mythological subjects
venus and mars - sandro botticelli
Fig.1. Sandro Botticelli: Venus and Mars. (1485)
I attempted to view this image in person during a visit to The National Gallery, London. Unfortunately, due to a staff strike, the painting was not available for viewing.
The painting is based on the ancient love story of Venus and Mars, and is one of only a few secular works created by Botticelli. Botticelli takes the ancient myth and represents it in a contemporary way: Mars' armor, Venus' gown and hairstyle would have all been modern in Botticelli's time.
The shape of the painting suggests that it may have been used as marriage decoration, possibly as a backboard for a bench or chest.
The image itself is of Venus: the goddess of love and Mars: the god of war. Both are depicted in an outdoor scene, where the pair have just made love.
Mars is asleep, sleeping off his 'little death' a modern term used to describe a mans sleepiness after making love, the term is also a source of humour in wedding celebrations - which would make the assumption of the painting being used for wedding decoration more likely. Mars has been disarmed by the mischievous baby satyrs, who have playfully stolen his lance and armour. One Satyr tries to wake Mars up by blowing through a conch shell into his ear, not even this wakes him up.
Venus is bright and awake, also alluding to the contemporary humour of sex invigorating a woman. The painting also conveys the message "love conquers all" as well as the timeless "make love not war".
The painting is based on the ancient love story of Venus and Mars, and is one of only a few secular works created by Botticelli. Botticelli takes the ancient myth and represents it in a contemporary way: Mars' armor, Venus' gown and hairstyle would have all been modern in Botticelli's time.
The shape of the painting suggests that it may have been used as marriage decoration, possibly as a backboard for a bench or chest.
The image itself is of Venus: the goddess of love and Mars: the god of war. Both are depicted in an outdoor scene, where the pair have just made love.
Mars is asleep, sleeping off his 'little death' a modern term used to describe a mans sleepiness after making love, the term is also a source of humour in wedding celebrations - which would make the assumption of the painting being used for wedding decoration more likely. Mars has been disarmed by the mischievous baby satyrs, who have playfully stolen his lance and armour. One Satyr tries to wake Mars up by blowing through a conch shell into his ear, not even this wakes him up.
Venus is bright and awake, also alluding to the contemporary humour of sex invigorating a woman. The painting also conveys the message "love conquers all" as well as the timeless "make love not war".
An allergory with venus and cupid - bronzino
Fig.2. Bronzino: An allegory with Venus and Cupid. (1545)
I managed to view this painting in person the same day as my attempt to view the above.
The painting doesn't appear to be from one story or myth, but a mixture of different characters.
Below I have listed of the points I noticed about the painting:
The painting has been described as the "most frankly erotic painting in the whole collection, it nonetheless arouses and chills is equal proportions" - National gallery companion guide p.g 106
The painting was probably created for the then King of France, who was known for his lusty appetite.
"Designed as a puzzle and incorporates symbols and devices from mythology and emblematic imagery" the puzzles hidden within the painting would have given the view an excuse to gaze at the erotic painting for long periods of time.
The painting is also known as Venus, Cupid, Folly and Time - which may have given some insight into each of the characters.
Venus can be identified by the golden apple (given to her as a prize for being the most beautiful Goddess, by the mortal Paris) and her doves.
Cupid is also identified by his attributes, the quiver and his wings.
Venus has been struck by Cupids arrow, giving an insestual start to the story behind the painting.
Masks appear in the bottom right hand corner of the painting, usually a symbol of deceit and falseness, the masks appear to be gazing up at the pair (the mask on the left may be a sensual nymph and the other a satyr).
To the right of Venus and Cupid is a child like character, giggling, with bells round his ankle, throwing rose petals at the pair, all while his right foot is being pierced by a rose thorn. This character has been identified as foolish pleasure.
Behind is a character which has been described as deceit or pleasure. She has an an angelically beautiful face, with body which appears to be parts of multiple animals. In one hand she holds honeycomb (sweet, maybe a lure before showing her evil side?) she conceals the sting of her tail with her other hand.
Above is a character known as Cronus, the God of time, identifiable by the wings and hourglass resting on his back. Time appears to be holding the blue sheet away from the other characters in the scene. Possibly alludes to holding back the physical effects of syphilis.
At the top left of the painting is a character said to be oblivion, who has no substance (appears to be a mask, missing the back of his/her head, brainless?) Oblivion appears to be trying to cover the other characters, while time tries to hold it back.
The character to the left of Cupid can be described as Jealousy, bitter, twisted almost shriveled up and green in colour. The same character has also been said to be the effects of syphilis, a disease which was at a high in Europe by the 1500's.
The meaning behind the painting appears to be that engaging is unchaste love is not without it's consequences.
The painting doesn't appear to be from one story or myth, but a mixture of different characters.
Below I have listed of the points I noticed about the painting:
- Figures appear realistic, although seem unusually pale (possibly angelic?) against the extremely bright blue sheet in the background.
- Cupid's head is the same size as the child (possibly Jest) giving an proportionally large body.
