01 Paintings, Olympian deities, Prague School’s Venus, Bacchus and Cupid, with footnotes # 43

Prague School, early 17th century followers of Hans von Aachen
Venus, Bacchus and Cupid

Oil on canvas
h: 67 w: 57.50 cm
Private collection

Venus and Love/ Venus and Cupid. Different tales exist about the origin of Venus and Cupid. Some say that Venus, the goddess of love and beauty, had a love affair with Mars, the god of war. Out of this relationship, Cupid was born. 

Cupid has attributes from both of his parents. Like his mother he is considered to be the god of love, or more precisely, the god of falling in love. He is portrayed as an innocent little child with bow and arrows. He shoots arrows to the heart, and awakening a love that you’re powerless to resist.

Venus and Cupid are often shown in intimate poses, reflecting the unique love between mother and child. More Venus and Love

Dionysus is the god of the grape harvest, winemaking and wine, of ritual madness, fertility, theatre and religious ecstasy in Greek mythology. Alcohol, especially wine, played an important role in Greek culture with Dionysus being an important reason for this life style. His name shows that he may have been worshipped as early as c. 1500–1100 BC by Mycenean Greeks. His origins are uncertain, and his cults took many forms; some are described by ancient sources as Thracian, others as Greek. In some cults, he arrives from the east, as an Asiatic foreigner; in others, from Ethiopia in the South. He is a major, popular figure of Greek mythology and religion, and is included in some lists of the twelve Olympians. Dionysus was the last god to be accepted into Mt. Olympus. He was the youngest and the only one to have a mortal mother.

Also known as Bacchus, the name adopted by the Romans and the frenzy he induces, bakkheia. His wand is sometimes wound with ivy and dripping with honey. It is a beneficent wand but also a weapon, and can be used to destroy those who oppose his cult and the freedoms he represents. More on Bacchus

Hans von Aachen (1552 – 4 March 1615) was a German painter who was one of the leading representatives of Northern Mannerism.

Hans von Aachen was a versatile and productive artist who worked in many genres. He was successful as a painter of princely and aristocratic portraits, and further painted religious, mythological and allegorical subjects. Known for his skill in the depiction of nudes, his eroticized mythological scenes were particularly enjoyed by his principal patron, Emperor Rudolf II. These remain the works for which he is best known. He also painted a number of genre paintings of small groups of figures shown from the chest upwards.

The life and work of Hans von Aachen bear unique witness to the cultural transfer between North, South and Central Europe in the late 16th and early 17th centuries. After training in the tradition of Netherlandish Renaissance painting he moved to Italy in 1574, for about 14 years, mainly working in Venice. He returned in 1587 to his native Germany. His final years were spent in Prague. The combination of the Netherlandish realism of his training and the Italian influences gained during his travels gave rise to his unique painting style. More on Hans von Aachen


Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

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17 Works, January 2nd. is Piero di Cosimo’s day, her art, illustrated with footnotes #259

Cosimo Rosselli (1439–1507)
Descent from Mount Sinai, circa 1480

Fresco
Height: 350 cm (11.4 ft) Width: 572 cm (18.7 ft)
Sistine Chapel

In the upper part is Moses kneeling on Mount Sinai, with a sleeping Joshua nearby: he receives the Tables of the Law from Yahweh, who appears in a luminescent cloud, surrounded by angels. In the foreground, on the left, Moses brings the Tables to the Israelites. In the background is camp of tents, with the altar of the golden calf in the middle; the Israelites, spurred by Aaron, are adoring it: the position of some of them, painted from behind, was usually used for negative characters, such as Judas Iscariot in the Last Supper. Once seeing that, Moses, in the center, gets angry and breaks the Tables on the ground. The right background depicts the punishment of the idolatrous and the receiving of the new Tables. Joshua, in the blue and yellow, appears with Moses. More on this painting

Piero di Cosimo (2 January 1462[1] — 12 April 1522), also known as Piero di Lorenzo, was an Italian painter of the Renaissance. He is most famous for the mythological and allegorical subjects he painted in the late Quattrocento; he is said to have abandoned these to return to religious subjects under the influence of Savonarola, the preacher who exercised a huge sway in Florence in the 1490s, and had a similar effect on Botticelli. The High Renaissance style of the new century had little influence on him, and he retained the straightforward realism of his figures, which combines with an often whimsical treatment of his subjects to create the distinctive mood of his works…

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29 Works, December 14th. is Károly Lotz’s day, his art, illustrated with footnotes #250

Attributed to Karoly Lotz
Man and Woman

Oil on board
7 1/2 x 7 1/2 inches
Private collection

Lotz Károly Antal Pál, or Karl Anton Paul Lotz (16 December 1833–13 October 1904) was a German-Hungarian painter.

