteristic pyramidal composition. In Birth of Venus, the composition is simple and narrow; all four figures are in the front-ground with a sea-view background. Differently, in Galatea, for example the left bottom of the scene, a cupid in the front-ground and a mermen holding a woman are placed in the middle ground while Galatea and another man who riding a horse are in the background. Secondly, the postures of Galatea are much dramatic and dynamic than the Birth of Venus. Raphael employed figura serpentinata that the postures of figures in Galatea are serpentine and relaxed and more energy. Botticelli’s figures, in contrast, are elegance that similar with the classical ancient Greek sculpture. Moreover, Raphael’s colors and lines are closer to reality than Botticelli. Raphael’s colors are vibrant while Botticelli using the brighter colors which create the sense of holy and sacred. Raphael’s contour lines are softer and his shadowing is gradual changing, but Botticelli’s lines are sharp and bold obviously that the figures look like
Both Goddesses stand nude, slightly covering their genitalia; It’s as if Botticelli took on the modest look Praxiteles put forth. The only difference in the modesty shown is Venus’ long flowing locks some how managed to cover her slight indecent moment in time. Both men set forth a type of admiration for the women pictured in their pieces considering they gave them some kind of covering. When looking at the goddess’s facial expressions, we can see a very apparent deviance in their half smiles, as if they were caught. The Aphrodite represents a quite symmetrical body with even the softest features easily recognizable but, Botticelli was quite close to mimicking such. The Venus’ elongated neck with shoulders slightly sloped still can be compared to the soft features of Aphrodite. Aside from the standing contrapposto, the softness featured in both pieces is what simply draws them
It is determined the Antonine Woman as Venus is a woman of aristocratic status. The portrait is made of fine-grain marble, a medium only upper-class persons could afford. Also, only persons of wealth could afford to have such a protrait made. The woman is portrayed as Venus, a goddess who is connected to the imperial family, and members of a royal family would often have themselves depicted as a deity. (De Puma 26) We know she is being portrayed as Venus because of her bare breast and the upper-arm ring. The bare breast is a key to Venus because she is the goddess of sexuality and desirability. The upper arm ring can be an attribute of Venus as the Statue of Aphrodite (Venus) by Praxiletels displays the same jewelry on a nude body. (Fantham 175)
While both the Madonna of the Meadow and Venus of Urbino are spectacular works of art, each differs and is similar in many ways. At first glance, Titian’s Venus of Urbino catches your eye because of the gold tones that Titian incorporated into his painting. Titian’s painting also has a shine to it, that Raphael’s painting does not. Raphael’s painting uses softer hues that play well with his incorporation of infants and the softness and subtle idea of the meadow. Nudity is an aspect that can be noted in both paintings, yet a sense of class is still associated with the painting as well.
Baxandall, M., Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition, 1350-1450, Oxford, 1971. Bellori, G.P., Le vite detpittori, scultori et architetti modern), Rome, 1672. ed. E. Borea, intro. G. Previtali, Turin, 1976.
Giovanni Bellini was born in Venice, Italy around 1430. He was the son of Jacopo Bellini, an esteemed painter at the time, and probably began his career along side his brother as an assistant in his father’s workshop. Though his artwork was influenced by many of his friends and relatives, Giovanni possessed certain qualities in his compositions which set him apart from the others. He blended the styles of both his father and brother-in-law, Andrea Mantegna, with his own subtle appreciation of color and light, the high regard he held for the detail of natural landscape, along with the very direct human empathy he placed in his painting. These components of Bellini’s personal style became foundational to the character of all Venetian Renaissance Art. Bellini later developed a sensuous coloristic manner in his work which became yet another characteristic he contributed to the Venetian Renaissance Art.
Venus in Botticelli's painting is a Renaissance beauty. During the Renaissance women were believed to look more attractive if they had some weight to them. It was believed that this weight make them more prepared for child birth, and basically healthier. Venus has weight in the painting. Without this weight I do not feel that she would have such a strong impact on her viewers. Another strong point of Venus's presence is her wonderful long and flowing red-orange hair. It flows around her body keeping her pose modest, yet revealing. In all of this beauty it can be easy to overlook the unnatural length of Venus's neck, and the steep fall of her shoulders. Venus's outline is wonderfully graceful, and it is the grace that makes the print so wholesome and beautiful. If Botticelli would have chosen a slimmer or less natural Venus the harmony of the picture would have been destroyed.
The small, crudely carved statuette of an obese woman contrasts heavily with 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 as a goddess and lower it to the human level, therefore allowing more consideration of the figurine’s purpose (Witcombe, sec. 3. The adage of the adage.
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
1. Ward, H. (2011). “The rising genius': Simeon Solomon’s unexplored interpretation of Alessandro Botticelli. British Art Journal, 12(3), 60.
“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.
5).17 This fresco was painted between 1509 and 1511 and is located in the Stanza della Segnatura (one of four in Raphael’s Rooms) in Vatican City. Known as one of the most prominent masterpieces that were created during the Renaissance, this painting represents a total of twenty-one diverse figures in deep conversation, work or amusement as they share ideas, talent and philosophies. In his painting, Raphael incorporated his view on education as such an important aspect of human life. Through doing so, he utilised both the subject matter and the style of
The first, and most obvious, difference between the two is the color. The work done by da Vinci is bright with lighter colors, and you can tell it takes place during the day. On the other hand, the work done by Tintoretto is dark-lightened only by fire, and the time of day is not as obvious. The painting's surrounding is almost in a bar-like place, and the picture is not as intimate as da Vinci's.
...m 1643 – 1715 AD. By the 1630s, an Italian sculptor by name of Giovanni Francesco Susini made a bronze replica available to a larger group of audience. Such replication process became socially acceptable for artists looking for inspired works as well as the local and international art students. People from various parts of the world, such as: England, United States of America, Russia, China, and many more – continue to visit the Capitoline Museum of Rome to grab a full view of the renowned piece: Galata Morente.
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
La Primavera or “springtime” is one of the best known works of art of the Florentine Renaissance. Its artist, Sandro Botticelli was an Italian painter and draughtsman. Sandro Botticelli was born in 1445 in Florence, Italy under the birth name of Alessandro di Mariano di Vanni Filipepi. Over the course of time he shortened his Christian name to Sandro.