The Flickr Venereeadone Image Generatr

Milan

Martello Editore - 1957

www.amazon.it/photos/share/o8VR6JlXhwEpm4gdLlI26RlgU5Nshc...

Jacopo Palma il Giovane (Venedig 1548 - 1628),

Jacopo Palma il Giovane, ein Schüler Tizians, gehört zu den erfolgreichsten Malern Venedigs.

Venus und Adonis sind ein berühmtes antikes Liebespaar. Adonis war so schön, dass sich selbst Venus in ihn verliebte. Als er auf der Jagd von einem Eber getötet wurde, war Venus untröstlich und ließ aus seinem Blut eine Blume sprießen, das Adonisröschen. Einen Teil des Jahres verbringt Adonis von nun an im Reich der Proserpina in der Unterwelt, den anderen Teil des Jahres als Blume im Reich der Lebenden.

Jacopo Palma il Giovane (Venedig 1548 - 1628), ein Schüler Tizian, gehört zu den erfolgreichsten Malern Venedigs.

Venus und Adonis sind ein berühmtes antikes Liebespaar. Adonis war so schön, dass sich selbst Venus in ihn verliebte. Als er auf der Jagd von einem Eber getötet wurde, war Venus untröstlich und ließ aus seinem Blut eine Blume sprießen, das Adonisröschen. Einen Teil des Jahres verbringt Adonis von nun an im Reich der Proserpina in der Unterwelt, den anderen Teil des Jahres als Blume im Reich der Lebenden.

Sicile

Italie

Tiziano / Tizian / Titian (Tiziano Vecellio), Pieve di Cadore um 1485/90 - Venedig 1576
Venus und Adonis / Venus and Adonis / Venere e Adone
The Metropolitan Museum of Art, New York

This work is freely based on an episode recounted in Ovid’s Metamorphoses, the popular ancient poem published in Italian in Venice towards the end of the fifteenth century. In Ovid’s account, Venus, accidentally wounded by one of her son Cupid’s arrows, falls in love with the handsome hunter Adonis and, forgetting her divine duties, descends to earth to spend time with him. To please her young lover the goddess takes up hunting and pursues harmless prey, warning Adonis about the perils that can befall the hunter. When the goddess returns to her realm Adonis, careless of her warning, is slain by a wild boar (Metamorphoses, X, 519 ff.).

Titian’s canvas depicts the story in an unprecedented way, with Venus portrayed while trying to hold Adonis back from his dreadful fate. She pleads in vain, for although the hunter glances back at her, his body turns in the opposite direction, responding to the pull of the dogs. Adonis ignores the threatening signs of his fate: the fear shown by the small Cupid clenching a dove, and the stormy clouds on the far right. Titian’s composition was probably inspired by figures on a Roman sarcophagus; the female body seen from behind may be based on an ancient design of Psyche discovering Cupid, known in the Renaissance as the Bed of Polyclitus, often found on reliefs and gems (Panofsky 1969, Rosand 1975, and Wethey 1975). The contrapposto of the figure and its ties to antique sculpture suggest that the painting represents the artist’s response to the Renaissance concept known as the paragone, or rivalry of the arts of painting and sculpture.

Titian’s studio produced numerous versions of the Venus and Adonis that can be divided into two major groups, known as the Farnese type and the Prado type (Wethey 1975, Bayer 2005, and Penny 2008). This example belongs to the Farnese type and probably follows the example painted by Titian in Rome for Cardinal Alessandro Farnese around 1545–46 (now lost, but known through an engraving by Sir Robert Strange of about 1769), which would account for the artist’s knowledge of ancient sources and Raphael’s work there. A painting in the National Gallery of Art, Washington, is derived from the same source. In both of these cases the artist returned to the composition decades later, perhaps as late as the last decade of his life. The Prado type, so named for the version sent in 1554 to Philip II in Spain (Museo del Prado, Madrid), differs from this one in numerous details: the shape of the canvas, the inclusion of an additional dog, the substitution of a sleeping cupid, the inclusion of Venus’s carriage in the sunburst at the upper right, and changes in some of the still life details. These compositions were enormously influential on artists ranging from Veronese to Rubens.

The Venus and Adonis is one of a group of canvases that Titian called poesie. By referring to the painting with this term Titian was aware of the comparison he was establishing with poetry as he imbued his work with the allusive and evocative power characteristic of the written word (Rosand 1972). The myth here may become a metaphor for the cycle of nature, through the death of Adonis and his return in the form of a flower, and an allegory of the perils of life guided by fate rather than reason.

Source: Metropolitan Museum of Art

Jacopo Palma il Giovane (1548 - 1628), ein Schüler Tizian, gehört zu den erfolgreichsten Malern Venedigs.
Venus und Adonis sind ein berühmtes antikes Liebespaar. Adonis war so schön, dass sich selbst Venus in ihn verliebte. Als er auf der Jagd von einem Eber getötet wurde, war Venus untröstlich und ließ aus seinem Blut eine Blume sprießen, das Adonisröschen. Einen Teil des Jahres verbringt Adonis von nun an im Reich der Proserpina in der Unterwelt, den anderen Teil des Jahres als Blume im Reich der Lebenden.