Lotz was born in Bad Homburg vor der Höhe, Germany, the 7th and youngest surviving child of Wilhelm Christian Lotz and Antonia Höfflick. His father was a valet of Prince Gustav zu Hessen-Homburg at the time when the prince was representing Austria at the Congress of Vienna, which among other matters dealt with the House of Hessen-Homburg’s rights of sovereignty over Hessen-Darmstadt…

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26 Works, December 3rd. is Frederic Leighton’s day, his art, illustrated with footnotes #244

Frederic Leighton (1830–1896)
And the Sea Gave Up the Dead Which Were in It, exhibited 1892

Oil on canvas
H 228.6 x W 228.6 cm
Tate Britain

This is one of the most dramatic and powerful works, painted in the dark and solemn style of Leighton’s late career. Leighton’s tondo shows the resurrection of the dead, as described in the Book of Revelation: ‘And the sea gave up the dead which were in it; and death and hell delivered up the dead which were in them: and they were judged every man according to their works.’ (Revelation 20:13) It is a terrifying yet essentially optimistic image, meditating on the theme of spiritual salvation…

Frederic Leighton, 1st Baron Leighton, PRA (3 December 1830–25 January 1896), known as Sir Frederic Leighton between 1878 and 1896, was a British painter, draughtsman, and sculptor. His works depicted historical, biblical, and classical subject matter in an academic style. His paintings were enormously popular, and expensive, during his lifetime…

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17 Works, November 26th. is Giuseppe Bezzuolis day, his art, illustrated with footnotes #242

Giuseppe Bezzuoli (Firenze 1784 – 1855)
Entry of Charles VIII into Florence, c. 1829

Oil on canvas
390 x 596 cm
Pitti Palace

The painting depicts a scene from Florentine history. On the 17th of November 1494, following his conquest of the Kingdom of Naples, King of France Charles VIII made his entrance into Florence as ruler. Because of his isolation and lack of allies, Piero de’ Medici, the son of Lorenzo the Magnificent who ruled the city at the time, did not send an army to stop the invasion, thus fuelling the resentment of the Florentine people who finally forced him into exile…

Giuseppe Bezzuoli (28 November 1784–13 September 1855) was an Italian painter of the Neoclassic period, active in Milan, Rome, and his native city of Florence.

He studied as a young man under Jean-Baptiste Desmarais at the Academy of Fine Arts of Florence, and afterward spent some time at Rome between 1813 and 1820. He became a candidate to the professorship of painting at the Academy of Fine Arts of Florence after Pietro Benvenuti’s death in 1844…

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14 Works, November 26th. is Antonio Carneo’s day, his art, illustrated with footnotes #241

Carneo Antonio
Proof of poison, c. 1670-1680

Oil on canvas
175 x 178 cm
Ado Furlan Foundation

Depicting a young man who compresses his bowels in the presence of a group of bystanders who follow his spasms with apprehension or try to help him, it is described ab antiquo with the title with which it is still remembered today. However, since it is difficult to represent a generic poisoning scene (provoked or self-induced), one wonders whether the artist did not want to illustrate a specific character in the episode in question. Among the proposals advanced by scholars, that of the young Mithridates who undergoes the poison test in order to immunize himself remains one of the most plausible. More on this painting

Antonio Carneo (1637–1692) was an Italian painter, active in Friuli and Venice, and depicting both mythologic, allegoric, and religious canvases, as well as portraits…

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23 Works, November 1st. is Cornelis Cornelisz’s day, his art, illustrated with footnotes #229

Circle Cornelis Cornelisz. van Haarlem
The Last Supper

Oil on Panel
76 x 108 cm.
Private collection

The Last Supper is based on a late 15th-century mural painting by Leonardo da Vinci in the refectory of the Convent of Santa Maria delle Grazie, Milan. It is one of the world’s most famous paintings.

