#Venus de Medici

[frangipanilove]

Venus de Medici at the Demimonde Nightclub

The Venus symbolism continues in TWDDD. In episode 1x3 Paris Sera Toujours Paris, we got to enjoy a night out with Daryl Dixon, at the underground Demimonde Nightclub (some serious underworld symbolism going on there, with catacombs and all). @wdway pointed out the marble statue that was strategically placed in the shot much of the time, and after a few google searches we think we have identified it as Venus de Medici. I wrote about the Venus symbolism here and here.

Also, the Demimonde was a treasure trove of symbolism hidden in various works of art. I'm currently trying to identify them, and among the ones I found particularly interesting from a TD perspective was this:

This is from when Daryl was trying to negotiate his way to a boat that could take him home (boat = vessel).

I think the artwork in the background could be the Eve part of Lucas Cranach's pair Adam and Eve.

That is potentially interesting because of course Eve's holding an apple, and as expected, there's a snake lurking in the shadows. I think we all remember this unforgettable scene from TWD 4x12 Still:

and this:

and I'll throw in this one as well for good measure, because why not:

[melissafallin]

exposed

Venus de’ Medici 1st century BCE

[eucanthos]

Venus de' Medici

Old chromolithograph illustration of Medici Venus [img1]

Medici Venus, 1st Century BC, Roman marble copy of a Greek original. Uffizi Gallery, Florence. Variation of Knidos type Aphrodite [img4-5]

Brockhaus Conversation Lexicon 14th edition 1892 - 1912: "Original antique picture: Venus de Medici statue Florence - A real historical testimony from around 1892" [img2-3]

The Greek inscription CLEOMENES SON OF APOLLODORUS OF ATHENS on its base is not original. In the 18th century the name "Cleomenes" was forged on sculptures of modest quality to enhance their value.

Baroque arms (restoration) by Ercole Ferrata (1610-1686)

https://alchetron.com/Venus-de%27-Medici#venus-de-medici-dcb04d6e-4abf-4c97-9782-8a947988661-resize-750.jpeg

https://www.flickr.com/photos/24364447@N05/9568950235/in/photostream/

[astro-tag-9]

Could I get a character based on my placements? I'm a libra sun conjunct libra venus + libra lilith, virgo moon conjunct virgo mars, aries rising, scorpio mercury. Thank you 💖

💚 Catherine de' Medici 💚

( Reign )

[pmamtraveller]

BIRTH OF VENUS /c. 1484-86/ SANDRO BOTTICELLI

The painting illustrates the birth of Venus, the goddess of love and beauty, as suggested by the title. She appears as a fully grown woman emerging from the sea, just as described in Ovid’s Metamorphoses. On the left side, you can see Zephyr and Aura, personifications of the winds, who have carried Venus to the shore.

Venus is portrayed as the epitome of Renaissance beauty, with her golden-red hair and fair skin. On the right, the Hora of Spring, who serves as Venus’s attendant, stands ready to cover the modest goddess. Venus stands on a scallop shell, her stance is in a classic contrapposto position, where she rests most of her weight on one foot, causing her upper body to twist slightly to a three-quarter view.

Botticelli's use of imagery is often thought to be influenced by Neo-Platonic ideas. According to this interpretation, Venus represents two aspects: her earthly side, which embodies physical beauty, and her heavenly side, which symbolizes intellectual beauty.

The "Birth of Venus" is thought to have been commissioned by Lorenzo de' Medici of Florence. The orange trees along the shore are the Medici family’s emblem. The painting itself is made up of two separate pieces that were stitched together before Botticelli began working on it.

[artsandculture]

The Birth of Venus (1483-1485) 🎨 Sandro Botticelli 🏛️ Uffizi Gallery 📍 Florence, Italy

The painting was commissioned by Lorenzo di Pierfrancesco de’Medici, a cousin of Lorenzo the Magnificent. The theme was probably suggested by the humanist Poliziano. It depicts Venus born from the sea foam, blown by the west wind, Zephyr, and the nymph, Chloris, towards one of the Horai, who prepares to dress her with a flowered mantle.

