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Dresden Venus (c. 1510–11), traditionally attributed to Giorgione but for which Titian completed at least the landscape.. The Venus of Urbino (also known as Reclining Venus) [1] is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace.
The painting takes inspiration from Titian's Venus of Urbino (c. 1534). [7] [8] Whereas the left hand of Titian's Venus is curled and appears to entice, Olympia's left hand appears to block, which has been interpreted as symbolic of her role as a prostitute, granting access to her body in return for payment. [9]
Venus (/ ˈ v iː n ə s /; Classical Latin: [ˈu̯ɛnʊs̠] Ecclesiastical Latin: [ˈvɛ(ː)nus]) is a Roman goddess whose functions encompass love, beauty, desire, sex, fertility, prosperity, and victory. In Roman mythology, she was the ancestor of the Roman people through her son, Aeneas, who survived the fall of Troy and fled to Italy.
Jupiter and Antiope, detail of Titian's Pardo Venus. According to the usual account, the painting was unfinished at the time of Giorgione's death. The landscape and sky were later finished by Titian, who in 1534 painted the similar Venus of Urbino, and several other reclining female nudes, such as his much repeated Venus and Musician and Danaë compositions, both from the 1540s onwards.
Titian's Venus of Urbino, c. 1534, Uffizi, largely the same pose in reverse Venus and Cupid with Dog and Partridge, mostly Titian's workshop, c. 1555, Uffizi. The painting is the final development of Titian's compositions with a reclining female nude in the Venetian style.
Olympia, 1863–65, oil on canvas, Musée d'Orsay. As he had in Luncheon on the Grass, Manet again paraphrased a respected work by a Renaissance artist in the painting Olympia (1863), a nude portrayed in a style reminiscent of early studio photographs, but whose pose was based on Titian's Venus of Urbino (1538).
While the composition is compared to Titian and Giogione, Édouard Manet shocked the public of his time by painting nude women in contemporary situation in his Le Déjeuner sur l'herbe (1863); and although the pose of his Olympia (1865) is said to derive from the Venus of Urbino by Titian, the public saw a prostitute.
Édouard Manet's Olympia, finished in 1863, was based on Titian's Venus of Urbino. [8] Olympia was a popular play about a courtesan of that name. The painting diverged scandalously from the accepted academic style by outlining the figure and flattening space to draw the viewer in: Olympia seems provocatively naked rather than classically nude. [8]