The painting represents the scene of The Last Supper of Jesus with his disciples, as it is told in the Gospel of John, 13:21. Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced that one of them would betray him. More on the The Last Supper

Cornelis Cornelisz. van Haarlem (1562 — Haarlem — 1638) who himself added ‘van Haarlem’ to his name, was one of the leading figures of Dutch Mannerism, together with his townsman Hendrick Goltzius and Abraham Bloemaert from Utrecht. He was born in 1562 in a well-to-do Catholic family in Haarlem, where he first studied with Pieter Pietersz. At the age of seventeen he went to France, but at Rouen he had to turn back to avoid an outbreak of the plague and went instead to Antwerp, where he remained for a year with Gilles Coignet…

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31 Works, October 30th. is s day, her art, illustrated with footnotes #228

Angelica Kauffmann (1741–1807) (after)
A Lady with a Dagger

Oil on canvas
H 34 x W 28.5 cm
Wigan Arts and Heritage Service

Maria Anna Angelika Kauffmann RA (30 October 1741–5 November 1807), usually known in English as Angelica Kauffman, was a Swiss Neoclassical painter who had a successful career in London and Rome. Remembered primarily as a history painter, Kauffmann was a skilled portraitist, landscape and decoration painter. She was, along with Mary Moser, one of two female painters among the founding members of the Royal Academy in London in 1768…

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29 Works, October 9th. is Benjamin West’s day, his art, illustrated with footnotes #220

Benjamin West, American, 1738-1820
Death on the Pale Horse, c. 1796

Oil on canvas
23 3/8 × 50 5/8 inches (59.4 × 128.6 cm)
Detroit Institute of Arts

The title of this painting is taken from the final book of the Bible, the Revelation of Saint John the Divine, which has often been interpreted as a symbolic description of warfare: “And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And Power was given unto them over the fourth part of the earth to kill with the sword, and with hunger, and with death, and with the beasts of the earth” (Rev. 6:8).

In this horrifying chronicle of the destruction of humankind, the rugged irregular forms, the dramatic contrasts of light and dark, and the dynamism of the turbulent movement combine with the distorted faces and pitiful gestures of the dead and dying to convey a sense of terror. The violent furor exhibits a destructive dynamism that makes this one of the most awesome depictions of the methods by which a world may be annihilated.

In 1796, the year this work was painted, England was at war with revolutionary France, and West’s picture may have been intended to comment on what was happening, or was expected to happen, in the contemporary world. More on this painting

Benjamin West, PRA (October 10, 1738 — March 11, 1820) was a British-American artist who painted famous historical scenes such as The Death of Nelson (See below), The Death of General Wolfe (See below), the Treaty of Paris (See below), and Benjamin Franklin Drawing Electricity from the Sky…

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18 Works, October 9th. is Jean-Baptiste Regnault’s day, his story, illustrated with footnotes #219

Regnault, Jean-Baptiste
The wedding between Jerome Bonaparte and Catherine of Wurtemberg

Oil on canvas
Height: 4 m (13.1 ft); Width: 6.4 m (21.1 ft)
Palace of Versailles

Signature of the marriage contract of Prince Jérôme Bonaparte and Frédérique-Catherine of Wurtemberg. In the presence of the imperial family at the Tuileries, August 22, 1807

Depicted people: Caroline Bonaparte, Elisa Bonaparte, Hortense de Beauharnais, Jerome Bonaparte, Joseph Bonaparte, Josephine de Beauharnais, Julie Clary, Letizia Bonaparte, Louis-Alexandre Berthier, Louis Bonaparte, Napoleon, Pauline Bonaparte

Jean-Baptiste Regnault (9 October 1754–12 November 1829) was a French painter…

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15 Works, July 11th. is Charles-Antoine Coypel’s day, his story, illustrated with footnotes #188

Charles-Antoine Coypel (French, 1694–1752)
Andromache and Pyrrhus, c. 1732 – 1732

Oil on Canvas
130.5 x 163 cm. (51.4 x 64.2 in.)
Private collection

Andromaque is a tragedy in five acts by the French playwright Jean Racine written in alexandrine verse.

