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Venetian school; first half of the 17th century."Venus and Cupid".Oil on canvas. Re-coloured.It
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Beschreibung
Venetian school; first half of the 17th century.
"Venus and Cupid".
Oil on canvas. Re-coloured.
It presents repainting and restorations.
Measurements: 125 x 110 cm.
In this sumptuous scene the author presents us a moment of intimacy in which he shows us two gods of the Olympian pantheon in an everyday way. The monumental woman in the centre of the scene dominates the composition both by her bulk and by the reflection of light from her nudity. Seated in front of a large silver basin, the rosy-cheeked young woman is preparing to wash herself and can be seen drying one of her feet. On the left-hand side of the image, a small infant can be seen, who can be deduced to be Cupid by his small wings and by the bow and the dates on the ground next to his figure. Unlike the young and beautiful Venus, who is concentrating on herself, Cupid looks directly at the viewer, while pointing at the young girl, thus making it clear that she is the undisputed protagonist of the scene, as well as demonstrating the maternal-filial relationship between the two. This type of scene in which Venus is accompanied by Cupid has been very popular throughout the history of art, with the intention of reflecting love and eroticism. In this work, the author presents an image with a markedly theatrical character. This can be deduced from the attitudes adopted by the characters, whose poses are stereotyped, thus representing archetypes that coincide with mythological characters. There is an ideal of beauty that is not based on reality, although the painter's study of nature is undeniable, but rather an idealism based on reality through his sum of experience, that is to say, an aesthetic sublimation that reflects a beauty that transcends reality.
The work belongs to the Venetian school, which was aesthetically defined by its departure from the classicism of the Roman school. The result is scenes that show a greater interest in the application of colour than in drawing. These are works in which the atmospheric, as can be seen in this particular work, plays a major role. It should also be noted that the socio-political situation of the city of Venice led to the development of an aesthetic taste of a sumptuous and magnificent nature.
"Venus and Cupid".
Oil on canvas. Re-coloured.
It presents repainting and restorations.
Measurements: 125 x 110 cm.
In this sumptuous scene the author presents us a moment of intimacy in which he shows us two gods of the Olympian pantheon in an everyday way. The monumental woman in the centre of the scene dominates the composition both by her bulk and by the reflection of light from her nudity. Seated in front of a large silver basin, the rosy-cheeked young woman is preparing to wash herself and can be seen drying one of her feet. On the left-hand side of the image, a small infant can be seen, who can be deduced to be Cupid by his small wings and by the bow and the dates on the ground next to his figure. Unlike the young and beautiful Venus, who is concentrating on herself, Cupid looks directly at the viewer, while pointing at the young girl, thus making it clear that she is the undisputed protagonist of the scene, as well as demonstrating the maternal-filial relationship between the two. This type of scene in which Venus is accompanied by Cupid has been very popular throughout the history of art, with the intention of reflecting love and eroticism. In this work, the author presents an image with a markedly theatrical character. This can be deduced from the attitudes adopted by the characters, whose poses are stereotyped, thus representing archetypes that coincide with mythological characters. There is an ideal of beauty that is not based on reality, although the painter's study of nature is undeniable, but rather an idealism based on reality through his sum of experience, that is to say, an aesthetic sublimation that reflects a beauty that transcends reality.
The work belongs to the Venetian school, which was aesthetically defined by its departure from the classicism of the Roman school. The result is scenes that show a greater interest in the application of colour than in drawing. These are works in which the atmospheric, as can be seen in this particular work, plays a major role. It should also be noted that the socio-political situation of the city of Venice led to the development of an aesthetic taste of a sumptuous and magnificent nature.
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Venetian school; first half of the 17th century.
"Venus and Cupid".
Oil on canvas. Re-coloured.
It presents repainting and restorations.
Measurements: 125 x 110 cm.
In this sumptuous scene the author presents us a moment of intimacy in which he shows us two gods of the Olympian pantheon in an everyday way. The monumental woman in the centre of the scene dominates the composition both by her bulk and by the reflection of light from her nudity. Seated in front of a large silver basin, the rosy-cheeked young woman is preparing to wash herself and can be seen drying one of her feet. On the left-hand side of the image, a small infant can be seen, who can be deduced to be Cupid by his small wings and by the bow and the dates on the ground next to his figure. Unlike the young and beautiful Venus, who is concentrating on herself, Cupid looks directly at the viewer, while pointing at the young girl, thus making it clear that she is the undisputed protagonist of the scene, as well as demonstrating the maternal-filial relationship between the two. This type of scene in which Venus is accompanied by Cupid has been very popular throughout the history of art, with the intention of reflecting love and eroticism. In this work, the author presents an image with a markedly theatrical character. This can be deduced from the attitudes adopted by the characters, whose poses are stereotyped, thus representing archetypes that coincide with mythological characters. There is an ideal of beauty that is not based on reality, although the painter's study of nature is undeniable, but rather an idealism based on reality through his sum of experience, that is to say, an aesthetic sublimation that reflects a beauty that transcends reality.
The work belongs to the Venetian school, which was aesthetically defined by its departure from the classicism of the Roman school. The result is scenes that show a greater interest in the application of colour than in drawing. These are works in which the atmospheric, as can be seen in this particular work, plays a major role. It should also be noted that the socio-political situation of the city of Venice led to the development of an aesthetic taste of a sumptuous and magnificent nature.
"Venus and Cupid".
Oil on canvas. Re-coloured.
It presents repainting and restorations.
Measurements: 125 x 110 cm.
In this sumptuous scene the author presents us a moment of intimacy in which he shows us two gods of the Olympian pantheon in an everyday way. The monumental woman in the centre of the scene dominates the composition both by her bulk and by the reflection of light from her nudity. Seated in front of a large silver basin, the rosy-cheeked young woman is preparing to wash herself and can be seen drying one of her feet. On the left-hand side of the image, a small infant can be seen, who can be deduced to be Cupid by his small wings and by the bow and the dates on the ground next to his figure. Unlike the young and beautiful Venus, who is concentrating on herself, Cupid looks directly at the viewer, while pointing at the young girl, thus making it clear that she is the undisputed protagonist of the scene, as well as demonstrating the maternal-filial relationship between the two. This type of scene in which Venus is accompanied by Cupid has been very popular throughout the history of art, with the intention of reflecting love and eroticism. In this work, the author presents an image with a markedly theatrical character. This can be deduced from the attitudes adopted by the characters, whose poses are stereotyped, thus representing archetypes that coincide with mythological characters. There is an ideal of beauty that is not based on reality, although the painter's study of nature is undeniable, but rather an idealism based on reality through his sum of experience, that is to say, an aesthetic sublimation that reflects a beauty that transcends reality.
The work belongs to the Venetian school, which was aesthetically defined by its departure from the classicism of the Roman school. The result is scenes that show a greater interest in the application of colour than in drawing. These are works in which the atmospheric, as can be seen in this particular work, plays a major role. It should also be noted that the socio-political situation of the city of Venice led to the development of an aesthetic taste of a sumptuous and magnificent nature.
9th March - Old Masters
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Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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