{"id":13282,"date":"2021-11-05T13:04:52","date_gmt":"2021-11-05T12:04:52","guid":{"rendered":"https:\/\/www.carrerivegauche.com\/boutique-crg\/venus-au-miroir-italie-xviie-siecle\/"},"modified":"2023-02-11T11:28:15","modified_gmt":"2023-02-11T10:28:15","slug":"venus-au-miroir-italie-xviie-siecle","status":"publish","type":"product","link":"https:\/\/www.carrerivegauche.com\/fr\/boutique-crg\/venus-au-miroir-italie-xviie-siecle\/","title":{"rendered":"Venus au miroir \u2013 Italie \u2013 XVIIe si\u00e8cle"},"content":{"rendered":"

Cette tr\u00e8s belle huile sur toile de grand format repr\u00e9sente le th\u00e8me de la V\u00e9nus au miroir. Elle reprend la composition du tableau de Titien r\u00e9alis\u00e9 en 1555 et conserv\u00e9 aujourd\u2019hui \u00e0 la National gallery of Art de Washington. Sur la gauche, V\u00e9nus est repr\u00e9sent\u00e9e nue, le corps partiellement couvert d\u2019un manteau. Ses cheveux sont natt\u00e9s en chignon et sa t\u00eate se tourne en direction d\u2019un miroir. Ce dernier est tenu par son fils, Cupidon, reconnaissable par ses attributs, les fl\u00e8ches et les ailes. La position des mains de V\u00e9nus fait r\u00e9f\u00e9rence \u00e0 la Venus pudica , iconographie tir\u00e9e du mod\u00e8le de la V\u00e9nus de M\u00e9dicis, sculpture grecque r\u00e9alis\u00e9e au I er si\u00e8cle avant J.-C. La d\u00e9esse est repr\u00e9sent\u00e9e surprise \u00e0 sa sortie de l\u2019eau et tente de cacher ses parties intimes. Tr\u00e8s populaire \u00e0 l\u2019\u00e9poque moderne, la Venus pudica est l\u2019un des th\u00e8mes antiques les plus appr\u00e9ci\u00e9s des artistes et de leurs ateliers et permet de c\u00e9l\u00e9brer la beaut\u00e9 id\u00e9ale de la\u00a0<\/span>femme. Ce choix iconographique apporte \u00e9rotisme et sensualit\u00e9 \u00e0 la composition.<\/span>
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Le th\u00e8me du miroir est \u00e9galement tr\u00e8s appr\u00e9ci\u00e9 par les artistes, sp\u00e9cifiquement \u00e0 Venise qui \u00e0 l\u2019\u00e9poque de Titien, V\u00e9ron\u00e8se et Tintoret devient la ville des reflets jusque dans sa production picturale.<\/span>
Fascin\u00e9s par les oeuvres des flamands comme Jan Van Eyck, les peintres italiens reprennent cet outil non plus seulement pour donner un nouvel angle de vue aux spectateurs mais afin de focaliser leur regard sur le sujet. Le miroir utilis\u00e9 dans les compositions appara\u00eet alors comme un outil qui r\u00e9v\u00e8le l\u2019envers du tableau et d\u00e9voile ce qui est soustrait \u00e0 notre oeil. Ce jeu avec le reflet permet \u00e9galement un travail sur l\u2019\u00e9clat. Titien pare sa V\u00e9nus de bijoux et d\u2019un manteau aux riches broderies qui apportent \u00e0 l\u2019ensemble une certaine pr\u00e9ciosit\u00e9.<\/span>
Dans notre tableau, l\u2019artiste a fait le choix de repr\u00e9senter sa V\u00e9nus avec certains de ces \u00e9l\u00e9ments comme la perle, symbole de sa cr\u00e9ation miraculeuse \u00e0 partir de l\u2019eau. Suite \u00e0 une expertise r\u00e9alis\u00e9e par Monsieur Ren\u00e9 Millet, il nous est possible d\u2019affirmer que l’oeuvre date de la premi\u00e8re moiti\u00e9 du XVII e si\u00e8cle et donc que le peintre serait un disciple de Titien et de l\u2019\u00e9cole v\u00e9nitienne. N\u00e9anmoins, bien qu\u2019il ait choisi de respecter le mod\u00e8le, l\u2019artiste s\u2019est adapt\u00e9 au go\u00fbt de son temps et a \u00e9pur\u00e9 la composition. Le choix des couleurs en t\u00e9moigne aussi : le colorito de l\u2019\u00e9cole v\u00e9nitienne est laiss\u00e9 pour une gamme de couleurs plus r\u00e9duite et principalement domin\u00e9e par des tons neutres et naturels. Seul le drap \u00e9tendu \u00e0 l’arri\u00e8re-plan se distingue par sa couleur rouge. Ces caract\u00e9ristiques rappellent celles des peintures caravagesques du d\u00e9but du XVII e si\u00e8cle, d\u2019autant plus que le peintre choisit d\u2019utiliser des tons tr\u00e8s fonc\u00e9s qui contrastent avec le blanc de la peau de V\u00e9nus cr\u00e9ant un certain jeu d\u2019ombre et de lumi\u00e8re rappelant le clarobscuro de Caravage.<\/span>
Le tableau de Titien expos\u00e9 \u00e0 la National gallery of Art de Washington a servi de<\/span>\u00a0<\/span>mod\u00e8le \u00e0 ses \u00e9l\u00e8ves qui ont r\u00e9alis\u00e9 de nombreuses variantes de ce th\u00e8me. Parmi elles, un tableau expos\u00e9 au mus\u00e9e des Beaux-Arts de Bordeaux intitul\u00e9 la Toilette<\/span>\u00a0<\/span>de V\u00e9nus avec un amour soutenant le miroir qui poss\u00e8de une composition identique \u00e0 notre tableau. Les d\u00e9tails sont les m\u00eames, jusque dans l\u2019image refl\u00e9t\u00e9e par le miroir.<\/span>
Tandis que Titien se focalise sur le travail de la r\u00e9flexion de la figure, ses deux suiveurs ont choisi de se concentrer sur le regard que la d\u00e9esse se porte et d\u00e9peignent ainsi un moment de contemplation. Notre V\u00e9nus au miroir est donc un beau t\u00e9moignage de la production artistique du d\u00e9but du XVII e si\u00e8cle. L\u2019artiste respecte la tradition en reprenant le mod\u00e8le d\u2019un grand ma\u00eetre qui s\u2019est lui-m\u00eame inspir\u00e9 de l\u2019antique. Il a toutefois su s\u2019adapter au go\u00fbt de son temps en reprenant certains \u00e9l\u00e9ments de la peinture caravagesque. Cette oeuvre pr\u00e9sente la d\u00e9esse sous un angle sensuel et \u00e9rotique qu\u2019elle-m\u00eame d\u00e9couvre au travers de son reflet.<\/span><\/p>\n