The play takes place in the aftermath of the Trojan War, during which Andromache’s husband Hector, son of Priam, has been slain by Achilles and their young son Astyanax has narrowly escaped a similar fate at the hands of Ulysses. More on Andromache and Pyrrhus

Charles-Antoine Coypel (11 July 1694–14 June 1752) was a French painter, art commentator, and playwright. He became court painter to the French king and director of the Académie Royale. He inherited the title of Garde des tableaux et dessins du roi (Keeper of the paintings and drawings of the king), a function which combined the role of director and curator of the king’s art collection. He was mainly active in Paris…

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12 Works, July 3rd. is John Singleton Copley’s day, his story, illustrated with footnotes #180

John Singleton Copley
Watson and the Shark, c. 1778

Oil on canvas
182.1 x 229.7 cm (71 11/16 x 90 7/16 in.)
The National Gallery of Art

In 1749, 14–year–old Brook Watson had been attacked by a shark while swimming in Havana Harbor. Copley’s pictorial account of the traumatic ordeal shows nine seamen rushing to help the boy, while the bloody water proves he has just lost his right foot. To lend equal believability to the setting Copley, who had never visited the Caribbean, consulted maps and prints of Cuba. More on this painting

John Singleton Copley RA (1738 — September 9, 1815) was an Anglo-American painter, active in both colonial America and England. Copley was born in Boston in 1738, and grew up there, training in the visual arts under his step-father Peter Pelham (c. 1697–1751), an English engraver who had immigrated in 1727 and married Copley’s widowed mother in 1748. Copley’s earliest paintings, from the mid-1750s, reveal the influence of English mezzotint portraits as well as the work of local and itinerant artists. He experimented with many media: oil on canvas, miniatures on copper or ivory, pastel, and printmaking. By the late 1750s he was established as a portrait painter…

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Lavinia Fontana, Mars and Venus 01 Painting, The amorous game, Part 64 – With Footnotes

Lavinia Fontana
Lavinia Fontana
Mars and Venus, c. 1595)
Oil on canvas
Madrid, Fundación Casa de Alba

In a bedroom a man and a young woman pose as Mars and Venus. She is completely naked and looks back: she stares at us and hands us a narcissus flower. He has only his helmet on his head and a drape covers his private parts: he looks at her and, almost frightened, puts his hand on her bottom. More on this painting

The Roman myth of Venus and Mars is of Venus, the Goddess of Love having a passionate affair with Mars, the God of War.

Lavinia Fontana (August 24, 1552 – August 11, 1614) was a Bolognese Mannerist painter best known for her portraiture. She was trained by her father Prospero Fontana and was active in Bologna and Rome. She is regarded as the first female career artist in Western Europe as she relied on commissions for her income. Her family relied on her career as a painter, and her husband served as her agent and raised their eleven children. She was perhaps the first woman artist to paint female nudes.

Fontana and her family moved to Rome in 1603 at the invitation of Pope Clement VIII. She gained the patronage of the Buoncompagni, of which Pope Gregory XIII was a member. She was subsequently appointed as Portraitist in Ordinary at the Vatican. Lavinia thrived in Rome as she had in Bologna and Pope Paul V himself was among her sitters. She was the recipient of numerous honors.

She was elected into the Accademia di San Luca of Rome. She died in the city on August 11, 1614 and was subsequently buried at Santa Maria sopra Minerva. More on Lavinia Fontana

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artistsand visit my Boards on Pinterest

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I don’t own any of these images – credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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Sir Edward Coley Burne-Jones, VENUS RISING FROM THE SEA 01 Paintings, Olympian deities, by the Old Masters, with footnotes # 30

Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S.

Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S.

VENUS RISING FROM THE SEA

Oil on canvas

41 by 24cm., 28¼ by 10in.

Private collection

The style of the picture suggests that it was painted in the late 1860s as Burne-Jones transitioned from the Medievalism of his earlier watercolours to the more Aesthetic style of his oils. It is an unusually classical and sculptural rendering of the mother of Cupid. More on this painting

The Birth of Venus. In Roman mythology, Venus was the goddess of love, sex, beauty, and fertility. She was the Roman counterpart to the Greek Aphrodite. However, Roman Venus had many abilities beyond the Greek Aphrodite; she was a goddess of victory, fertility, and even prostitution. According to Hesiod’s Theogony, Aphrodite was born of the foam from the sea after Saturn (Greek Cronus) castrated his father Uranus (Ouranus) and his blood fell to the sea. This latter explanation appears to be more a popular theory due to the countless artworks depicting Venus rising from the sea in a clam. More The Birth of Venus

Sir Edward Coley Burne-Jones, 1st Baronet ARA (28 August 1833 – 17 June 1898) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in Britain. His early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic “voice”. In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery (a new rival to the Royal Academy). These included The Beguiling of Merlin. The timing was right, and he was taken up as a herald and star of the new Aesthetic Movement. More on Edward Coley Burne-Jones

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The Orientalist, and The Canals of Venice

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I don’t own any of these images – credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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Circle of Nicolas Poussin, Venus and Cupid 01 Paintings, Olympian deities, by the Old Masters, with footnotes # 22

CIRCLE OF NICOLAS POUSSIN

Circle of Nicolas Poussin, (1594 – 1665)

Venus and Cupid

Oil on canvas

33 x 42.5 cm.; 13 x 16 3/4  in.

