"with blond hair, Velázquez's Venus is a brunette. The female figure can be identified as Venus because of the presence of her son, Cupid. Venus gazes into a mirror held by Cupid, who is without his usual bow and arrows. 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 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"
"for the National Gallery, London. Although it was attacked and badly damaged in 1914 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—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. Unlike most earlier portrayals of the goddess, which show her"
"Mrs Ford 'rediscovered' the ""Rokeby Venus"" in North Yorkshire then in the possession of William J. S. Morritt (1813–1874), (now in the National Gallery). It had been known previously to very few people and had its first public display at the 1857 Manchester Art Treasures Exhibition. In 1855 Ford published the third edition of the ""Handbook"", restored to two volumes and containing much new material, but by this time his health was failing. In 1855 he also wrote ""Andalucia, Ronda and Granada, Murcia, Valencia, and Catalonia; the portions best suited for the invalid"". He died of Bright's disease at Heavitree"
"painting the ""Rokeby Venus"" by Diego Velázquez was originally housed at Rokeby Park, near Greta Bridge. It is now in the National Gallery in London. 1 mile north is Mortham Tower, a fortified manor house dating from the 14th century, with a 15th-century tower. Greta Bridge Greta Bridge is a village on the River Greta in County Durham, England. Greta Bridge lies in the Pennine hills near to Barnard Castle. The bridge (now bypassed by the A66 trunk road) is over the River Greta just south of its confluence with the River Tees. Greta Bridge lies within the historic county"
"The Birth of Venus (Cabanel) The Birth of Venus (French: ""Naissance de Venus"") is a painting by the French artist Alexandre Cabanel. It was painted in 1863, and is now in the Musée d'Orsay in Paris. A second and smaller version (85 x 135.9 cm) from ca. 1864 is in Dahesh Museum of Art. A third (106 x 182.6 cm) version dates from 1875; it is in the Metropolitan Museum of Art in New York City. Shown to great success at the Paris Salon of 1863, ""The Birth of Venus"" was immediately purchased by Napoleon III for his own personal"
"mentally ill and restricted to a psychiatric hospital. The painting was restored by two leading Russian experts within a week; the work was greatly assisted by the availability of good-quality photographs of the painting. On 10 March 1914, militant suffragette Mary Richardson walked into the National Gallery of London and attacked Diego Velázquez's painting ""Rokeby Venus"" with a meat cleaver. Her action was ostensibly provoked by the arrest of fellow suffragette Emmeline Pankhurst the previous day, although there had been earlier warnings of a planned attack on the collection. Richardson left seven slashes on the painting, all of which have"
"arson, smashed windows at the Home Office and bombed a railway station. She was arrested nine times, receiving prison terms totalling more than three years. She was one of the first two women force-fed under the 1913 Cat and Mouse Act in HM Prison Holloway. Richardson would recover at the cottage of Lillian Dove-Willcox in the Wye valley. She was devoted to Dove-Wilcox and wrote poetry about her love for her. Richardson's most famous act of defiance occurred on 10 March 1914 when she entered the National Gallery in London and slashed Velázquez's famous painting the ""Rokeby Venus"" with a"
"Gardone Riviera, Italy.(Langer 64-65) Brooks painted Rubinstein one last time in ""The Weeping Venus"" (1916–17), a nude based on a photographs that Brooks took during their relationship; she needed them because Rubinstein was such a restless and unreliable model. According to Brooks' unpublished memoir, the painting represents ""the passing away of familiar gods"" as a result of World War I. She said she tried to repaint Venus's features many times, but Rubinstein's face somehow kept returning: ""It fixes itself in the mind."" The longest and most important relationship of Brooks' life was her three-way partnership with Natalie Clifford Barney, an"
"to Frédéric Reiset, curator of drawings at the Louvre Museum. It was exhibited at the 1855 Exposition Universelle in Paris, where it was seen by the poet Charles Baudelaire – he argued that the head was inspired by classical sculpture, the hands by Raphael, and the narrow torso by medieval sculpture. In 1879 this painting and the rest of the Reiset collection were bought by Henri d'Orléans, Duke of Aumale. It was closely followed by later treatments of the subject, such as Théodore Chassériau's ""Vénus marine"" and Bouguereau's 1879 ""The Birth of Venus"". of the painting from c.1825-1850 is in"
