La venus del mirall
La venus del mirall en línea
the fable of arachne, or the spinn….
In the interpretation of the painting we can discover that the beauty of the body of the goddess is contradicted by the real vulgarity of the blurred face exposed by the mirror. This object has a double meaning, both from a moral and cognitive point of view. The first, of a negative nature, represents vanity (myth of Narcissus). On the contrary, this symbol has the positive acceptance of truth, because of its fidelity to reproduce what it shows. Likewise, it is also possible to analyze the way in which Cupid holds the mirror (crossed hands and pink ribbon over them). This could symbolize the way in which love remains together with beauty.
portrait of the infanta maria mar…
became a popular subject in art from the European Renaissance onwards, its natural state of representation being nudity. Venus looking in the mirror was a theme that was known to the painter through an original painting by Titian that hung in the Alcazar of Madrid, although she was seated and not lying down, besides being a theme initiated by the Venetian painting of the sixteenth century. Velázquez was not going to be satisfied with being an imitator and wanted to take a step forward, he was looking for a plausible and prodigiously natural nude.
The body of Venus, in the foreground and marked by curves and sinuosity, divides the composition with a diagonal line that crosses a large part of the painting from the upper right. On the left, the figure of Cupid closes the composition vertically, balancing it. The space is closed, is patterned by the red curtain and the folds of the bedspread, which emphasize the sensuality of the contours of the reclining body of the goddess, increasing the sense of intimacy.
portrait of philip iv, king of sp…
The work I comment today, (Diego Velázquez, Venus in the mirror, oil on canvas, 122×177 cm, 1648, National Gallery of London), has several curious points, not only the technique, time, etc.. What is usually given during the career, but the anecdotes.
It first appeared in an inventory of 1651 as the property of the Marquis of Eliche. It is thought that it may represent his wife or his mistress, because he was passionate about Velázquez’s paintings and women. It is interesting how he painted the reflected face blurred to give greater importance to the naked body of the lady.
The life of this work has undoubtedly been quite eventful. First inventoried as the property of the Marquis of Eiche, it passed into the possession of the House of Alba from 1688 until 1802, when the 10th Duke of Alba married the 8th Marquise of Carpio. In 1802 Charles IV ordered the House to sell the painting, along with others, to Manuel Godoy. The latter hung it together with works of similar theme, such as La maja desnuda and La maja vestida by Francisco de Goya.
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