Flora (Louise, 1913)

Flora (Louise, 1913)

Description: Flora, Oil on canvas 156.2 x 167 cm
Date: 1913
Source: http://www.artrenewal.org/asp/database/image.asp?id=10299
Author: Louise Abbéma (1853–1927)

Echo and Narcissus (1903)

Echo and Narcissus

Description: Echo and Narcissus. Oil on canvas, 109.2 x 189.2cm.
Date: 1903
Author: John William Waterhouse (1849–1917)

The Abduction of Psyche (1895)

The Abduction of Psyche (1895)

Artist: William-Adolphe Bouguereau
Title: The abduction of Psyche
Français: Le ravissement de Psyché
Italiano: Il rapimento di Psiche
Year: 1895

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http://commons.wikimedia.org/wiki/File:Psycheabduct.jpg

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This image (or other media file) is in the public domain because its copyright has expired.

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Paintings by William-Adolphe Bouguereau | Amor and Psyche | Butterflies in art | Couples in art | Female long hair in art | 1895 paintings

Psyche et L'Amour (1889)

Psyche et L'Amour (1889)

Description: Psyche et L'Amour
Date: 1889
Author: William-Adolphe Bouguereau

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http://commons.wikimedia.org/wiki/File:Psyche_et_LAmour.jpg

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This image (or other media file) is in the public domain because its copyright has expired.

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Eros | Psyche | Amor and Psyche | Paintings by William-Adolphe Bouguereau

Echo (Alexandre, 1887)

Echo (Alexandre, 1887)

Description: "Echo" by French painter Alexandre Cabanel. Metropolitan Museum of Art.
Date: 1887
Author: Alexandre Cabanel (1823-1889)

Lost Pleiad (1884)

Lost Pleiad (1884)

Artist: William-Adolphe Bouguereau (1825–1905)
Title: Lost Pleiad (Français : L'Etoile Perdue)
Year: 1884
Dimensions: 195.5 × 95 cm
Source: http://www.artrenewal.org/

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The Pleiades (pronounced /ˈplaɪ.ədiːz/, also [ˈpliːədiːz]; from the Greek Πλειάδες [pleːˈades], Modern [pliˈaðes]), companions of Artemis, were the seven daughters of the titan Atlas and the sea-nymph Pleione born on Mount Cyllene. They are the sisters of Calypso, Hyas, the Hyades, and the Hesperides. The Pleiades were nymphs in the train of Artemis, and together with the seven Hyades were called the Atlantides, Dodonides, or Nysiades, nursemaids and teachers to the infant Bacchus.

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http://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_Lost_Pleiad_(1884).jpg
http://en.wikipedia.org/wiki/Pleiades_(Greek_mythology)

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This image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, Australia, the European Union and those countries with a copyright term of life of the author plus 70 years.

Biblis (1884)

Biblis (1884)

Artist: William-Adolphe Bouguereau (1825-1905)
Title: Biblis (Byblis, Bublis, Βυβλίς)
Year: 1884

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In Greek mythology, Byblis or Bublis (Ancient Greek: Βυβλίς) was a daughter of Miletus. Her mother was either Tragasia, Cyanee, daughter of the river-god Meander, or Eidothea, daughter of King Eurytus of Caria. She fell in love with Caunus, Apollo’s grandson and her brother.

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http://commons.wikimedia.org/wiki/William-Adolphe_Bouguereau
http://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_Biblis_(1884).jpg
http://en.wikipedia.org/wiki/Byblis

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This image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, Australia, the European Union and those countries with a copyright term of life of the author plus 70 years.

The Youth of Bacchus (1884)

William-Adolphe Bouguereau (1825-1905) - The Youth of Bacchus (1884)

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This image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, Australia, the European Union and those countries with a copyright term of life of the author plus 70 years.

Day (1881)

Day (1881)

William-Adolphe Bouguereau (1825-1905) - Day (1881)

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In ancient Greek city cults, Tyche (Τύχη, meaning "luck" in Greek, Roman equivalent: Fortuna) was the presiding tutelary deity that governed the fortune and prosperity of a city, its destiny.

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http://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_Day_(1881).jpg

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This work is in the public domain in the United States, and those countries with a copyright term of life of the author plus 100 years or fewer.

