Venus and Cupid by Titian and Rubens, bodies abnormalities
Categories: paintings, Goldini. Claudio Goldini, Art
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The Museum Thyssen-Bornemisza (Madrid), an exhibit "Titian-Rubens: Venus in the Mirror" from September 24, 2002 and January 26, 2003.
"The Thyssen-Bornemisza Museum has joined Venus in the mirror, by Rubens, his property, and the National Gallery of Art in Washington´Titian. This happy event has been used to complement a small exhibition devoted primarily to the issue of women in the mirror ... "
"During the seventeenth century, Rubens used his stay in Madrid to paint a series of works, reinterpreting magnificent paintings by Titian, housed in the Spanish royal art collection. Join now Titian´s models and reinterpretations of Rubens is a pleasure that can provide an inspiring vision of art. "
"Titian was a highly esteemed painter of Philip II, who amassed great works of Italian. Rubens made several trips to Spain from 1603 to 1629. Rubens marveled at the color, sensuality, beauty and strength of the work of Titian, and took his stay in Madrid to copy, or rather, to reinterpret his most admired.
Titian's Venus was painted in the mid-sixteenth century, and copied by Peter Paul Rubens between 1606-1611. The painting by Titian disappeared somewhere historic, but remains one of the same author and the same issues, the National Gallery of Art in Washington.
Between both paintins there are few differences. The position of the goddess is identical in praxitelian position of "Venus pudica", which uses the arms to cover areas specific to women. A winged cupid, in both cases, holding her left a mirror on a long, rectangular, which partly reflected the face and shoulder of Venus.
Perhaps the most striking differences are in tone and definition of bodies of the Goddess and Cupid. Rubens covered the torso of the goddess with a soft white robe, apart in the Titian´s appears one second behind Cupid attitude to crown the Queen of Love "(Arte.com Guide)
My views
During my visit to the Museo Thyssen Bornemisza had the great
opportunity to see Venus and Cupid (1600-1608) by the Flemish painter Peter
Paul Rubens, no. Catalog 350.
Already at that time I noticed what I consider to be some abnormalities in the anatomy of Venus, seen of course, from my point of wiew of my medical status and visual artist.
As is well known and is mentioned above Rubens was an admirer and "copyist" of Titian. Compare photographic reproductions of the same subject by both authors:
Venus and Cupid by Titian
The appeareance in any case of the Titian´s Venus is harmonic. In contrast, in the version of Rubens, the forearm appears grotesque, facing right elbow forward and the forearm bent, like a member belonging to another person, "implanted." The same bent is accentuated in the left forearm.
Another striking position in the work of Titian (which copies Rubens) is the position of the fingers of her left hand on the chest: it is quite difficult to keep the ring finger and middle united while little finger and index are separates. I think that this hand position has been noted in other works.
In summary despite the comments credits for Tiziano, B for Rubens.
Claudio Goldini
Goldini Claudio Goldini Titian Rubens Venus and Cupid Venus Cupid Paintings anatomy abnormalities arm forearm hand Museo Thyssen Bornemisza Madrid Médico Asesino Serial fingers
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