Private collection

Venus and Love/ Venus and Cupid. Different tales exist about the origin of Venus and Cupid. Some say that Venus, the goddess of love and beauty, had a love affair with Mars, the god of war. Out of this relationship, Cupid was born.

Cupid has attributes from both of his parents. Like his mother he is considered to be the god of love, or more precisely, the god of falling in love. He is portrayed as an innocent little child with bow and arrows. He shoots arrows to the heart, and awakening a love that you’re powerless to resist.

Venus and Cupid are often shown in intimate poses, reflecting the unique love between mother and child. More Venus and Love

Nicolas Poussin (French: June 1594 – 19 November 1665) was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne.

He worked in Rome for a circle of leading collectors from there and elsewhere, except for a short period when Cardinal Richelieu ordered him back to France to serve as First Painter to the King. Most of his works are history paintings of religious or mythological subjects that very often have a large landscape element. More on Nicolas Poussin

Please visit my other blogs: Art CollectorMythologyMarine Art, and The Canals of Venice

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Italian School, Sleeping Venus with Cupid 01 Paintings, Olympian deities, by the Old Masters, with footnotes # 23

Italian School

Italian School, c. 1660

Sleeping Venus with Cupid

Oil on canvas

75 x 130 cm

Private collection

This “Sleeping Venus” has not yet been assigned an author. The motif, with the goddess here depicted life-sized in an elongated landscape format, derives from the works of 16th century Venetian artists such as Giorgone and Titian. Paris Bordone also painted this motif, and the present work was formerly attributed to him. Pietro Liberi and Antonio Bellucci later picked up the subject again in the 17th century, and the vivid palette and delicate contours of the present work allow it to be placed in the circle of these Venetian artists. More on the Sleeping Venus

Venus and Love/ Venus and Cupid. Different tales exist about the origin of Venus and Cupid. Some say that Venus, the goddess of love and beauty, had a love affair with Mars, the god of war. Out of this relationship, Cupid was born.

Cupid has attributes from both of his parents. Like his mother he is considered to be the god of love, or more precisely, the god of falling in love. He is portrayed as an innocent little child with bow and arrows. He shoots arrows to the heart, and awakening a love that you’re powerless to resist.

Venus and Cupid are often shown in intimate poses, reflecting the unique love between mother and child. More Venus and Love

Italian School, 16th Century. The first two decades of the 16th century witnessed the harmonious balance and elevated conception of High Renaissance style, perfected in Florence and Rome by Leonardo, Raphael, and Michelangelo. It brought together a seamless blend of form and meaning. In Venice, Bellini, Giorgione, and Titian devoted themselves to an art that was more sensual, with luminous color and a tactile handling of paint, preoccupations that would attract Venetian artists for generations, including Tintoretto and Veronese later in the century.

In the 1520s, Florence and Rome, but not Venice, saw a stylistic shift following the social and political upheaval ensuing from the disastrous Sack of Rome. Mannerism, as practiced by Bronzino, Pontormo, and Rosso, was a self-consciously elegant style that traded naturalism for artifice, employing unnaturally compressed space, elongated figures, and acid color. While mannerism became popular internationally, and lingered in northern Europe, by around 1580 it had fallen out of favor in Italy. One factor was the desire of the Church, challenged by the Protestant Revolution, to connect with the faithful. In place of mannerism’s ingenuous complications and artificiality, the Counter-Reformation Church required painting that was direct and emotionally resonant. The “reform of painting,” as it was called, was launched by two brothers and a cousin in Bologna: Annibale, Agostino, and Lodovico Carracci. They established an academy that emphasized drawing from life and looked to inspiration from Titian and other Renaissance masters, restoring the naturalism and classical balance of the early 16th century. More Italian School, 16th Century

Please visit my other blogs: Art CollectorMythologyMarine Art, and The Canals of Venice

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Giovanni Bilivert, VENUS, CUPID AND PAN 01 Paintings, Olympian deities, by the Old Masters, with footnotes # 19

Giovanni Bilivert, FLORENCE 1585 – 1644

VENUS, CUPID AND PAN

Oil on copper

18 by 13 in.; 45.7 by 33 cm.

