Diego Velasquez - The Toliet of Venus (1651)
The Venus of Velasquez is seen from behind, and we see her face only as a reflection in the mirror. This artificiality of space and the elusive nature of womanly Beauty came together, in later centuries, in the women of Fragonard, where the dreamlike character of Beauty is already a harbinger of the extreme freedom of modern painting:
Jean-Honore Fragonard - The Removed Shirt (1760)
If there are no objective constraints for the representation of Beauty, then why not depict a bourgeois picnic on the grass complete with a beautiful nude?
Edouard Manet - Le dejeuner sur l'herbe (1863)
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