A comparison of the three Venuses, by Titian, Canova and Manet and the way the personality was portrayed.
Written in 2005; 1,125 words; 6 sources; $ 44.95
Paper Summary:
This paper compares the portrayal of the goddess Venus by Titian, Canova and Manet. The paper suggests that in each case, the personality of the sitter comes through in the final work, meshing with the idea of the goddess. It then looks at the relationship between the two nineteenth-century artists and Titian and how both looked back to the Renaissance genius as the ideal interpreter of Classical models.
From the Paper:
"Three Venuses: By Titian, Canova and Manet Depictions of the goddess of love go back to ancient, even (in the case of the so-called Venus of Willendorf) to times as much as twenty-five thousand years before Christ) (Jansen 29). Such ancient fertility figures became endowed over the years with the Classical principles of beauty, erotic love, and divine inspiration. By the time of the Renaissance, with its dual emphases on Classical elements and on the importance of the individual, Venus could also be portrayed as a real woman. At the same time, nudity took on an idealistic stance missing in the Middle Ages, as the human body could encompass both the ideals of Classical perfection and the humanistic sense of the individual stripped of the trappings of society (Janson 398-399). Titian (1488/90-1576) dominated Venetian High Renaissance painting throughout the sixteenth century (Janson 462)."
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