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This beautiful large-format oil on canvas depicts the theme of Venus with a mirror. It is based on the composition of Titian’s 1555 painting, now in the National Gallery of Art in Washington. On the left, Venus is depicted naked, her body partially covered by a cloak. Her hair is plaited in a bun and her head is turned towards a mirror. The mirror is held by her son, Cupid, who can be recognised by his attributes, the arrows and wings. The position of Venus’ hands refers to the Venus pudica, an iconography taken from the model of the Venus de Medici, a Greek sculpture made in the first century BC.<\/span><\/em>
Greek sculpture made in the 1st century BC. The goddess is depicted surprised when she emerges from the water and tries to hide her private parts. Very popular in modern times, the Venus pudica is one of the most popular ancient themes for artists and their studios, celebrating the ideal beauty of women. This iconographic choice brings eroticism and sensuality to the composition.<\/span><\/em>
The theme of the mirror was also very popular with artists, especially in Venice, which in the time of Titian, Veronese and Tintoretto became the city of reflections even in its pictorial production.<\/span><\/em>
Fascinated by the works of Flemish painters such as Jan Van Eyck, Italian painters used this tool not only to give viewers a new angle of view but to focus their gaze on the subject. The mirror used in the compositions then appears as a tool that reveals the reverse side of the painting and reveals what is hidden from our eye. This play with the reflection also allows for a work on brilliance. Titian adorns his Venus with jewels and a richly embroidered cloak, giving the whole a certain preciousness.<\/span><\/em>
In our painting, the artist chose to represent his Venus with some of these elements such as the pearl, symbol of her miraculous creation from water. Following an expertise carried out by Mr Ren\u00e9 Millet, we can affirm that the work dates from the first half of the 17th century and that the painter is a disciple of Titian and the Venetian school. Nevertheless, although he chose to respect the model, the artist adapted to the taste of his time and purified the composition. The choice of colours also bears witness to this: the colorito of the Venetian school is left behind for a more reduced range of colours, dominated mainly by neutral and natural tones. Only the sheet lying in the background is distinguished by its red colour. These characteristics are reminiscent of the Caravaggio paintings of the early seventeenth century, especially as the painter chooses to use very dark tones that contrast with the white of Venus’ skin, creating a certain sense of mystery. Venus’ skin, creating a certain play of light and shadow reminiscent of Caravaggio’s clarobscuro.<\/span><\/em>
Titian’s painting in the National Gallery of Art in Washington served as a model for his students, who produced model for his pupils, who produced numerous variations on this theme. Among them, a painting exhibited at the Mus\u00e9e des Beaux-Arts in Bordeaux entitled La Toilette of Venus with a lover holding up the mirror, which has a composition identical to our painting. The details are the same, even in the image reflected by the mirror.<\/span><\/em>
While Titian focuses on the work of the reflection of the figure, his two followers chose to concentrate on the gaze that the goddess gives herself and thus depict a moment of contemplation. Our Venus in the Mirror is therefore a fine example of the artistic production of the early 17th century. The artist respects the tradition by taking the model of a great master who was himself inspired by the antique. However, he was able to adapt to the taste of his time by taking up certain elements of Caravaggio’s painting. This work presents the goddess from a sensual and erotic angle, which she herself discovers through her reflection.<\/span><\/em>
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\"\" \"\" \"\"\u00a0\"\"\u00a0\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

