Throughout the Italian Renaissance numerous, revolutionary masterpieces were created. Jupiter and Io by Antonio Allegri da Correggio, Venus of Urbino by Titian, Mars and Venus United by Love by Paolo Veronese, and Sleeping Venus by Giorgione and Titian (Titian had only aided in completing the painting after his master, Giorgione, had passed away with the painting incomplete) are just a few examples of the mastery crafted by Renaissance artists. All of the pieces listed previously share some commonalities, the most important one being that they all were created during or after the production of The Book of the Courtier by Baldassare Castiglione. Countless historians have made the connections between artwork from the High Renaissance to The Book
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Bernstein article about the female model being nude in Renaissance art. Bernstein’s article The Female Model and the Renaissance Nude: Dürer, Giorgione, and Raphael takes a close look at how nude female models were much harder to come across then a nude male model, especially in the late fifteenth century. The article states that, in the few female nude studies that had occurred, that they were typically based off of manikins and/or other artworks. This fact is extremely surprising due to the fact that a lot of the masterpieces that hailed from the Renaissance had a nude female in it. The article had conjointly talked about how the pose of women was a factor when due a nude study, namely in Dürer’s drawing The Bath Attendant. Dürer had drawn a nude of a female where she was standing while leaning against a long staff, Bernstein stated that the “stiffness of the pose is somewhat softened by the tilted head and oblique placement of the arms.” Having the female figure’s head tilted shows that the female is softer and more submissive. She is not in a wide, powerful stance with her head held high, in relation to how men are typically drawn, she is delicately leaning against the staff with her back to the viewer. By having the female as soft as she is drawn, the artist is playing at what the ideal woman, at the time,
Bernstein article about the female model being nude in Renaissance art. Bernstein’s article The Female Model and the Renaissance Nude: Dürer, Giorgione, and Raphael takes a close look at how nude female models were much harder to come across then a nude male model, especially in the late fifteenth century. The article states that, in the few female nude studies that had occurred, that they were typically based off of manikins and/or other artworks. This fact is extremely surprising due to the fact that a lot of the masterpieces that hailed from the Renaissance had a nude female in it. The article had conjointly talked about how the pose of women was a factor when due a nude study, namely in Dürer’s drawing The Bath Attendant. Dürer had drawn a nude of a female where she was standing while leaning against a long staff, Bernstein stated that the “stiffness of the pose is somewhat softened by the tilted head and oblique placement of the arms.” Having the female figure’s head tilted shows that the female is softer and more submissive. She is not in a wide, powerful stance with her head held high, in relation to how men are typically drawn, she is delicately leaning against the staff with her back to the viewer. By having the female as soft as she is drawn, the artist is playing at what the ideal woman, at the time,