Rokeby Venus  

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"The incident [vandalism of the Rokeby Venus] has come to symbolize a particular perception of feminist attitudes towards the female nude; in a sense, it has come to represent a specific stereotypical image of feminism more generally." --The Female Nude: Art, Obscenity, and Sexuality (1992), p.35, Lynda Nead.

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Train wreck at Montparnasse (October 22, 1895) by Studio Lévy and Sons.
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Train wreck at Montparnasse (October 22, 1895) by Studio Lévy and Sons.

The Rokeby Venus (also known as The Toilet of Venus, Venus at her Mirror, Venus and Cupid, or La Venus del espejo) is a painting by Diego Velázquez (1599–1660), the leading artist of the Spanish Golden Age, in the National Gallery, London. Completed between 1647 and 1651, and probably painted during the artist's visit to Italy, the work depicts the goddess Venus in a sensually erotic pose, lying on a bed and looking into a mirror held by the god of love and sex, her son Cupid.

Numerous works, from the ancient to the baroque, have been cited as sources of inspiration for Velázquez. The nude Venuses of the Italian painters, such as Giorgione's Sleeping Venus (c. 1510) and Titian's Venus of Urbino (1538), were the main precedents. In this work, Velázquez combined two established poses for Venus: recumbent on a couch or a bed, and gazing at her reflection in a mirror. In a number of ways the painting represents a pictorial departure, through its central use of a mirror, and because it shows the body of Venus turned away from the observer of the painting.

The Rokeby Venus is the only surviving female nude by Velázquez. Nudes were extremely rare in seventeenth-century Spanish art, which was policed actively by members of the Spanish Inquisition. Despite this, nudes by foreign artists were keenly collected by the court circle, and this painting was hung in the private rooms of Spanish courtiers until 1813, when it was brought to England to hang in Rokeby Park, Yorkshire. In 1906, the painting was purchased by National Art Collections Fund for the National Gallery, London. Although it was attacked and badly damaged in 1914 by the suffragette Mary Richardson, it soon was fully restored and returned to display.

Contents

The painting

Description

The Rokeby Venus depicts the Roman goddess of love, beauty and fertility reclining languidly on her bed, her back to the viewer—in Antiquity, portrayal of Venus from a back view was a common visual and literary erotic motif—and her knees tucked. She is shown without the mythological paraphernalia normally included in depictions of the scene; jewellery, roses, and myrtle are all absent. Unlike most earlier portrayals of the goddess, which show her with blond hair, Velázquez's Venus is a brunette. The female figure can be identified as Venus because of the presence of her son, Cupid.

Venus gazes into a mirror held by Cupid, who is without his usual bow and arrows. When the work was first inventoried, it was described as "a nude woman", probably owing to its controversial nature. Venus looks outward at the viewer of the painting through her reflected image in the mirror. However, the image is blurred and reveals only a vague reflection of her facial characteristics. The critic Natasha Wallace has speculated that Venus's indistinct face may be the key to the underlying meaning of the painting, in that "it is not intended as a specific female nude, nor even as a portrayal of Venus, but as an image of self-absorbed beauty." According to Wallace, "There is nothing spiritual about face or picture. The classical setting is an excuse for a very material aesthetic sexuality—not sex, as such, but an appreciation of the beauty that accompanies attraction."

Intertwining pink silk ribbons are draped over the mirror and curl over its frame. The ribbon's function has been the subject of much debate by art historians; suggestions include an allusion to the fetters used by Cupid to bind lovers, that it was used to hang the mirror, and that it was used to blindfold Venus moments before. The critic Julián Gallego found Cupid's facial expression to be so melancholy that he interprets the ribbons as fetters binding the god to the image of Beauty, and gave the painting the title "Amor conquered by Beauty".

The folds of the bed sheets echo the goddess's physical form, and are rendered to emphasise the sweeping curves of her body. The composition mainly uses shades of red, white, and grey, which are used even in Venus's skin; although the effect of this simple colour scheme has been much praised, recent technical analysis has shown that the grey sheet was originally a "deep mauve", that has now faded. The luminescent colours used in Venus's skin, applied with "smooth, creamy, blended handling", contrast with the dark greys and black of the silk she is lying on, and with the brown of the wall behind her face.

The Rokeby Venus is the only surviving nude by Velázquez, but three others by the artist are recorded in 17th-century Spanish inventories. Two were mentioned in the Royal collection, but may have been lost in the 1734 fire that destroyed the main Royal Palace of Madrid. A further one was recorded in the collection of Domingo Guerra Coronel. These records mention "a reclining Venus", Venus and Adonis, and a Psyche and Cupid.