This universal icon of Western painting was probably painted around 1484 for the villa of Castello owned by Lorenzo di Pierfrancesco de 'Medici. Giorgio Vasari saw the work there in the mid-sixteenth century – along with Botticelli’s other well-known Primavera – and described it precisely as "showing the Birth of Venus." The old idea that the two Botticelli masterpieces were created for the same occasion, in spite of their substantial technical and stylistic diversity, is no longer accepted. However, rather than a birth, what we see is the goddess landing on the shore of her homeland, the island of Cyprus, or on Kithera. The theme, which can be traced back to Homer and to Ovid’s Metamophoses, was also celebrated by the great humanist Agnolo Poliziano in the poetic verses of his Stanze. The Venus of the Uffizi is of the “Venus pudica” type, whose right breast is covered by her right hand and billowing long blond hair partially shrouds her body. The goddess stands upright on a shell as she is driven towards the shore by the breeze of Zephyrus, a wind god, who is holding the nymph, Chloris. On the right is the Hora of springtime, who waits to greet Venus ashore with a cloak covered in pink flowers.

The seascape, stunning for its metaphysical tone and almost unreal quality, is illuminated by a very soft, delicate light. Like Botticelli’s other masterpiece, Pallas and the Centaur, the Birth of Venus is painted on canvas - fairly unusual for its time - using a technique of thin tempera, based on the use of diluted egg yolk, which lends itself particularly well to give the painting that aspect of extraordinary transparency, which brings to mind the pictorial quality of a fresco. The figure recalls classical sculpture and is very similar to the famous Medici Venus found in the Uffizi, which the artist certainly knew. The real meaning of this dreamlike vision is still under scholarly debate and investigation but is undoubtedly linked with the Neo-Platonic philosophy, widely cultivated in the Medici court.

Like the Primavera, the Birth of Venus is also associated with the concept of Humanitas,or virtuous Humanity, a theory developed by Marsilio Ficino in a letter to the young Lorenzo. According to the interpretation by Ernst Gombrich, the work depicts the symbolic fusion of Spirit and Matter, the harmonious interaction of Idea and Nature. Nevertheless, the interpretations of this painting of extraordinary visual impact are numerous and diverse. The divine ethereal figure has been viewed as an allegorical representation of Humanitas upon her arrival to Florence, while the nymph holding out the cloak of flowers for the goddess may perhaps be identified as Flora, the same depicted in this masterpiece’s “twin”, the Primavera, where she may be seen instead as the personification of the city of Florence. From this work emerges clear evidence of Botticell’s strive to reach perfection of form that could rival with classical antiquity. It is for this reason that the humanist Ugolino Verino in his work Epigrammata, presented in 1485 to the King of Hungary, Matthias Corvinus, likened the Florentine painter to the legendary Apelles of Ancient Greece.

[m1male2]

The Pudic Venus of the classical world are the representation of the goddess Aphrodite, naked or semi-naked, at the precise moment of modestly covering her "shame" or private parts, as if she had been surprised at the time of bathing or dressing.

It was one of the most typical artistic motifs of Classical Antiquity.

Let's see some examples:

-Photo 1, The Venus de Medici, Roman copy 1st c. BC, from the sculpture of Praxiteles from the 4th century BC

-Photo 2, Venus Capitolina, copy of the 2nd century from an original sculpture by Praxiteles. Capitoline Museums, Vatican.

-Photo 3, Aphrodite or Venus of Cnido, also called Altemps or Ludovisi. Work of the Greek author Praxiteles made around the year 360 B.C. Altemps Palace Museum, Rome.

-Photo 4, Aphrodite of Syracuse. Roman copy of the 2nd century AD. from a Greek original of the 4th century B.C.; neck, head and left arm are restorations by Antonio Canova. Found in Baiae, southern Italy. National Archaeological Museum, Athens.

[bentbackarms]

caroline, maddy, and the venus de' medici

[oh-katsuki]

looking at where and how the venus de’ medici is displayed makes me so fucking mad

[blueiscoool]

‘Secret Room’ Decorated by Michelangelo to Open to the Public in Italy

He’s known for his colossal works, such as the statue of David, the floor-to-ceiling frescoes of the Sistine Chapel, and the dome of St. Peter’s which dominates the Rome skyline.

But it’s Michelangelo Buonarroti’s less bombastic work that’s on display to the public for the first time in the artist’s “secret room” in Florence.