The Remorse of Orestes (1862)

The Remorse of Orestes (or Orestes Pursued by the Furies)

Artist: William-Adolphe Bouguereau
Title: The Remorse of Orestes (or Orestes Pursued by the Furies)
Česky: Orestés pronásledovaný Erínyemi
Deutsch: Orestes wird von Furien gehetzt
Français : Les Remords d’Oreste
Português: O Remorso de Orestes
Español: El Remordimiento de Orestes
Polski: Skrucha Orestesa
Year: 1862
Technique: Oil on canvas
Dimensions: 227 x 278 cm

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http://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_The_Remorse_of_Orestes_(1862).jpg

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This work is in the public domain in the United States, and those countries with a copyright term of life of the author plus 100 years or fewer.

Hebe (Charles, 1826)

Hebe (Charles, 1826)

Description: Portrait of Hebe, oil on canvas
Date: 1826
Source: http://www.vlaamsekunstcollectie.be/index.aspx?local=nl&p=object&query=identifier=%221826-A%22#
Author: Charles Picqué (1799-1869)

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http://commons.wikimedia.org/wiki/File:Charles_Picqu%C3%A900.jpg

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Charles Picqué (painter) | Hebe (mythology)

Apollo Chasing Daphne

Apollo Chasing Daphne

Description: Apollo Chasing Daphne, Oil on canvas, 221,2 x 224 cm
Date: 1681
Source: http://www.wga.hu/cgi-bin/highlight.cgi?file=html/m/maratti/apollo_d.html
Author: Carlo Maratta

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http://commons.wikimedia.org/wiki/File:Apollo_Chasing_Daphne.jpg

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Carlo Maratta | Daphne (mythology) | Paintings of Apollo | 1681 paintings

Judgement of Paris (1638-1639)

Judgement of Paris (1638-1639)

Artist: Peter Paul Rubens (1577–1640)
Title: Judgement of Paris (Deutsch: Urteil des Paris)
Year: 1638-1639
Technique: Deutsch: Öl auf Holz
Dimensions: 199 × 379 cm

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The work of art depicted in this image and the reproduction thereof are in the public domain worldwide. The reproduction is part of a collection of reproductions compiled by The Yorck Project. The compilation copyright is held by Zenodot Verlagsgesellschaft mbH and licensed under the GNU Free Documentation License.

Judgement of Paris (1632-1633)

Judgement of Paris (1632-1633)

The Judgement of Paris is a story from Greek mythology, which was one of the events that led up to the Trojan War and (in slightly later versions of the story) to the foundation of Rome.

Artist: Peter Paul Rubens (1577–1640)
Title: Judgement of Paris (Deutsch: Urteil des Paris)
Year: 1632-1633
Technique: Deutsch: Öl auf Holz
Dimensions: 144,8 × 193,7 cm

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http://en.wikipedia.org/wiki/File:Rubens_-_Judgement_of_Paris.jpg
http://commons.wikimedia.org/wiki/File:Peter_Paul_Rubens_114.jpg

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The work of art depicted in this image and the reproduction thereof are in the public domain worldwide. The reproduction is part of a collection of reproductions compiled by The Yorck Project. The compilation copyright is held by Zenodot Verlagsgesellschaft mbH and licensed under the GNU Free Documentation License.

The Birth of Venus (Botticelli)

The Birth of Venus

Artist: Sandro Botticelli
Title: The Birth of Venus
Bosanski: Rođenje Venere.
Česky: Zrození Venuše.
Dansk: Venus' fødsel.
Deutsch: Geburt der Venus.
Español: El nacimiento de Venus.
Eesti: Veenuse sünd.
Français : La Naissance de Vénus.
Italiano: La nascita di Venere.
日本語: ヴィーナスの誕生
한국어: 비너스의 탄생
Polski: Narodziny Wenus.
Slovenčina: Zrodenie Venuše.
Suomi: Venuksen syntymä.
Svenska: Venus födelse.
Türkçe: Venüs'ün Doğuşu
Русский: Рождение Венеры.
中文: 维纳斯的诞生
Year: 1486
Technique: Tempera on canvas
Dimensions: 172.5 × 278.5 cm (67.91 × 109.65 in)
Current location: Galleria degli Uffizi

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The Birth of Venus is a painting by Sandro Botticelli. It depicts the goddess Venus, having emerged from the sea as a full grown woman, arriving at the sea-shore (which is related to the Venus Anadyomene motif). The painting is held in the Uffizi Gallery in Florence.

