Venus and the Lute Player – Titian
Size: 165.1 x 209.6 cm / 150.5 x 196.8 cm
Medium: Oil on Canvas
Venus Made is one of the greatest paintings to be seen in New York's Metropolitan Gallery. Today's oil on canvas painting by Titian Vercelli (1488–1576) is thought to date from 1565–1570.
There is an interesting story behind this artwork. The beautiful Roman goddess of love, Venus, creates this, which is similar to a portrait of Venus, the goddess of love, by the Venus player.
Two copies of this painting exist. The most finished original version of this painting, which represents the peak of interest in the theme of the reclining nude goddess, is housed in Cambridge, while a second version from Vercelli's studio is currently on display in the Metropolitan Museum.
Let us talk about what can be seen with a closer look at the painting. In the painting, a good-hearted young man playing the veena, the traditional instrument of love for his beloved, praises the crowd. Nymphs and satyrs dance to the sound of a shepherd in the background. The artwork shows the goddess of love interrupting her music as Cupid crowns her with a wreath. The viola da gamba is placed in the front of the picture to enjoy the nude as in luxury, and in the lower right corner of the picture and extending beyond the frame, the viola da gamba, which is arranged as a repoussé (an object in a divine painting that directs the viewer to the ear and creates a sense of depth), participates in the performance and in the beauty. It is also subtly indicated to fully participate in the appreciative perception.
Apart from describing the unique relationship between the musician and the goddess through this painting, it also directly addresses the viewer. Several paintings by this artist can be seen under this theme. This painting can be considered primarily as an evocation of sensual pleasure.
This painting is one of Titian's Venus and Musician series. This artwork is known as Venus with an Organ, Venus with Lute Player, and others.
The first version of this painting, now in the Fitzwilliam Museum, Cambridge, has been dated by the museum to 1555–1565. It measures 150.5 x 196.8 cm. This version probably belonged to the Holy Roman Emperor Rudolf II and was certainly in his collection in Prague by 1621. Later in 1648, it was looted and taken to Rome by Queen Christina of Sweden. It is said that after her death it was sold to the Orleans Collection and finally auctioned in London after the French Revolution. It was purchased by Richard FitzWilliam, 7th Viscount FitzWilliam, in 1798/99 and became part of the museum’s collection after his death in 1816.
The second version is currently owned by the Metropolitan Museum of Art in New York. Dated 1565–1570 and measuring 165.1 x 209.6 cm, this painting was in a private studio for a long time. However, this version was owned by members of the royal family of Savoy from 1624 until sometime after 1742, when it came to England and was owned by Thomas Coke, 1st Earl of Leicester, and his heirs until it was sold. It was purchased by the museum from a dealer named Joseph Duveen in 1933. Other versions of the painting, probably at least from Titian's workshop, include one in Bordeaux and another in Dresden, which was destroyed during World War II.