The tiny space sits beneath the Medici Chapels in Florence, where Michelangelo sculpted intricate tombs for members of the Medici family behind the church of San Lorenzo in the Sagrestia Nuova, or New Sacristry.

In 1975, during works to create a new exit for the venue, a restorer carrying out cleaning experiments uncovered multiple drawings of human figures under two layers of plaster in a corridor underneath the sacristy which had been used to store coal.

The narrow space is 33 feet long, 10 wide and eight feet high.

The figures – sketched in charcoal and sanguine (rust-colored chalk or crayon), often one on top of the other, and of different sizes – were attributed to Michelangelo by Paolo Dal Poggetto, the former director of the Medici Chapels.

It is believed that the artist hid in the claustrophobic space for several weeks in 1530 when pope Clement VII – a member of the Medici family, who had recently returned to power in Florence, having been kicked out by a republican government for whom Michelangelo had worked – ordered his death. The death sentence was rescinded after two months, and Michelangelo returned to work in Florence, before moving to Rome four years later.

It’s believed the drawings are sketches for future works, including the legs of one of the statues in the New Sacristy.

“This place grants today’s visitors the unique experience of being able to come into direct contact not only with the creative process of the maestro, but also with the perception of the formation of his myth as a divine artist,” said Francesca de Luca, curator of the Museum of the Medici Chapels, in a statement. Paola D’Agostino, director of the Bargello Museums, which the chapels are part of, said the restoration has been “time-consuming, constant and painstaking work.”

The space has never been open regularly to the public before, but will open for visits on November 15 to highly limited numbers in order to preserve the drawings. A maximum of 100 people will be able to visit per week, in groups of four, and 15-minute visits will take place every day except Tuesdays and Sundays.

By Julia Buckley.

[eyeofpsyche]

Detail of ‘The Birth of Venus,’ (c. 1483–1485),

Sandro Botticelli (1445–1510),

Tempera on panel, H 172.5 cm × W 278.5 cm,

Lorenzo di Pierfrancesco de' Medici family collections.

[williamedwardparry]

favourite antarctic expedition?

oh this is almost a cheat ask for me because i'm such a 19th century nerd, it has to be ross, there's no contest. unprecedented low fatalities! 4 and a half years! surveyed and mapped the antarctic mainland for the first time! crossed the pack and the weddell sea entirely under sail! new year in the antarctic! ice ballroom and pub! the venus de medici! best friends forever! shitloads of trauma!

[alma-amentet]

Hi alma!!!

Out of all your art pieces, which one are you the most proud of?

(I love them all to bits!)

HI!!! thank you for the ask Bim!

So far it's this Neeshka. I see her myself in my pinned post and think "wow she looks really cool". There was a good ref, bet it did most work for me - I haven't changed it much... the author is Pavel Apalkin, an amazing photographer.

But for now it's also this head of Venus de Medici. My previous studies look way worse, I even thought I just couldn't master better hatching... But then it started to look quite well, and I did this one.

[eucanthos]

eucanthos

Jacopo Pontormo: Annunciazione, 1527-28. Cappella Capponi Chiesa di Santa Felicita (Firenze)

Nike of Samothrace

Gérard Audran: Venus de' Medici 1683 etching [negative overlay]

[tearblossom]

“I still have sufficient grace to shudder at Sorcery, and avoid a crime so monstrous, so unpardonable!” “Unpardonable, say you? Where then is your constant boast of the Almighty’s infinite mercy? . . . Away then with these childish scruples: Be persuaded to your good, and follow me to the Sepulchre.” “. . . I will not follow you to the Sepulchre, or accept the services of your infernal Agents. Antonia shall be mine, but mine by human means.” “Then yours She will never be! You are banished her presence; Her Mother has opened her eyes to your designs, and She is now upon her guard against them. Nay more, She loves another. A Youth of distinguished merit possesses her heart, and unless you interfere, a few days will make her his Bride. This intelligence was brought me by my invisible Servants, . . . Nay, I was constantly with you in some degree, thanks to this precious gift!” With these words She drew from beneath her habit a mirror of polished steel, the borders of which were marked with various strange and unknown characters. “. . . On pronouncing certain words, the Person appears in it on whom the Observer’s thoughts are bent: . . .” “. . . Matilda, are you not amusing yourself with my credulity?” “Be your own eyes the Judge.” She put the Mirror into his hand. Curiosity induced him to take it, and Love, to wish that Antonia might appear. Matilda pronounced the magic words. . . . He beheld in miniature Antonia’s lovely form. . . . She was undressing to bathe herself. The long tresses of her hair were already bound up. The amorous Monk had full opportunity to observe the voluptuous contours and admirable symmetry of her person. She threw off her last garment, and advancing to the Bath prepared for her, She put her foot into the water. It struck cold, and She drew it back again. Though unconscious of being observed, an inbred sense of modesty induced her to veil her charms; and She stood hesitating upon the brink, in the attitude of the Venus de Medicis. At this moment a tame Linnet flew towards her, nestled its head between her breasts, and nibbled them in wanton play. The smiling Antonia strove in vain to shake off the Bird, and at length raised her hands to drive it from its delightful harbour. Ambrosio could bear no more: His desires were worked up to phrenzy. “I yield!” He cried, dashing the mirror upon the ground: “Matilda, I follow you! Do with me what you will!”

