80 – Venus of Urbino
Titian. c. 1538 C. E. Oil on canvas
Video at Khan Academy
Identified with the goddess Venus
In the surroundings of a Renaissance palace
Her sensuality is explicit –
o it is devoid of any classical or allegorical trappings
o none of the attributes of the goddess she is supposed to
represent
o unapologetically erotic
she looks at US – unconcerned with her nudity
dog – a symbol of fidelity
commissioned by the Duke of Urbino (possibly to celebrate his
wedding)
o originally decorated a chest (cassone – given traditionally as
a wedding present)
o maid in background of painting is rummaging through such
a chest (presumably looking for some clothes for Venus)
o intended as an instructive “model” for the Duke’s extremely
young bride (Giulia Varano)
model: Angela del Moro – highly paid courtesan and known dining
companion of Titian
Form:
o Titian contrasts the straight lines of the architecture with
the curves of the female form, and
o the screen behind Venus bisects the painting, a large-
scale division that is mitigated by unifying elements such
as the use of colour and the floral patterns of the couch,
cassoni, and background tapestries
inspired Edouard Manet’s 1863 painting Olympia