Although the work is widely thought to have been painted from life, the identity of the model is subject to much speculation. In contemporary Spain it was acceptable for artists to employ male nude models for studies; however, the use of female nude models was frowned upon. The painting is believed to have been executed during one of Velázquez's visits to Rome, and Prater has observed that in Rome the artist "did indeed lead a life of considerable personal liberty that would have been consistent with the notion of using a live nude female model". It has been claimed that the painting depicts a mistress Velázquez is known to have had while in Italy, who is supposed to have borne his child. Others have claimed that the model is the same as in as a Coronation of the Virgin and Las Hilanderas, both in the Museo del Prado, and other works.

The figures of both Venus and Cupid were significantly altered during the painting process, the result of the artist's corrections to the contours as initially painted. Pentimenti can be seen in Venus's upraised arm, in the position of her left shoulder, and on her head. Infra-red reveals that she was originally shown more upright with her head turned to the left. The painting was given a major cleaning and restoration in 1965–66, which showed it to be in good condition, and with very little paint added later by other artists, contrary to what some earlier writers had asserted.

Sources

Paintings of nudes and of Venus by Italian, and especially Venetian, artists were influences on Velázquez. However, Velázquez's version is, according to the art historian Andreas Prater, "a highly independent visual concept that has many precursors, but no direct model; scholars have sought them in vain". Forerunners include Titian's various depictions of Venus, such as Venus and Cupid with a Partridge, Venus and Cupid with an Organist and notably the Venus of Urbino; Palma il Vecchio's Reclining Nude[1]; and Giorgione's Sleeping Venus, all of which show the deity reclining on luxurious textiles, although in landscape settings in the latter two works. The use of a centrally placed mirror was inspired by the painters of the Italian High Renaissance, including Titian, Girolamo Savoldo and Lorenzo Lotto, who used mirrors as an active protagonist, as opposed to more than merely a prop or accessory in the pictorial space. Both Titian and Peter Paul Rubens had already painted Venus looking into a mirror, and as both had had close ties to the Spanish court, their examples would have been familiar to Velázquez.

One innovation, for a large single nude painting, of the Rokeby Venus comes in the fact that it shows a back view of its subject who is turned away from the viewer. There were precedents for this in prints by Giulio Campagnola, Agostino Veneziano, Hans Sebald Beham and Theodor de Bry, as well as classical sculptures known to Velázquez, of which casts were in Madrid. These were the Sleeping Ariadne now in the Pitti Palace, but then in Rome, of which Velázquez ordered a cast for the Royal collection in 1650–51, and the Borghese Hermaphroditus, a sleeping hermaphrodite, now in the Louvre, of which a cast was sent to Madrid, and which also emphasises the curve from hip to waist. However, the combination of elements in Velázquez's composition was original.

The Rokeby Venus may have been intended as a pendant to a sixteenth-century Venetian painting of a reclining Venus (which seems to have begun life as a Danaë) in a landscape, in the same pose, but seen from the front. The two were certainly hung together for many years in Spain when in the collection of Gaspar Méndez de Haro, 7th Marquis of Carpio (1629–87); at what point they were initially paired is uncertain.

Provenance

The Rokeby Venus was long held to be one of Velázquez's final works. In 1951, it was found recorded in an inventory of June 1, 1651 from the collection of Gaspar Méndez de Haro, 7th Marquis of Carpio, a close associate of Philip IV of Spain. Haro was the great-nephew of Velázquez's first patron, the Count-Duke of Olivares, and a notorious libertine. According to the art historian Dawson Carr, Haro "loved paintings almost as much as he loved women", and "even his panegyrists lamented his excessive taste for lower-class women during his youth". For these reasons it seemed likely that he would have commissioned the painting. However, in 2001 the art historian Ángel Aterido discovered that the painting had first belonged to the Madrid art dealer and painter Domingo Guerra Coronel, and was sold to Haro in 1652 following Coronel's death the previous year. Coronel's ownership of the painting raises a number of questions: how and when it came into Coronel's possession, and why Velázquez's name was omitted from Coronel's inventory. The art critic Javier Portús has suggested that the omission may have been due to the painting's portrayal of a female nude, "a type of work which was carefully supervised and whose dissemination was considered problematic".

These revelations make the painting difficult to date. Velázquez's painting technique offers no assistance, although its strong emphasis on colour and tone suggest that the work dates from his mature period. The best estimates of its origin put its completion in the late 1640s or early 1650s, either in Spain or during Velázquez's last visit to Italy. If this is the case, then the breadth of handling and the dissolution of form can be seen to mark the beginning of the artist's final period. The conscientious modelling and strong tonal contrasts of his earlier work are here replaced by a restraint and subtlety which would culminate in his late masterpiece, Las Meninas.