- Bright pigment used throughout the painting, giving stand out features (Blue sheet, pink cushion, green robe/wings)
- Dark character (Jealousy/Syphilis?) doesn't match the overall image.
- Top left character (unknown) almost looks like a mask - possibly imitating the masks in the bottom right hand corner?
The painting has been described as the "most frankly erotic painting in the whole collection, it nonetheless arouses and chills is equal proportions" - National gallery companion guide p.g 106
The painting was probably created for the then King of France, who was known for his lusty appetite.
"Designed as a puzzle and incorporates symbols and devices from mythology and emblematic imagery" the puzzles hidden within the painting would have given the view an excuse to gaze at the erotic painting for long periods of time.
The painting is also known as Venus, Cupid, Folly and Time - which may have given some insight into each of the characters.
Venus can be identified by the golden apple (given to her as a prize for being the most beautiful Goddess, by the mortal Paris) and her doves.
Cupid is also identified by his attributes, the quiver and his wings.
Venus has been struck by Cupids arrow, giving an insestual start to the story behind the painting.
Masks appear in the bottom right hand corner of the painting, usually a symbol of deceit and falseness, the masks appear to be gazing up at the pair (the mask on the left may be a sensual nymph and the other a satyr).
To the right of Venus and Cupid is a child like character, giggling, with bells round his ankle, throwing rose petals at the pair, all while his right foot is being pierced by a rose thorn. This character has been identified as foolish pleasure.
Behind is a character which has been described as deceit or pleasure. She has an an angelically beautiful face, with body which appears to be parts of multiple animals. In one hand she holds honeycomb (sweet, maybe a lure before showing her evil side?) she conceals the sting of her tail with her other hand.
Above is a character known as Cronus, the God of time, identifiable by the wings and hourglass resting on his back. Time appears to be holding the blue sheet away from the other characters in the scene. Possibly alludes to holding back the physical effects of syphilis.
At the top left of the painting is a character said to be oblivion, who has no substance (appears to be a mask, missing the back of his/her head, brainless?) Oblivion appears to be trying to cover the other characters, while time tries to hold it back.
The character to the left of Cupid can be described as Jealousy, bitter, twisted almost shriveled up and green in colour. The same character has also been said to be the effects of syphilis, a disease which was at a high in Europe by the 1500's.
The meaning behind the painting appears to be that engaging is unchaste love is not without it's consequences.
venus and adonis
The story of Venus and Adonis comes from the poem from Ovid's metamorphoses.
The metamorphoses are a set of fifteen books containing Ovid's take on mythological stories in poetic form. Each of the stories are linked together with some sort of transformation or 'metamorphosis'. Ovid's poems have influenced medieval and Renaissance poetry, as well as numerous artists in the form of paintings and sculpture.
The three paintings below come from the story of Venus and Adonis.
Adonis was wounded by her son, Cupid. Venus was wounded by one of Cupids arrows while being kissed by him.
Venus, having being struck by one of the arrows, falls in love with the next man she sees - Adonis.
Venus becomes infatuated with Adonis, leaving all of her own interests behind to follow his pursuits.
Adonis is a hunter, Venus knows that eventually his hobby will lead to his death. Venus tries to warn Adonis of this, he carries on hunting regardless, and if eventually killed by a wild boar.
All three paintings depict part of the story which is not entirely mentioned - where Venus tries desperately to stop Adonis continuing with the hunt that will lead to his death. Venus tries her hardest to get Adonis to commit to her. She is no longer the feminine ideal, instead a frantic, desperate woman.
The metamorphoses are a set of fifteen books containing Ovid's take on mythological stories in poetic form. Each of the stories are linked together with some sort of transformation or 'metamorphosis'. Ovid's poems have influenced medieval and Renaissance poetry, as well as numerous artists in the form of paintings and sculpture.
The three paintings below come from the story of Venus and Adonis.
Adonis was wounded by her son, Cupid. Venus was wounded by one of Cupids arrows while being kissed by him.
Venus, having being struck by one of the arrows, falls in love with the next man she sees - Adonis.
Venus becomes infatuated with Adonis, leaving all of her own interests behind to follow his pursuits.
Adonis is a hunter, Venus knows that eventually his hobby will lead to his death. Venus tries to warn Adonis of this, he carries on hunting regardless, and if eventually killed by a wild boar.
All three paintings depict part of the story which is not entirely mentioned - where Venus tries desperately to stop Adonis continuing with the hunt that will lead to his death. Venus tries her hardest to get Adonis to commit to her. She is no longer the feminine ideal, instead a frantic, desperate woman.
venus and adonis - titian
Fig.3. Titian: Venus and Adonis. (1560)
venus and adonis - rubens
Fig.4. Rubens: Venus and Adonis.(1630's)
Comparison of titan and rubens versions of venus and adonis
similarities
- Similar scenes - outdoors/trees/woods?
- Same characters - Venus, Adonis, Cupid, Hounds.
- Venus depicted naked in both images.
- Venus appears to be clinging onto Adonis with desperation in both images.
- Adonis clothed in both images.