\u2022\u00a0Mat\u00e9riaux<\/span>\u00a0: Peinture sur toile\u00a0<\/em><\/p>\n

\u2022\u00a0Dimensions<\/span>\u00a0:\u00a0l. 112 cm X H. 132 cm\u00a0<\/em><\/p>\n

\u2022\u00a0Origine<\/span>\u00a0:\u00a0Italie, Venise<\/em><\/p>\n

\u2022\u00a0P\u00e9riode<\/span>\u00a0:\u00a0XVIIe si\u00e8cle<\/em><\/p>\n

\u2022\u00a0Etat de l\u2019oeuvre<\/span>\u00a0: Tr\u00e8s bel \u00e9tat<\/em><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/del><\/p>\n

\u2022\u00a0Materials<\/span>\u00a0:\u00a0Painting on canvas\u00a0<\/em><\/p>\n

\u2022\u00a0Dimensions<\/span>\u00a0: L. 112 cm X H. 132 cm<\/em><\/p>\n

\u2022\u00a0Origin<\/span>\u00a0:\u00a0Italy, Venice<\/em><\/p>\n

\u2022\u00a0Period<\/span>\u00a0:17th century<\/em><\/p>\n

\u2022\u00a0Condition of the work<\/span>\u00a0: Very good condition<\/em><\/p>\n","protected":false},"featured_media":13279,"template":"","meta":[],"product_brand":[],"product_cat":[226],"product_tag":[],"class_list":{"0":"post-13282","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-piatti","7":"description-off","9":"first","10":"instock","11":"shipping-taxable","12":"product-type-simple"},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product\/13282","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/media\/13279"}],"wp:attachment":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/media?parent=13282"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_brand?post=13282"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_cat?post=13282"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_tag?post=13282"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}