Venus And Mars Surprised By Vulcan
This painting was named Venus And Mars Surprised By Vulcan, which was made by Tintoretto (1518-1594), a famous Italian Venice painter in the 16th century. He was born in Venice and died there on May 31, 1594. He was formerly known as Jacob Losity. In his 40-year creation career, he mainly stayed at Venice. His works inherited from Titian's traditions and already made some innovation. In the aspect of narration, he stressed on the strong movement with colorful fantasy. He developed a unique way of painting. This painting showed a flirting scene. What the painter used was the figures' gestures, interleaving pleats and reflected lights, which made the painting with very vivid screen processing. Eros languidly reclined on the black-white bed and the light casted on her rosy skin which was quite sexy; in the face of a beautiful love, Vulcan seemed to be somewhat uncomfortable, and the Mars wearing the helmet and dressing in armor looked sly and showed his head under a table.
This painting had one of the biggest characteristics that the painter adopted a very modern and all-round performance method of using perspective and a round mirror behind the painting to achieve this goal. We can not only observe the Vulcan from the mirror, but also see his embarrassment after Vulcan clumsily found the beauty of Eros and pulled a cloth to cover her key body parts. In addition, there was a little dog under the painting. Its barking direction made the audience find Vulcan hiding under the table. The structure of the whole painting was built the diagonal line extending from the left to the right, the upper to the lower, which not only was cute filled with flirty but also added a bit of banter taste.
We must turn to Venice to see the real flourishing of Mythology in art. The Venetian painters perfected a new style of Mythology painting, distinguished above all by mastery of color and an intuitive response to nature.
In Tintoretto's youth he was also called Jacopo Robusti, as his father had defended the gates of Padua in a rather robust way against the imperial troops. For his phenomenal energy in painting he was termed Il Furioso, and his dramatic use of perspective space and special lighting effects make him a precursor of baroque art.
In Mannerist paintings, compositions can have no focal point, space can be ambiguous, figures can be characterized by an athletic bending and twisting with distortions, exaggerations, an elastic elongation of the limbs, bizarre posturing on one hand, graceful posturing on the other hand, and a rendering of the heads as uniformly small and oval.
This painting had one of the biggest characteristics that the painter adopted a very modern and all-round performance method of using perspective and a round mirror behind the painting to achieve this goal. We can not only observe the Vulcan from the mirror, but also see his embarrassment after Vulcan clumsily found the beauty of Eros and pulled a cloth to cover her key body parts. In addition, there was a little dog under the painting. Its barking direction made the audience find Vulcan hiding under the table. The structure of the whole painting was built the diagonal line extending from the left to the right, the upper to the lower, which not only was cute filled with flirty but also added a bit of banter taste.
We must turn to Venice to see the real flourishing of Mythology in art. The Venetian painters perfected a new style of Mythology painting, distinguished above all by mastery of color and an intuitive response to nature.
In Tintoretto's youth he was also called Jacopo Robusti, as his father had defended the gates of Padua in a rather robust way against the imperial troops. For his phenomenal energy in painting he was termed Il Furioso, and his dramatic use of perspective space and special lighting effects make him a precursor of baroque art.
In Mannerist paintings, compositions can have no focal point, space can be ambiguous, figures can be characterized by an athletic bending and twisting with distortions, exaggerations, an elastic elongation of the limbs, bizarre posturing on one hand, graceful posturing on the other hand, and a rendering of the heads as uniformly small and oval.