- Venus seated on a robe in both images (although different colours).
- Tree's appear to be a frame to the image.
differences
- Rubens work appears brighter than Titians.
- Titians is gloomy, dark and moody.
- Mirror images of each other, Titians depicts Venus on the left, Adonis on the right. Rubens Venus on the right, Adonis on the left.
- Tree's, hounds also flipped.
- Venus and Titian also depicted from different angles, Adonis from the back, Venus from the front in Rubens, Adonis from the front, Venus from the back in Titians (as part of Titians 'poesies' he wanted to show a different side to Venus, to provide variety in King Philips collection - also to give viewers a chance to complete her beauty with their own ideal of perfection).
- Cupid hides in a tree in Titians version, clutching onto a white Dove - attribute of Venus. Appears to be relaxed, possibly clinging to the dove with sadness? Possibly uninterested.
- Cupid clings to the leg of Adonis in Rubens' version, seems to be holding him back, pleading with Adonis to stay.
- Cupid's bow and quiver on the floor in Rubens', as if dropped in urgency - Cupid and is bow being apart symbolism for Venus and Adonis' fate - Adonis to be taken from Venus through death? Add's to the dramatic effect/mood of the image.
- Cupid's bow doesn't appear in Titians version.
bibliography
Martindale, C. (1990) Ovid Renewed: Ovidian influences on literature and art from the middle ages to the twentieth century. [online] At: https://books.google.co.uk/books?id=pOozAAAAIAAJ&pg=PA158&lpg=PA158&dq=comparison+between+titian+and+rubens+venus+and+adonis&source=bl&ots=E_111f-hjk&sig=OzoNfmtVdb1RWlUOOwGvgSc3Buo&hl=en&sa=X&ved=0CD4Q6AEwBzgKahUKEwixxJPq3NjHAhVLVRQKHUgrAxk#v=onepage&q=comparison%20between%20titian%20and%20rubens%20venus%20and%20adonis&f=false (Accessed on: 10.08.15)
Metropolitan museum of art. (1984) Flemish Paintings in the Metropolitan Museum of Art, Volume 1. [online] At: https://books.google.co.uk/books?id=y2udOGL0YoQC&pg=PA152&lpg=PA152&dq=Crispijn+de+Passe+venus+and+adonis+rubens&source=bl&ots=_OEvjmtZDK&sig=MRZ-jFlqyMq5oJOyQpWep4cLxG8&hl=en&sa=X&ved=0CC4Q6AEwAmoVChMI6enzhfTYxwIVhrwUCh15zQIR#v=onepage&q=Crispijn%20de%20Passe%20venus%20and%20adonis%20rubens&f=false (Accessed on 11.08.15)
National Gallery of Art. (s.d) Venus and Adonis. At: https://www.nga.gov/collection/gallery/gg23/gg23-1223.html (Accessed on 05.08.15)
Metropolitan museum of art. (1984) Flemish Paintings in the Metropolitan Museum of Art, Volume 1. [online] At: https://books.google.co.uk/books?id=y2udOGL0YoQC&pg=PA152&lpg=PA152&dq=Crispijn+de+Passe+venus+and+adonis+rubens&source=bl&ots=_OEvjmtZDK&sig=MRZ-jFlqyMq5oJOyQpWep4cLxG8&hl=en&sa=X&ved=0CC4Q6AEwAmoVChMI6enzhfTYxwIVhrwUCh15zQIR#v=onepage&q=Crispijn%20de%20Passe%20venus%20and%20adonis%20rubens&f=false (Accessed on 11.08.15)
National Gallery of Art. (s.d) Venus and Adonis. At: https://www.nga.gov/collection/gallery/gg23/gg23-1223.html (Accessed on 05.08.15)
images
Fig.1. Sandro Botticelli: Venus and Mars. (1485) At: http://www.nationalgallery.org.uk/paintings/sandro-botticelli-venus-and-mars. (Accessed on 11.08.15)
Fig.2. Bronzino: An allegory with Venus and Cupid. (1545) At: http://www.nationalgallery.org.uk/paintings/bronzino-an-allegory-with-venus-and-cupid (Accessed on 11.08.15)
Fig.3. Titian: Venus and Adonis. (1560) At: http://www.nga.gov/content/ngaweb/Collection/art-object-page.1223.html (Accessed on 11.08.15)
Fig.4. Rubens: Venus and Adonis.(1630's) At: http://www.metmuseum.org/toah/works-of-art/37.162 (Accessed on 11.08.15)
Fig.2. Bronzino: An allegory with Venus and Cupid. (1545) At: http://www.nationalgallery.org.uk/paintings/bronzino-an-allegory-with-venus-and-cupid (Accessed on 11.08.15)
Fig.3. Titian: Venus and Adonis. (1560) At: http://www.nga.gov/content/ngaweb/Collection/art-object-page.1223.html (Accessed on 11.08.15)
Fig.4. Rubens: Venus and Adonis.(1630's) At: http://www.metmuseum.org/toah/works-of-art/37.162 (Accessed on 11.08.15)