art.wikisort.org - PaintingVenus and Cupid (Sleeping Venus) is a circa 1626 painting by Artemisia Gentileschi in the Virginia Museum of Fine Arts. Venus and Cupid is a depiction of a sleeping Venus, who reclines on a blue bed covering and rich crimson and gold tasseled pillow. She wears nothing except a thin wisp of transparent linen around her thigh. Her son Cupid fans her with richly colored peacock feathers as she drifts to sleep. He is gazing at her with an adored, raptured expression. In the background, there is a window looking out onto a moonlight landscape where a temple to the goddess lies. Venus's face has full cheeks, heavy lids, a prominent nose, and small protruding chin—all features of Gentileschi's own face. The body movements are natural: Venus's hand rests lightly on her side, her legs are gently laid together. The work blends together realism and classicism through its iconography and the artist's style.
Painting by Artemisia Gentileschi
Venus and Cupid |
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Artist | Artemisia Gentileschi  |
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Year | c. 1625 |
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Medium | oil paint, canvas |
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Dimensions | 96.52 cm (38.00 in) × 143.83 cm (56.63 in) |
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Location | US |
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The painting was probably commissioned by an important and wealthy patron; Gentileschi painted the blue sheets on the canvas using two layers of lapis lazuli, an expensive material for artists to obtain. The depiction of a slumbering and vulnerable female, in contrast to her earlier works, is thought to indicate her willingness to adapt her style to the demands of patrons. It is possible that a second artist was commissioned to paint the landscape at the top left of the painting.
The painting was first documented in a private collection in Rome in the 1980s. It was then acquired by the Barbera Piasecka Foundation, Princeton, New Jersey. It was later acquired by the Adolph D. and Wilkins C. Williams Foundation who gifted it to the museum.
References
Sources
- Bissell, R. Ward (1999). Artemisia Gentileschi and the Authority of Art : Critical Reading and Catalogue Raisonné. University Park, Pa.: Pennsylvania State University Press. ISBN 9780271017877.
- Christiansen, Keith; Mann, Judith Walker (2001). Orazio and Artemisia Gentileschi. New York; New Haven: Metropolitan Museum of Art ; Yale University Press. ISBN 1588390063.
- Grabski, Józef (1985). "On Seicento Painting in Naples: Some Observations on Bernardo Cavallino, Artemisia Gentileschi and Others". Artibus et Historiae: An Art Anthology. 6 (11): 23–63. doi:10.2307/1483259. ISSN 0391-9064. JSTOR 1483259.
- Kultermann, Udo (1990). "Woman Asleep and the Artist". Artibus et Historiae. 11 (22): 129–161. doi:10.2307/1483403. ISSN 0391-9064. JSTOR 1483403.
- Mann, Judith (2005). Artemisia Gentileschi : taking stock. Turnhout, Belgium: Brepols. ISBN 9782503515076.
- Strinati, Claudio; Pomeroy, Jordana (2007). Italian women artists : from Renaissance to Baroque (1st ed.). Milano: Skira. ISBN 978-8876249198.
- Vigué, Jordi (2002). Great Women Masters of Art. New York: Watson-Guptill. ISBN 0823021149.
На других языках
- [en] Venus and Cupid (Gentileschi)
[es] Venus y Cupido (Artemisia Gentileschi)
Venus y Cupido (Venus dormida) es una pintura de Artemisia Gentileschi, de hacia 1626, en el Museo de Bellas Artes de Virginia.[1] Venus y Cupido es una representación de una Venus dormida, que se acuesta sobre un cubrecama azul y una rica almohada carmesí y con borlas de oro. No lleva ropa, excepto una fina tira de lino transparente alrededor de su muslo. Su hijo Cupido la abanica con plumas de pavo real ricamente coloreadas mientras ella se duerme. Cupido la está mirando con una expresión adorada y arrebatada. En el fondo, hay una ventana por la que se ve un paisaje nocturno a la luz de la luna donde se encuentra un templo a la diosa. La cara de Venus tiene las mejillas llenas, los párpados pesados, la nariz prominente y la barbilla pequeña y prominente, todas las características de la cara de Gentileschi.[2] Los movimientos del cuerpo son naturales: la mano de Venus descansa ligeramente sobre su costado, sus piernas están suavemente unidas. La obra combina el realismo y el clasicismo a través de su iconografía y el estilo de la artista.[3]
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