"in 1910 it was sold to the Metropolitan Museum of Art. Venus and Mars (Veronese) Venus and Mars is an Italian Renaissance painting by Paolo Veronese. The painting was commissioned by Emperor Rudolph and was one of three mythological and love-themed works commissioned by the artist. The other two are at the Frick Collection in New York: ""The Allegory of Virtue and Performance"" and ""Allegory of the Source of Wisdom and Power"". It deals with the romantic love of the Roman goddess of love Venus and the god of war Mars, as described in the Ovid's ""Metamorphoses"". The act of"
"Venus of Urbino The Venus of Urbino (also known as Reclining Venus) is an oil painting by the Italian painter Titian, which seems to have been begun in 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It depicts a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. It is now in the Galleria degli Uffizi in Florence. The figure's pose is based on the ""Dresden Venus"", traditionally attributed to Giorgione but which Titian at least completed. In this depiction,"
"not have been able to release his ""La Venus del espejo"" (c. 1644–1648, English: ""Venus at her Mirror"") also known as ""The Rokeby Venus"". It is the only surviving female nude by Velázquez. There were essentially only two patrons of art in Spain—the church and the art-loving king and court. Bartolomé Esteban Murillo was the artist favored by the church, while Velázquez was patronized by the crown. One difference, however, deserves to be noted. Murillo, who toiled for a rich and powerful church, left little means to pay for his burial, while Velázquez lived and died in the enjoyment of"
"with the model Victorine Meurent. Venus of Urbino The Venus of Urbino (also known as Reclining Venus) is an oil painting by the Italian painter Titian, which seems to have been begun in 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It depicts a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. It is now in the Galleria degli Uffizi in Florence. The figure's pose is based on the ""Dresden Venus"", traditionally attributed to Giorgione but which Titian at"
"became an occasional contributor to the ""Quarterly Review"", and his poem ""The Curse of Moy, a Highland Tale"" appeared in the ""Minstrelsy of the Scottish Border"" (5th edit. iii. 451). It was on the advice of his friend Thomas Lawrence that Morritt bought the Rokeby Venus, for £500 from the dealer William James Buchanan. He was also acquainted with Stewart Rose, Richard Payne Knight, Sir Humphry Davy, and Robert Southey who visited Rokeby in 1812 and 1829. He was elected a member of the Dilettanti Society on 2 June 1799, and his portrait as ""arch-master"" of its ceremonies, in the"
"part of the National Museum of Rome. Additional ancient copies can be found at the Uffizi in Florence, Vatican Museums in Vatican City, and the Hermitage Museum in St Petersburg. Many copies have been produced since the Renaissance, in a variety of media and scales. Full size copies were produced for Philip IV of Spain in bronze, ordered by Velázquez and now in the Prado Museum, and for Versailles (by the sculptor Martin Carlier, in marble). The composition has clearly influenced Velázquez's painting of the ""Rokeby Venus"", now in London. A reduced-scale bronze copy, made and signed by Giovanni Francesco"
"Venus and the Three Graces Presenting Gifts to a Young Woman Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus (), is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483-1486. The painting and its companion piece, ""A Young Man Being Introduced to the Seven Liberal Arts"", originally decorated the walls of Villa Lemmi, a country villa near Florence owned by Giovanni Tornabuoni, uncle of Lorenzo de' Medici and head of the Roman branch of the Medici Bank. They were probably"
"Venus and the Three Graces Presenting Gifts to a Young Woman Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus (), is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483-1486. The painting and its companion piece, ""A Young Man Being Introduced to the Seven Liberal Arts"", originally decorated the walls of Villa Lemmi, a country villa near Florence owned by Giovanni Tornabuoni, uncle of Lorenzo de' Medici and head of the Roman branch of the Medici Bank. They were probably"
"Rokeby Park Rokeby Park is a country house in the Palladian style in Northern England. It is located close to the confluence of the River Tees and River Greta, close to Greta Bridge in what is now County Durham. It was historically located in the North Riding of Yorkshire. Locally, Rokeby is pronounced ""rookbee"" (although many pronounce it ""rowk-bee"" and this is the more commonly heard pronunciation). It is the private home of Sir Andrew Morritt but is open to the public on selected days. The house is well known as the original English home of the painting The Toilet"