— The Monk: A Romance (1796) ֍ Matthew Gregory Lewis

[joseandrestabarnia]

Venus italiana de Antonio Canova (Italia, Possagno, 1 de noviembre de 1757 - Venecia, 13 de octubre de 1822)

Descripción Fecha: 1812 Museo: Palacio Pitti Recopilación: Galería Palatina Colocación: Salón de Venus Técnica: Mármol Dimensiones: Altura 171,5 cm Inventario: 1912 n. 878

En 1802, de paso por Florencia y en el apogeo de su fama, Antonio Canova recibió del rey de Etruria, Ludovico di Borbone, el encargo de realizar una copia de la Venus de los Medici, la escultura de mármol del siglo I a.C. que, ya expuesta en el centro de la Tribuna de los Uffizi, el 11 de septiembre del mismo año fue requisado por las autoridades francesas para ser destinado al Louvre. Inicialmente, reacio a la idea de la réplica, el escultor veneciano, finalmente aceptó, atraído tanto por la propuesta de sustituir una obra maestra, como por la fuerte connotación patriótica que la empresa había adquirido inmediatamente. Sin embargo, mientras tanto Canova tuvo la idea de desafiar la antigua estatua con una Venus de pie, esta vez de su propia invención. Este prestigioso encargo le fue confirmado en 1805 por la reina regente de Etruria, María Luisa de Borbón y la idea de una reproducción del antiguo acabó quedando de lado. En 1809 la nueva soberana Elisa Baciocchi, recién instalada como Gran Duquesa de Toscana por su hermano Napoleón, logró convencer al emperador de que pagara a Canova los 25.000 francos acordados y el 29 de abril de 1812 la Venus cursiva llegó a la tribuna de la Galería Imperial de Florencia, pero, en lugar de sobre el pedestal de la estatua de los Medici traída a Francia, se colocó sobre una nueva base giratoria, para resaltar la novedad de la creación. De hecho, la divinidad Canova se desvió del ilustre modelo, siendo representada en el momento en que ella se seca modestamente después de salir del baño, con el jarrón de ungüentos perfumados a sus pies. La nueva escultura, cuya modernidad se destacó inmediatamente en comparación con el antiguo prototipo, tuvo un enorme éxito, que la convirtió en objeto de una vasta literatura crítica y protagonista de numerosos sonetos, incluido el de Giovanni Rosini, que la bautizó con el título de “Itálica”. Ugo Foscolo, comparándola con la Venus de los Medici, la definió como "una mujer hermosa, capaz de enamorarte, mientras que la antigua es una diosa impasible, aunque hermosa". En la obra de Canova, de hecho, la gracia natural se acentúa frente a la convencionalidad de la belleza ideal expresada en el ejemplo helenístico, gracias a la postura más dinámica y a las dimensiones ligeramente mayores, que la hacen tan alta como una mujer real.

Tras la caída de Napoleón, en 1815 Canova viajó a París como emisario del Estado pontificio para negociar la restitución de las obras robadas por Bonaparte y la antigua Venus volvió a ocupar su lugar en la Tribuna, mientras que la Itálica, ahora derrocada, fue trasladada a el Palacio Pitti.

Texto por Elena Marconi; Arianna Borgo

Información de la web de la Gallerie degli Uffizi, fotografías de mi autoría.