Private collection

Venus, goddess of love, is dipping her feet in a shallow, crystalline pond.  Naked save for her pearl headdress and earrings, she is assisted by Cupid who washes her left leg.  He is naked as well, wearing only a silk sash that billows up behind him as he bends forward.  Standing in the background is Pan who holds Venus’s crimson cloak and a shepherd’s crook, his attribute as god of the wild and protector of flocks.  More on this painting

Giovanni Biliverti,  (Florence, 25 August 1585 – Florence, 16 July 1644) was an Italian painter of the late-Mannerism and early-Baroque period, active mainly in his adoptive city of Florence, as well as Rome. Biliverti was born as Jan Bilevelt. After his father’s death in 1603, Giovanni worked in the studio of Lodovico Cigoli, following him in April 1604 till 1607 to Rome. There he worked in projects approved by Pope Clement VIII.


In 1609 Bilivert joined the Medici-sponsored guild of artists, the Accademia del Disegno in Florence. Bilivert was employed by Cosimo II de’ Medici from 1611 until 1621, as a designer for works in pietra durai. Late in life, he became blind. Among his pupils were Cecco Bravo, Agostino Melissi, Baccio del Bianco, and Orazio Fidani. He painted a Hagar in the Desert once in the Hermitage and a Christ and the Samaritan Woman once in the Belvedere in Vienna. More on Giovanni Biliverti

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Sebastiano Ricci, BELLUNO 1659 – 1734 VENICE, VENUS IN THE FORGE OF VULCAN 01 Paintings, Olympian deities, by the Old Masters, with footnotes, #10a

Sebastiano Ricci, BELLUNO 1659 – 1734 VENICE

VENUS IN THE FORGE OF VULCAN

Venus going to Vulcan for the Arms of Aeneas

Oil on canvas

73 1/8  by 102 1/2  in.; 185.7 by 260.2 cm.

Private collection

Venus, the goddess of love, looks down at Cupid. Venus went to her husband Vulcan’s forge and asked him to make arms for her son Aeneas. 

Sebastiano Ricci (1 August 1659 – 15 May 1734) was an Italian painter of the late Baroque school of Venice. About the same age as Piazzetta, and an elder contemporary of Tiepolo, he represents a late version of the vigorous and luminous Cortonesque style of grand manner fresco painting. More on Sebastiano Ricci

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House of Venus and Mars/ Ares and Aphrodite 01 Fresco, Olympian deities, by the Old Masters, pictorial decoration of the mansions of Pompeii, with footnotes, #10a

House of Venus and Mars/ Ares and Aphrodite

Between circa 75 and circa 100 AD

Fresco on plaster

cm 99 x 90

National Archaeological Museum of Naples 

Venus and Mars Fresco  above shows the Roman gods Venus, goddess of love, and Mars, god of war, in an allegory of beauty and valour. 

The Fresco was probably intended to commemorate a wedding, and to adorn the bedroom of the bride and groom. This is suggested by the wide format and the close view of the figures. It is widely seen as representation of an ideal view of sensuous love

Mars lifts the blue mantle of Venus, to admire its nudity characterized only by a gold chain arranged in X. Characteristic is the representation of the two sexes which provides for a brown complexion for the man and clear and delicate for the woman. Cupid plays with the weapons of Mars. The shield and the helmet reflect reflections of light. More on this mosaic

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01 Paintings, Olympian deities, by the Old Masters, with footnotes # 14

(French, Paris 1703–1770 Paris)

The Toilette of Venus, c. Date:1751

42 5/8 x 33 1/2 in. (108.3 x 85.1 cm)

The Metropolitan Museum of Art

 

Madame de Pompadour, mistress of Louis XV, admired Boucher and was his patroness from 1747 until her death in 1764. This famous work was commissioned for the dressing room at Bellevue, her château near Paris. The bodies of the goddess and her cupids are soft, supple, and blond. The carved and gilded rococo sofa, the silk, velvet, and gold damask drapery, are heavy and elaborate enough for the Victorian era. More on this painting

François Boucher (29 September 1703 – 30 May 1770) was a French painter, draughtsman and etcher, who worked in the Rococo style. Boucher is known for his idyllic and voluptuous paintings on classical themes, decorative allegories, and pastoral scenes. He was perhaps the most celebrated painter and decorative artist of the 18th century. He also painted several portraits of his patroness, Madame de Pompadour. More on François Boucher

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