"Sleeping Venus (Giorgione) The Sleeping Venus, also known as the Dresden Venus, is a painting traditionally attributed to the Italian Renaissance painter Giorgione, although it has long been usually thought that Titian completed it after Giorgione's death in 1510. The landscape and sky are generally accepted to be mainly by him. In the 21st century, much scholarly opinion has shifted further, to see the nude figure of Venus as also painted by Titian, leaving Giorgione's contribution uncertain. It is in the Gemäldegalerie, Dresden. The painting, one of the last works by Giorgione (if it is), portrays a nude woman whose"
"be on display at the San Francisco Museum of Modern Art until January 1, 2018. The piece was filmed at Rokeby Farm, located in upstate New York, near Barrytown. Rokeby is a home and estate that at one point belonged to the Astor family, and later the Livingston family. The property is now inhabited by various descendants of both families, and other tenants. The property was the site of an earlier 2007 piece by Kjartansson, titled ""The Blossoming Trees Performance"", during which he recorded himself as a plein-air painter for two days. The estate has also been used by other"
"in a private room reserved for nude paintings, alongside such works as Velázquez's ""Rokeby Venus"". Godoy retained the picture for six years before it was discovered by investigators for the Spanish Inquisition in 1808, along with his other ""questionable pictures"". Godoy and the curator of his collection, Don Francisco de Garivay, were brought before a tribunal and forced to reveal the artists behind the confiscated art works which were ""so indecent and prejudicial to the public good."" The controversy was populist and driven by a political motive, following a mob gathering demanding Godoy's removal as Prime Minister. In the fallout,"
"by several later artists, including Peter Paul Rubens and Anthony van Dyck. Titian made a number of paintings of the same subject, but this is the believed to be the earliest and the only version to be entirely by the hand of Titian, without additions by his assistants. it remained in his house until his death in 1576. X-rays of the painting have revealed that Titian painted it over a double portrait which he had abandoned. Titian kept the red cloak of one of the figures in the abandoned painting and placed it under Venus's arm. The use of the"
"Venus and Mars (Veronese) Venus and Mars is an Italian Renaissance painting by Paolo Veronese. The painting was commissioned by Emperor Rudolph and was one of three mythological and love-themed works commissioned by the artist. The other two are at the Frick Collection in New York: ""The Allegory of Virtue and Performance"" and ""Allegory of the Source of Wisdom and Power"". It deals with the romantic love of the Roman goddess of love Venus and the god of war Mars, as described in the Ovid's ""Metamorphoses"". The act of meeting the two lovers takes place in idyllic, peaceful scenery. On"
"Lely Venus The Lely Venus is a marble statue of the crouching Venus type. It is a copy of a Hellenistic original by Doidalses of Bithynia and dates from the Antonine period. The statue is first recorded in the Gonzaga collection in Mantua, where it was inventoried in the Gonzaga collection in 1627 Whilst there it was seen by the artist Rubens, who stayed with the Gonzaga family whilst on the continent on diplomatic and art-collecting duties for Charles I of England. It was an important influence on his voluptuous style of painting the female nude, so much so that"
"liberal teaching"". Alexandre Cabanel. ""Birth of Venus"". http://library.artstor.org/library/secure/ViewImages?id=%2FThWdC8hIywtPygxFTx5TnQkVn0reA%3D%3D. Alexandre Cabanel, French, 1823-1889. ""The Birth of Venus"". http://library.artstor.org/library/secure/ViewImages?id=%2FDFMaiMuOztdLS04ejp4QXsvXQ%3D%3D. Cabanal, Alexandre, French, 1824-1889. ""The Birth of Venus"". http://library.artstor.org/library/secure/ViewImages?id=8DlKaFsnKjQ6. The Birth of Venus (Cabanel) The Birth of Venus (French: ""Naissance de Venus"") is a painting by the French artist Alexandre Cabanel. It was painted in 1863, and is now in the Musée d'Orsay in Paris. A second and smaller version (85 x 135.9 cm) from ca. 1864 is in Dahesh Museum of Art. A third (106 x 182.6 cm) version dates from 1875; it is in the Metropolitan Museum of Art in New"
