Venus of Urbino by Titian and Other Paintings Analysis

Date:  2021-03-06 14:55:14
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Venus of Urbino by Titian

This art got completed in 1538; it is a fascinating work that carry interesting hidden meanings. Duke gave it to his wife as a gift. The painting an allegory of marriage also acted as a teaching model to Giulia Varano, the young wife of fidelity, eroticism, and motherhood.

The eroticism that is evident in the painting reminds the woman of the marital obligation to fulfill in her marriage. Venus, the goddess of love, represents erotic allegory, a delectable and sensual woman staring at the viewer with enchanting beauty. The mix of the warm and light color of her body contrast to the dark background is bringing out her eroticism.

The dog at the woman's feet symbolizes marital fidelity whereas, in the background the house girl looking at a young girl rummaging in her chest symbolizes motherhood.

The resilient sensuality of the painting is consistent with private and the domestic purpose, as a gift to wife from husband.

The pose of the nude is a tribute to a friend master Giorgione, who painted a similar subject the Sleeping Venus in 1510.

The wise use of color and contrast, as well as the subtle meaning and allusions, Titan achieved the objective to represent a perfect Renaissance woman who, like Venus, becomes the symbol of beauty, love and fertility.

The Child's Bath,1893

The child's birth 1893, by an American painter, Mary Cassatt. The Japanese woodblocks influence the subject matter. It depicts dignity in motherhood and has a similar style to Degas.

The gestures, of a hand securing a child in her and caressing its small foot, are both emblematic and natural, and communicates her tender concern for the child's wellbeing. These two figures stare at the same direction looking at the basin of water.

Cassatt uses the many pastels, paintings and prints .to depict children being dressed, bathed, held, read to and nursed reflect the progressive 19th-century ideas of raising children. After 1870, French physicians and scientists encouraged mothers to take care of their children and offered suggestions on personal hygiene, regular bathing, and health. Bathing reduced cholera epidemic in the 1880s. (Gilbert,27)

Les Demoiselles d'Avignon, 1907

It is a large painting of oil, created in 1907 by Spanish artist Pablo Picasso. These works show five nude female prostitutes from a Carrer d'Avinyo brothel in Barcelona.

Les Demoiselles d'Avignon is a radical break from the traditional perspective and composition in paintings. The five naked women with figures are composing of flat, splintered planes and faces that inspired by the Iberian and African masks.The figures in the compressed space appear to project forward in jagged shards. A lemon friendly point out at the bottom of the composition on an impossibly turned up table. (Elderfield,47). The strategies later build up on Picasso's development of cubism that chartered by the selection of increasingly fragmented composition that he created during the period.

Picasso reveals to the public the painting in his Paris studio after months of revision. Avignon the-the work's title refers to a brothel in the streets of Barcelona.

From the 1970s, many feminist critics rejected the genderless minds. They found that the imagination cannot evade the conscious and latent structure of gender. Gender is part of culture determination that serves inspiration. The position emphasizes on the possibility of separating imagination from the socially, sexually, and historically placed self. Feminists critiques attack the meaning of sexual variation in a male strong society (Jackson&Jackie,187).

Most recently are developments that consider gender as a social construction upon biological differences. The gender theory explores the inscriptions and literary effects of gender systems. Many advantages are opening up to the literary theory and bringing the questions of masculinity into the feminist theory. By considering gender an essential analytical category it brings feminist critics from margin to center and risks depoliticizing the study of women.

Works cited

 

Elderfield, John, William S. Rubin, Helene Seckel, and Judith Cousins. Les Demoiselles D'avignon. New York: Abrams, 1994. Print.

Gilbert, Colin. The Daily Book of Art. Irvine, CA: Walter Foster Pub, 2009. Print. Hagen, Rainer, and Rose-Marie Hagen. What Great Paintings Say. Koln: Taschen, 2003. Print.187

Jackson, Stevi, and Jackie Jones. Contemporary Feminist Theories. Edinburgh: Edinburgh Univ. Press, 1998. Print

 

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