Miroir Velazquez (French Edition)

Le nègre de Velazquez et le miroir de l'histoire: Les héritiers de Juan de Pareja ( French Edition). by Oscar Pfouma · Paperback. $$ More Buying.
Table of contents

Portrait jeune fille Schongauer Vierge au buisson Botticelli. Fuite en Egypte Titien. Noli me Tangere Patinir. Clouet, Le bain de Diane El Greco. Saint-Bavon De La Tour.

Rokeby Venus - Wikipedia

Madame Geoffrin De la Tour. Le gobelet d'argent Fragonard, Morisot, la lecture Fragonard. Le Grand Canal, Venise Ingres. Princesse de Broglie Millet. Coucher de soleil Monet. Femmes au jardin Bazille. La Grande Jatte Renoir. Le pont de Moret Bouguereau.

Saint Denis Fra Angelico. Autoportrait Valenciennes Paysage classique Bidauld. Prime "dividendes" Gauche et droite Immigration: Too big to fail? Contact Formulaire de contact.


  • Middle School: The Worst Years of My Life: (Middle School 1).
  • Biographie et œuvre de Diego Vélasquez.
  • leondumoulin.nl: JEAN-MARC DOUAY: Books.
  • A Lesson in Friendship (Lesson Series Book 4)!
  • Real Cav.
  • .
  • !

Publications Livres de P. Although it was attacked and badly damaged in by the suffragette Mary Richardson , it soon was fully restored and returned to display. The Rokeby Venus depicts the Roman goddess of love, beauty and fertility reclining languidly on her bed, her back to the viewer—in Antiquity , portrayal of Venus from a back view was a common visual and literary erotic motif [8] —and her knees tucked. She is shown without the mythological paraphernalia normally included in depictions of the scene; jewellery, roses, and myrtle are all absent.

Venus gazes into a mirror held by Cupid, who is without his usual bow and arrows.

LES MENINES ou les INFANTES? Version intégrale (ENIGMES DE L'ART: LES MENINES)

When the work was first inventoried, it was described as "a nude woman", probably owing to its controversial nature. Venus looks outward at the viewer of the painting [9] through her reflected image in the mirror. However, the image is blurred and reveals only a vague reflection of her facial characteristics; the reflected image of the head is much larger than it would be in reality.

The classical setting is an excuse for a very material aesthetic sexuality—not sex, as such, but an appreciation of the beauty that accompanies attraction. Intertwining pink silk ribbons are draped over the mirror and curl over its frame. The ribbon's function has been the subject of much debate by art historians; suggestions include an allusion to the fetters used by Cupid to bind lovers, that it was used to hang the mirror, and that it was used to blindfold Venus moments before.

The folds of the bed sheets echo the goddess's physical form, and are rendered to emphasise the sweeping curves of her body. Two were mentioned in the Royal collection, but may have been lost in the fire that destroyed the main Royal Palace of Madrid. A further one was recorded in the collection of Domingo Guerra Coronel. Although the work is widely thought to have been painted from life, the identity of the model is subject to much speculation. In contemporary Spain it was acceptable for artists to employ male nude models for studies; however, the use of female nude models was frowned upon.

The figures of both Venus and Cupid were significantly altered during the painting process, the result of the artist's corrections to the contours as initially painted. Infra-red reveals that she was originally shown more upright with her head turned to the left. However, "this girl with her small waist and jutting hip, does not resemble the fuller more rounded Italian nudes inspired by ancient sculpture". The portrayal of nudes was officially discouraged in 17th-century Spain. Works could be seized or repainting demanded by the Inquisition, and artists who painted licentious or immoral works were often excommunicated, fined, or banished from Spain for a year.

The court of Philip IV greatly "appreciated painting in general, and the nude in particular, but The contemporary Spanish attitude toward paintings of nudes was unique in Europe. Although such works were appreciated by some connoisseurs and intellectuals within Spain, they were generally treated with suspicion.

Low necklines were commonly worn by women during the period, but according to the art historian Zahira Veliz, "the codes of pictorial decorum would not easily permit a known lady to be painted in this way". This attitude is reflected in the literature of the Spanish Golden Age , in works such as Lope de Vega 's play La quinta de Florencia , which features an aristocrat who commits rape after viewing a scantily clad figure in a mythological painting by Michelangelo.

Paravicino was a connoisseur of painting, and therefore believed in its power: As his title shows, Braganza merely argued that such works should be kept from the view of a wider public, as was in fact mostly the practice in Spain. In contrast, French art of the period often depicted women with low necklines and slender corsets; [39] however, the mutilation by the French royal family of the Correggio depiction of Leda and the Swan and their apparent destruction of the famous Leonardo da Vinci and Michelangelo paintings of the same subject, show that nudity could be controversial in France also.

In 17th-century Spanish art, even in the depiction of sibyls , nymphs, and goddesses, the female form was always chastely covered.

Search results

No painting from the s or s, whether in the genre , portrait, or history format, shows a Spanish female with her breasts exposed; even uncovered arms were only rarely shown. Another attitude to the issue was shown by Morritt, who wrote to Sir Walter Scott of his "fine painting of Venus' backside", which he hung above his main fireplace, so that "the ladies may avert their downcast eyes without difficulty and connoisseurs steal a glance without drawing the said posterior into the company". According to the art historian Dawson Carr, Haro "loved paintings almost as much as he loved women", [14] and "even his panegyrists lamented his excessive taste for lower-class women during his youth".

For these reasons it seemed likely that he would have commissioned the painting. These revelations make the painting difficult to date. The conscientious modelling and strong tonal contrasts of his earlier work are here replaced by a restraint and subtlety which would culminate in his late masterpiece, Las Meninas. Morritt hung it in his house at Rokeby Park, Yorkshire—thus the painting's popular name. In , the painting was acquired for the National Gallery by the newly created National Art Collections Fund, its first campaigning triumph.

In particular, his visual and structural innovations in this portrayal of Venus were not developed by other artists until recently, largely owing to the censorship of the work.

It does not appear to have been copied by other artists, engraved or otherwise reproduced, until this period. In it was exhibited in the Royal Academy in London, and in at Messrs. Agnews, the dealers who had bought it from Morritt. From it was highly visible in the National Gallery and became well-known globally through reproductions.

The general influence of the painting was therefore long delayed, although individual artists would have been able to see it on occasion throughout its history.

Olympia shocked the Parisian art world when it was first exhibited in Her action was ostensibly provoked by the arrest of fellow suffragette Emmeline Pankhurst the previous day, [62] although there had been earlier warnings of a planned suffragette attack on the collection. Richardson left seven slashes on the painting, particularly causing damage to the area between the figure's shoulders. Richardson was sentenced to six months' imprisonment, the maximum allowed for destruction of an artwork.

LES MENINES ou LES INFANTES ? tome 1 (ENIGMES DE L'ART)

Pankhurst, who is the most beautiful character in modern history. The feminist writer Lynda Nead observed, "The incident has come to symbolize a particular perception of feminist attitudes towards the female nude; in a sense, it has come to represent a specific stereotypical image of feminism more generally.

Journalists tended to assess the attack in terms of a murder Richardson was nicknamed "Slasher Mary" , and used words that conjured wounds inflicted on an actual female body, rather than on a pictorial representation of a female body. From Wikipedia, the free encyclopedia. National Gallery , London.


  • Similar authors to follow.
  • Navigation menu.
  • .
  • Hatchlings.