The Renaissance, which began in the 1300’s and lasted up until around the 1600’s, was a movement which sparked an enormous increase in artistic experimentation and emphasis on the human figure. During this time, many paintings contained Christian imagery and connotations, whether outright or implied. Two paintings during this time that illustrate several concepts and depictions are Sacred and Profane Love by Titian (or Tiziano in Italian) and Velazquez’s Venus with Her Mirror. These two paintings include imagery that is both secular and non-secular, but one leans more toward one side of the spectrum than the other. This paper will define some key terms used in the aforementioned paintings, analyze the secular and non-secular imagery of each
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At the foot of the bed, a putto holds a mirror for her, and in this mirror we can see her face. However, the entirety of her face is not clear. Half of it is obscured by shadows. There is a large red curtain draped against the wall to the left of the Venus figure, and the silky sheets of the bed seem to match in texture. The putto has a dark blue sash, and over the mirror he holds a pink ribbon. The bed sheets have a seemingly very dark blue hue as well. Dark blues in the Renaissance frequently symbolized chastity, while reds very often signified high social standing and wealth in Renaissance paintings. In regards to the mirror, it appears as though she is looking at herself at first glance. However, upon further inspection it becomes clear that this Venus figure is looking at the viewer using the mirror. In regards to naturalism, this painting uses the cloth covering the bed and the drapes to create a sense of softness. The Venus figure herself is very pale, even in comparison to the putto. Her waist appears to have been corseted, which was incredibly common for the time period. Corsets made the waist appear smaller and if worn enough permanently changed the appearance of the body through waist training. The angle of her hips and shoulders are also at odds with one another as per contrapposto
At the foot of the bed, a putto holds a mirror for her, and in this mirror we can see her face. However, the entirety of her face is not clear. Half of it is obscured by shadows. There is a large red curtain draped against the wall to the left of the Venus figure, and the silky sheets of the bed seem to match in texture. The putto has a dark blue sash, and over the mirror he holds a pink ribbon. The bed sheets have a seemingly very dark blue hue as well. Dark blues in the Renaissance frequently symbolized chastity, while reds very often signified high social standing and wealth in Renaissance paintings. In regards to the mirror, it appears as though she is looking at herself at first glance. However, upon further inspection it becomes clear that this Venus figure is looking at the viewer using the mirror. In regards to naturalism, this painting uses the cloth covering the bed and the drapes to create a sense of softness. The Venus figure herself is very pale, even in comparison to the putto. Her waist appears to have been corseted, which was incredibly common for the time period. Corsets made the waist appear smaller and if worn enough permanently changed the appearance of the body through waist training. The angle of her hips and shoulders are also at odds with one another as per contrapposto