The Birth of Venus (French: Naissance de Venus) is a painting by the French artist Alexandre Cabanel (1823–1889). It was painted in 1863, and is now in the Musée d’Orsay in Paris. A second and smaller version (85 x 135.9 cm) from ca. 1864 is in Dahesh Museum of Art. A third (106 x 182.6 cm)[2] version dates from 1875; it is in the Metropolitan Museum of Art in New York City.
Shown to great success at the Paris Salon of 1863, The Birth of Venus was immediately purchased by Napoleon III for his own personal collection. That same year Cabanel was made a professor of the Ecole des Beaux-Arts.
Cabanel’s erotic imagery, cloaked in historicism, appealed to the propriety of the higher levels of society. Art historian and curator Robert Rosenblum wrote of Cabanel’s The Birth of Venus that “This Venus hovers somewhere between an ancient deity and a modern dream”; he described “the ambiguity of her eyes, that seem to be closed but that a close look reveals that she is awake … A nude who could be asleep or awake is specially formidable for a male viewer”.
Cabanel was a determined opponent of the Impressionists, especially Édouard Manet,[citation needed] although the refusal of the academic establishment to realize the importance of new ideas and sources of inspiration would eventually prove to be the undoing of the Academy.
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The Adoration of the Magi is a painting by the Italian artist Gentile da Fabriano. The work, housed in the Uffizi Gallery in Florence, Italy, is considered his finest work, and has been described as “the culminating work of International Gothic painting”.
The painting was commissioned by the Florentine literate and patron of the arts Palla Strozzi, at the arrival of the artist in the city in 1420. Palla paid 300 florins for the altarpiece, or about six times the annual salary of a skilled laborer. According to Baldwin both Palla Strozzi and his father, Onofrio, appear in the painting − Palla as the man in the red hat in the forefront of the painting, and Onofrio as the falcon trainer situated behind the youngest king. According to other opinions, the falcon trainer depicts the commissioner Palla Strozzi with his eldest son Lorenzo to his right. Finished in 1423, the painting was placed in the new chapel of the church of Santa Trinita which Lorenzo Ghiberti was executing in these years.

Scene of the Nativity in the predella.
The works shows both the international and Sienese schools’ influences on Gentile’s art, combined with the Renaissance novelties he knew in Florence. The panel portrays the path of the three Magi, in several scenes which start from the upper left corner (the voyage and the entrance into Bethlehem) and continue clockwise, to the larger meeting with the Virgin Mary and the newborn Jesus which occupies the lowest part of the picture. All the figures wear splendid Renaissance costumes, brocades richly decorated with real gold and precious stones inserted in the panel. Gentile’s typical attention for detail is also evident in the exotic animals, such as a leopard, a dromedary, some apes and a lion, as well as the magnificent horses and a hound.
The frame is also a work of art, characterized by three cusps with tondoes portraying Christ Blessing (centre) and the Annunciation (with the Archangel Gabriel on the left and the Madonna on the right). The predella has three rectangular paintings with scenes of Jesus’ childhood: the Nativity, the Flight into Egypt and the Presentation at the Temple (the latter a copy, the original being in the Louvre in Paris).

L’ Adorazione dei Magi è un dipinto dell’artista italiano Gentile da Fabriano . L’opera, ospitata nella Uffizi Gallery di Firenze , Italia , è considerato il suo miglior lavoro, ed è stato descritto come “l’opera culminante del gotico internazionale di pittura “.
Il dipinto fu commissionato dal letterato fiorentino e patrono delle arti Palla Strozzi , all’arrivo dell’artista in città nel 1420. Palla pagato 300 fiorini per la pala, o circa sei volte lo stipendio annuale di un operaio specializzato. Secondo Baldwin sia Palla Strozzi e suo padre, Onofrio, compaiono nel dipinto – Palla come l’uomo nel cappello rosso in primo piano del dipinto, e Onofrio come l’allenatore falco situato dietro il re più giovane. Secondo altri pareri, l’allenatore falco raffigura l’assessore Palla Strozzi con il suo primogenito Lorenzo, alla sua destra. Finito nel 1423, il dipinto è stato collocato nella nuova cappella della chiesa di Santa Trinita che Lorenzo Ghiberti era l’esecuzione in questi anni.