Jusepe de Ribera, Játiva (Provinz Valencia) 1591 - Neapel 1632
Venus und Adonis / Venus und Adonis / Venere e Adone

Ribera, ein Maler der Barockzeit, war vor allem in Italien tätig, wo er 'Lo Spagnoletto' (der kleine Spanier) genannt wurde. Nach einem Aufenthalt in Rom, wo er Mitglied der Accademia di San Luca wurde und vom Hell-Dunkel-Malstil Caravaggios stark beeinflusst war, lebte er in Neapel. Dort war er mit seinen Schülern an der Entwicklung eines stärker naturalistischen Malstils (Napolitanische Schule) beteiligt.

Tiziano / Tizian / Titian (Tiziano Vecellio), Pieve di Cadore um 1485/90 - Venedig 1576
Venus und Adonis / Venus and Adonis / Venere e Adone
The Metropolitan Museum of Art, New York

This work is freely based on an episode recounted in Ovid’s Metamorphoses, the popular ancient poem published in Italian in Venice towards the end of the fifteenth century. In Ovid’s account, Venus, accidentally wounded by one of her son Cupid’s arrows, falls in love with the handsome hunter Adonis and, forgetting her divine duties, descends to earth to spend time with him. To please her young lover the goddess takes up hunting and pursues harmless prey, warning Adonis about the perils that can befall the hunter. When the goddess returns to her realm Adonis, careless of her warning, is slain by a wild boar (Metamorphoses, X, 519 ff.).

Titian’s canvas depicts the story in an unprecedented way, with Venus portrayed while trying to hold Adonis back from his dreadful fate. She pleads in vain, for although the hunter glances back at her, his body turns in the opposite direction, responding to the pull of the dogs. Adonis ignores the threatening signs of his fate: the fear shown by the small Cupid clenching a dove, and the stormy clouds on the far right. Titian’s composition was probably inspired by figures on a Roman sarcophagus; the female body seen from behind may be based on an ancient design of Psyche discovering Cupid, known in the Renaissance as the Bed of Polyclitus, often found on reliefs and gems (Panofsky 1969, Rosand 1975, and Wethey 1975). The contrapposto of the figure and its ties to antique sculpture suggest that the painting represents the artist’s response to the Renaissance concept known as the paragone, or rivalry of the arts of painting and sculpture.

Titian’s studio produced numerous versions of the Venus and Adonis that can be divided into two major groups, known as the Farnese type and the Prado type (Wethey 1975, Bayer 2005, and Penny 2008). This example belongs to the Farnese type and probably follows the example painted by Titian in Rome for Cardinal Alessandro Farnese around 1545–46 (now lost, but known through an engraving by Sir Robert Strange of about 1769), which would account for the artist’s knowledge of ancient sources and Raphael’s work there. A painting in the National Gallery of Art, Washington, is derived from the same source. In both of these cases the artist returned to the composition decades later, perhaps as late as the last decade of his life. The Prado type, so named for the version sent in 1554 to Philip II in Spain (Museo del Prado, Madrid), differs from this one in numerous details: the shape of the canvas, the inclusion of an additional dog, the substitution of a sleeping cupid, the inclusion of Venus’s carriage in the sunburst at the upper right, and changes in some of the still life details. These compositions were enormously influential on artists ranging from Veronese to Rubens.

The Venus and Adonis is one of a group of canvases that Titian called poesie. By referring to the painting with this term Titian was aware of the comparison he was establishing with poetry as he imbued his work with the allusive and evocative power characteristic of the written word (Rosand 1972). The myth here may become a metaphor for the cycle of nature, through the death of Adonis and his return in the form of a flower, and an allegory of the perils of life guided by fate rather than reason.

Source: Metropolitan Museum of Art

Tiziano / Tizian / Titian (Tiziano Vecellio), Pieve di Cadore um 1485/90 - Venedig 1576
Venus und Adonis / Venus and Adonis / Venere e Adone (1554)
Museo del Prado, Madrid

Chiaroscuro, graphite.

From Antonio Canova's "Venere & Adone" sculture.

La gota gli accarezza, lui si acciglia,
protesta, ma poi lei gli serra i labbri,
e di tra i baci accesa dice ansando:
“Protesta e non ti lascerò più aprir bocca”
(W. Shakespeare – “Venere e Adone”)

Jacopo Palma il Giovane (1548 - 1628), ein Schüler Tizian, gehört zu den erfolgreichsten Malern Venedigs.
Venus und Adonis sind ein berühmtes antikes Liebespaar. Adonis war so schön, dass sich selbst Venus in ihn verliebte. Als er auf der Jagd von einem Eber getötet wurde, war Venus untröstlich und ließ aus seinem Blut eine Blume sprießen, das Adonisröschen. Einen Teil des Jahres verbringt Adonis von nun an im Reich der Proserpina in der Unterwelt, den anderen Teil des Jahres als Blume im Reich der Lebenden.