"Madonna" and "Venus" From Two Different Periods I have always been intrigued by the many depictions of "Madonna" and "Venus" therefore I chose to compare and contrast Parmigianino’s “Madonna of the Long Neck” from the mannerist style of the later Renaissance and Titian's “Venus of Urbino” from Venetian Renaissance. First I will tell you a little bit about the historical background of both paintings, then I will prove my thesis by talking about exemplifies two artist's style and the movement it represents, and considering the differences between two artwork in artistic styles, subject matter, and formal approaches.
First, “Madonna of the Long Neck” was created at the Mannerist period in 1535 by Parmigianino sized 7' x 4'.
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Venus is depicted on a couch in a room within an opulent palace. Titian creates that Venus is a flesh-and-blood beauty, awake and fully aware of the viewer's presence. And he depicted this beautiful woman who has an erotic intent. When I looking at the foreground, a Venus who is not ashamed or embarrassed at all to be showing off her breasts or genitalia. One reason for her confidence could be that this was a bride welcoming her husband. The roses in her hand resemble a bride or reference marriage and an allegory of marital love. Also, it has the small dog lazily curled up asleep in the foreground near the legs of the nude Venus. In the background, I can see two maids are rummaging through a marriage chest that they are apparently in search of Venus's clothes. Furthermore, a marriage chest clearly proves Venus is a bride. The dog and the myrtle plant on the window ledge are all symbols of the constancy of love.
When comparing both artists and paintings in artistic styles, they were from two different periods and places. One was an Italian Mannerist painter active in Parma from Mannerism; another one was an Italian painter active in Venice from Venetian Renaissance. Parmigianino’s “Madonna of the Long Neck” tried to capture unrealistic qualities and unnatural scenes in the Mannerist style. On the other hand, Titian’s “Venus of Urbino” used rich colors and soft, warm flesh tones to portray the classical beauty of the nude. Also, it is full of hidden