Scene della Natività nella predella.
Le opere mostrano influenze delle scuole internazionali e senesi ‘sull’arte di Gentile, in combinazione con le novità rinascimentali che conosceva a Firenze. Il pannello raffigura il percorso dei tre Magi, in diverse scene che partono dall’angolo superiore sinistro (il viaggio e l’ingresso a Betlemme) e continuano in senso orario, il più grande incontro con la Vergine Maria e il neonato Gesù, che occupa la parte più bassa del quadro. Tutte le figure indossano splendidi costumi rinascimentali, broccati riccamente decorato con vero oro e pietre preziose inserite nel pannello. Tipica attenzione di Gentile per i dettagli è evidente anche negli animali esotici, come un leopardo , un dromedario , alcune scimmie e di un leone , così come i magnifici cavalli e un cane.
Il telaio è anche un’opera d’arte, caratterizzata da tre cuspidi con tondi raffiguranti Cristo benedicente (al centro) e l’ Annunciazione (con l’ Arcangelo Gabriele sulla sinistra e la Madonna a destra). La predella ha tre tele rettangolari con scene dell’infanzia di Gesù ‘: la Natività , la fuga in Egitto e la Presentazione al Tempio (quest’ultimo una copia, l’essere originale nel Louvre di Parigi ).

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Primavera, also known as Allegory of Spring, is a tempera panel painting by Italian Renaissance artist Sandro Botticelli. Painted ca. 1482, the painting is described in Culture & Values (2009) as “[o]ne of the most popular paintings in Western art”. It is also, according to Botticelli, Primavera (1998), “one of the most written about, and most controversial paintings in the world.”
Most critics agree that the painting, depicting a group of mythological figures in a garden, is allegorical for the lush growth of Spring. Other meanings have also been explored. Among them, the work is sometimes cited as illustrating the ideal of Neoplatonic love. The painting itself carries no title and was first called La Primavera by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, in 1550.
The history of the painting is not certainly known, though it seems to have been commissioned by one of the Medici family. It contains references to the Roman poets Ovid and Lucretius, and may also reference a poem by Poliziano. Since 1919 the painting has been part of the collection of the Uffizi Gallery in Florence, Italy.

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Primavera, also known as Allegory of Spring, is a tempera panel painting by Italian Renaissance artist Sandro Botticelli. Painted ca. 1482, the painting is described in Culture & Values (2009) as “[o]ne of the most popular paintings in Western art”. It is also, according to Botticelli, Primavera (1998), “one of the most written about, and most controversial paintings in the world.”
Most critics agree that the painting, depicting a group of mythological figures in a garden, is allegorical for the lush growth of Spring. Other meanings have also been explored. Among them, the work is sometimes cited as illustrating the ideal of Neoplatonic love. The painting itself carries no title and was first called La Primavera by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, in 1550.
The history of the painting is not certainly known, though it seems to have been commissioned by one of the Medici family. It contains references to the Roman poets Ovid and Lucretius, and may also reference a poem by Poliziano. Since 1919 the painting has been part of the collection of the Uffizi Gallery in Florence, Italy.

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Antonio Canova’s sculpture Psyche Revived by Cupid’s Kiss, first commissioned in 1787 by Colonel John Campbell, is a masterpiece of Neoclassical sculpture, but shows the mythological lovers at a moment of great emotion, characteristic of the emerging movement of Romanticism. It represents the god Cupid in the height of love and tenderness, immediately after awakening the lifeless Psyche with a kiss. The story of Cupid and Psyche is taken from Lucius Apuleius’ Latin novel The Golden Ass, and was popular in art.
Joachim Murat acquired the first or prime version (pictured) in 1800. After his death the statue entered the Louvre Museum in Paris, France in 1824; Prince Yusupov, a Russian nobleman acquired the second version of the piece from Canova in Rome in 1796, and it later entered the Hermitage Museum in Saint Petersburg. The plaster cast for this later version is now in the Metropolitan Museum of Art in New York. For the development of the composition, a modello was used by Canova from which other versions were later made, with small differences between each version. A modello for Psyche Revived by Cupid’s Kiss is shown in Hugh Douglas Hamilton’s 1788-89 pastel of Antonio Canova and Henry Tresham with a Model for Cupid and Psyche.

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