The painting passed from Haro into the collection of his daughter Catalina de Haro y Guzmán, the eighth Marchioness of Carpio, and her husband, Francisco Álvarez de Toledo, the tenth Duke of Alba. In 1802, Charles IV of Spain ordered the family to sell the painting (with other works) to Manuel de Godoy, his favourite and chief minister. He hung it alongside two masterpieces by Francisco Goya that he may have commissioned himself, The Nude Maja and The Clothed Maja. These bear obvious compositional similarities with Velázquez's Venus, although unlike Velázquez, Goya clearly painted his nude in a calculated attempt to provoke shame and disgust in the relatively unenlightened climate of 18th-century Spain.

Venus was brought to England in 1813, where it was purchased (for £500, and on the advice of his friend Sir Thomas Lawrence) by John Morritt, who hung it in his house at Rokeby Park, Yorkshire—thus the painting's popular name. In 1906, the painting was acquired for the National Gallery by the newly created National Art Collections Fund, its first campaigning triumph. King Edward VII greatly admired the painting, and anonymously provided £8,000 towards its purchase,

Legacy

In part because he was overlooked until the mid-19th century, Velázquez found no followers and was not widely imitated. In particular, his visual and structural innovations in this portrayal of Venus were not developed by other artists until recently, largely owing to the censorship of the work. The painting remained in a series of private rooms in private collections until it was exhibited in 1857 at the Manchester Art Treasures Exhibition, along with 25 other paintings at least claimed to be by Velázquez; it was here that it became known as the Rokeby Venus. It does not appear to have been copied by other artists, engraved or otherwise reproduced, until this period. In 1890 it was exhibited in the Royal Academy in London, and in 1905 at Messrs. Agnews, the dealers who had bought it from John Morritt. From 1906 it was highly visible in the National Gallery and became well-known globally through reproductions. The general influence of the painting was therefore long delayed, although individual artists would have been able to see it on occasion throughout its history.

Velázquez's portrait is a staging of a private moment of intimacy and a dramatic departure from the classical depictions of sleep and intimacy found in works from antiquity and Venetian art that portray Venus. However, the simplicity with which Velázquez displays the female nude—without jewellery or any of the goddess's usual accessories—was echoed in later nude studies by Ingres, Manet, and Baudry, among others. In addition, Velázquez's depiction of Venus as a reclining nude viewed from the rear was a rarity before that time, although the pose has been painted by many later artists. Manet, in his stark female portrayal Olympia, paraphrased the Rokeby Venus in pose and by suggesting the persona of a real woman rather than an ethereal goddess. Olympia shocked the Parisian art world when it was first exhibited in 1863. Olympia gazes directly out at the viewer, as does Velázquez's Venus, only through the reflection of the mirror.

Bibliography

  • Bull, Duncan and Harris, Enriqueta. "The companion of Velázquez's Rokeby Venus and a source for Goya's Naked Maja". The Burlington Magazine, Volume CXXVIII, No. 1002, September 1986. (A version is reprinted in Harris, 2006 below)
  • Carr, Dawson W. Velázquez. Ed. Dawson W. Carr; also Xavier Bray, Javier Portús and others. National Gallery London, 2006. ISBN 1-8570-9303-8 (Carr)
  • Clark, Kenneth. The Nude: A Study in Ideal Form. Princeton University Press, 1990. ISBN 0-691-01788-3
  • Gudiol, José. The Complete Paintings of Velázquez. Greenwich House, 1983. ISBN 0-517-405008
  • Hagen, Rose-Marie and Rainer; What Great Paintings Say, 2 vols, Taschen, 2005,. ISBN 9783822847909
  • Harris, Enriqueta. Estudios completos sobre Velázquez: Complete Studies On Velázquez, CEEH, 2006. ISBN 8493464325
  • Haskell, Francis and Penny, Nicholas Taste and the Antique: The Lure of Classical Sculpture, 1600–1900 (Yale University Press) 1981. ISBN 0300029136
  • Langmuir, Erica, The National Gallery companion guide, 1997 revised edition, National Gallery, London, ISBN 185709218X
  • López-Rey, José. Velázquez: Catalogue Raisonné. Taschen, Wildenstein Institute, 1999. ISBN 3-8228-6533-8
  • MacLaren, Neil; revised Braham, Allan. The Spanish School, National Gallery Catalogues. National Gallery, London, 1970. pp. 125–9. ISBN 0-9476-4546-2
  • Portús, Javier. Nudes and Knights: A Context for Venus, in Carr
  • Prater, Andreas. Venus at Her Mirror: Velázquez and the Art of Nude Painting. Prestel, 2002. ISBN 3-7913-2783-6
  • White, Jon Manchip. Diego Velázquez: Painter and Courtier. London: Hamish Hamilton Ltd, 1969.

See also

Vandalism of the Rokeby Venus, baroquerotica, lady at her toilet, backside, Ingres's odalisque, Venus in Spain, Venus effect




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