"beginning a long line of famous paintings including the ""Venus of Urbino"" (Titian, 1538), the ""Rokeby Venus"" (Diego Velázquez, c. 1650), Goya's ""Nude Maja"" (c. 1798) and Manet's ""Olympia"" (1863). Although they reflect the proportions of ancient statuary, such figures as Titian's ""Venus and the Lute Player"" and ""Venus of Urbino"" highlight the sexuality of the female body rather than its ideal geometry. In addition to adult male and female figures, the classical depiction of Eros became the model for the naked Christ child. Raphael in his later years is usually credited as the first artist to consistently use female"
"Venus"" but as an empty sensual fantasy that disarms and torments the slumbering spirit of a once virile martial valour. The work is agreed by all to draw on the description by Lucian, a poet in Greek of the 2nd-century AD, of a famous painting, now lost, by Echion of the wedding ceremony of Alexander the Great and Roxana. The ancient painting probably adapted iconography associated with Venus and Mars to the historical Alexander and his bride. Lucian's ""ekphrasis"" or description mentions ""amoretti"" or putti playing with Alexander's armour during the ceremony, two carrying his lance and one who has"
"William Roxby Beverly William Roxby Beverly or Beverley (c.1810–1889) was an English theatrical scene painter, known also as an artist in oils and watercolour. William John Lawrence, writing in the ""Dictionary of National Biography"", considered him second only to Clarkson Stanfield among British scene painters of the 19th century. He born around 1810 at Richmond, Surrey into a theatrical family, one of four sons and one daughter of William Roxby (1765–1842), an actor-manager, whose took the stage name of William Roxby Beverl(e)y; he was the youngest, Henry Roxby Beverley, Robert Roxby and Samuel Roxby being elder brothers. Under his father's"
"it can no longer be considered a true portrait."" Venus and Amor Venus and Amor (also known as Venus and Cupid) is a c. 1524 painting by the German painter and printmaker Hans Holbein the Younger, conserved in the Kunstmuseum Basel, Switzerland. Although the work is Holbein's earliest mythological painting, depicting the Roman goddess of love, Venus, with her son Amor (Cupid), the model is believed to be his friend Magdalena Offenburg. They are shown in front of a large hanging green curtain and behind a low parapet. Venus is depicted with an open gesture and sincere gaze. Cupid is"
"adopted by Renaissance art historians in general, and it remains problematic, since it depends on the painting being commissioned by the Medici, yet the work is not documented in Medici hands until well into the following century. Mack sees the scene as inspired by both the Homeric Hymn and the ancient paintings. But something more than a rediscovered Homeric hymn was likely in the mind of the Medici family member who commissioned this painting from Botticelli. Once again, Botticelli, in his version of the Birth of Venus, might be seen as completing the task begun by his ancient predecessor Apelles,"
"left. She is being held aloft by a leering satyr as she lewdly clutches his horns and stares out of the canvas with a knowing look. The Feast of Venus (Rubens) The Feast of Venus is a painting by Flemish painter Rubens, now in the Kunsthistorisches Museum in Vienna. It is a fanciful depiction of the Roman festival Veneralia celebrated in honor of Venus Verticordia. Rubens thought highly of Titian and made a copy of the Venetian master's ""The Worship of Venus"" which remained in Rubens' private collection until his death. Titian's work, in turn, was based on the ""Imagines"""
"conception of the nude ... Venus sits beside the pond with doves, the goddess symbol. The white doves at her feet, her complexion, the pearls in her hair are just as luxurious like the silk draperies that were wrapped around her, but now are lying on the ground. Boucher painted the artwork with soft pastel tones using a dim silvery light. The painting was made with high technical skill. The principal charm of Rococo art is its sensuality and seductivity. The painting belonged to Mme de Pompadour, the French king's mistress, displayed at Château de Bellevue, who commissioned it, and"
"of 1890 and at the Murrieta sale two years later. They purchased the whole of the Hainauer collection of Renaissance ""objets d'art"" for about £250,000 in June 1906, and in 1907 the Rodolphe Kann collection of pictures and ""objets d'art"" in Paris for nearly £0.75 million. Duveen became wealthy, and was generous in benefaction of art galleries. He was a subscriber to the public purchase of Velasquez's ""Rokeby Venus"" for the National Gallery in 1906, and in the same year he presented John Singer Sargent's portrait of Ellen Terry as Lady Macbeth, which he bought at the Irving sale at"