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Origins

In the past many scholars thought that this large picture may have been, like the Primavera, painted for Lorenzo di Pierfrancesco de' Medici's Villa di Castello, around 1482, or even before. This was because Vasari, in his 1550 edition of the Lives of the Artists wrote: "...today, still at Castello, in the villa of the Duke Cosimo, there are two paintings, one the birth of Venus and those breezes and winds that bring her to land with the loves, and likewise another Venus, whom the Graces adorn with flowers, denoting the Springtime." But the Birth of Venus, unlike the Primavera, is not found in Medici inventories of the late-fifteenth and early-sixteenth centuries, which has led some recent scholars to rethink the patronage, and hence the meaning, of the painting. In the last 30 years most art historians have dated the painting, based on its stylistic qualities, to c. 1485-87.

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Interpretation

The iconography of Birth of Venus is very similar to a description of the event (or rather, a description of a sculpture of the event) in a poem by Angelo Poliziano, the Stanze per la giostra. No single text provides the precise content of the painting, however, which has led scholars to propose many sources and interpretations. Art historians who specialize in the Italian Renaissance have found a Neoplatonic interpretation, which was most clearly articulated by Ernst Gombrich, to be the most enduring way to understand the painting.

For Plato - and so for the members of the Florentine Platonic Academy - Venus had two aspects: she was an earthly goddess who aroused humans to physical love or she was a heavenly goddess who inspired intellectual love in them. Plato further argued that contemplation of physical beauty allowed the mind to better understand spiritual beauty. So, looking at Venus, the most beautiful of goddesses, might at first raise a physical response in viewers which then lifted their minds towards the Creator. A Neoplatonic reading of Botticelli's Birth of Venus suggests that fifteenth-century viewers would have looked at the painting and felt their minds lifted to the realm of divine love.

More recently, questions have arisen about Neoplatonism as the dominant intellectual system of late fifteenth-century Florence, and scholars have indicated that there might be other ways to interpret Botticelli's mythological paintings. In particular, both Primavera and Birth of Venus have been seen as wedding paintings that suggest appropriate behaviors for brides and grooms.

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Style

Botticelli's art was never fully committed to naturalism; in comparison to his contemporary Domenico Ghirlandaio, Botticelli seldom gave weight and volume to his figures and rarely used a deep perspectival space. In the Birth of Venus, Venus' body is anatomically improbable, with elongated neck and torso. Her pose is impossible: although she stands in a classical contrapposto stance, her weight is shifted too far over the left leg for the pose to be held. Moreover, were she actually to stand on the edge of the shell (which cannot be identified as real), it would certainly tip over. The bodies and poses of the winds to the left are even harder to figure out. The background is summary, and the figures cast no shadows. It is clear that this is a fantasy image.

Venus is an Italian Renaissance ideal: blonde, pale-skinned, voluptuous. Botticelli has picked out highlights in her hair with gold leaf and has emphasized the femininity of her body (long neck, curviness). The brilliant light and soothing colors, the luxurious garden, the gorgeous draperies of the nymph, and the roses floating around the beautiful nude all suggest that the painting is meant to bring pleasure to the viewer.

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Classical inspiration

The central figure of Venus in the painting is very similar to Praxiteles' sculpture of Aphrodite. The version of her birth, is where she arises from the sea foam, already a full woman.

In classical antiquity, the sea shell was a metaphor for a woman's vulva.

The pose of Botticelli's Venus is reminiscent of the Venus de' Medici, a marble sculpture from classical antiquity in the Medici collection which Botticelli had opportunity to study.

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http://en.wikipedia.org/wiki/The_Birth_of_Venus_(Botticelli)
http://en.wikipedia.org/wiki/File:La_nascita_di_Venere_(Botticelli).jpg

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1486 paintings | Botticelli paintings in the Uffizi | Venus Anadyomenes | Paintings depicting Greek myths | Paintings of Venus

Statue of Dionysus

Statue of Dionysus

Description	Statue of Dionysus. Marble, 2nd century CE (arms and legs were heavily restored in the 18th century), found in Italy. Français : Statue de Dionysos. Marbre, IIe siècle ap. J.-C. (bras et jambes largement restaurés au XVIIIe siècle). Provenance : Italie.
Dimensions	H. 2.08 cm (6 ft. 9 ¾ in.)
Location	Department of Greek, Etruscan and Roman antiquities, Denon, ground floor, room A
Source/Photographer	Marie-Lan Nguyen (User:Jastrow), 2009-01-23