Thursday, June 21, 2012
Saturday, August 27, 2011
It’s been so long since I’ve done a post! A little rusty but I’ll get back to it.
Monday, November 1, 2010
Wednesday, August 4, 2010
I really am sorry for the lack of updates. The procrastination monster just grabbed hold of me and told me to go off and do other things. I will try and get back on track(which might not be possible…) but I am truly sorry. OTL<---죄송합니다, I’m sorry!
A subject matter that never is tiring and has been a muse for artists since the ancient Greeks, the Goddess of Love has been depicted on an seashell, a sleeping beauty, a temptress, and a thing of beauty in marble. She has attracted much praise and criticism and even the possibility of being banned.
Lucas the Elder Cranach’s Venus is no different. Being one of the first painted versions of the Love goddess, Cranach’s Venus is beautiful seductress that stands in dark surroundings, full frontally nude and smiling innocently toward the audience. Painted in 1532, Cranach was part of the Northern Renaissance movement, painting subjects of religion and a figures of the time including Martin Luther. Cranach did a few Venus paints, by herself and with her son Cupid. This is possible one his well known paintings of the Love Goddess.
Venus stands in a dark background with a delicate transparent gauze that she holds open to the audience to see how body for all that it is. Her only other accessories are golden necklace and choker, a headdress piece and a seductress glance. Cranach depicted Venus, Goddess of Love, as a proprietor of "love", a courtesan.
She is to look erotic, seductive, and sexy. The curves of her body, not seen as beautiful to today standards, are there for all to see. A hair-fine brush picks out the rosebud points of her nipples as her skin has a rosy pink color that glows in the darkness. Her facial features are small from her thin eyebrows to her pursed lips as she smiles. She seems to be in a dance for the audience, enticing them to watch her peepshow.
Cranach was one of the richest men in Wittenberg during his time, show that he was very successful as he could easily and quickly make his paintings. His son, Lucas the Younger, carried on his tradition.
His pictures play precociously on the brink of taboo. Spiritual subjects are painted with sensual glee. Flattened surfaces are embroidered with glittering colour. Subjects are taken in context to the point of being place high above others. Cranach's paintings are his signature and keep him in the history books.