Venus Goddess Painting

More recently, questions have arisen about Neoplatonism as the dominant intellectual system of late 15th-century Florence, [6] and scholars have indicated that there might be other ways to interpret Botticelli's mythological paintings. In particular, both Primavera and Birth of Venus have been seen as wedding paintings that suggest appropriate behaviors for brides and grooms. [7]

Venus ( / ˈ v iː n ə s / , Classical Latin: / ˈ w ɛ n ʊ s / ) is the Roman goddess whose functions encompassed love, beauty, desire, sex , fertility, prosperity and victory. In Roman mythology , she was the mother of the Roman people through her son, Aeneas , who survived the fall of Troy and fled to Italy. Julius Caesar claimed her as his ancestor. Venus was central to many religious festivals , and was revered in Roman religion under numerous cult titles.

In Roman mythology , Venus was the goddess of love, sex, beauty, and fertility. She was the Roman counterpart to the Greek Aphrodite . However, Roman Venus had many abilities beyond the Greek Aphrodite; she was a goddess of victory, fertility, and even prostitution. According to Hesiod 's Theogony , Aphrodite was born of the foam from the sea after Saturn (Greek Cronus) castrated his father Uranus (Ouranus) and his blood fell to the sea. This latter explanation appears to be more a popular theory due to the countless artworks depicting Venus rising from the sea in a clam.

Venus was a major Roman goddess principally associated with love , beauty and fertily, as well as ploughlands and gardens. She was considered the ancestor of the Roman people by way of its mythological progenitor, Aeneas, and therefore played a pivotal role in many Roman religious festivals and myths. Since many of the figures of Roman mythology were largely appropriated from the Greek tradition, Venus is very similar to Aphrodite , the goddess of love in the Greek pantheon.


Ignoring the size and positioning of the wings and limbs of the flying pair on the left, which bother some other critics, Kenneth Clark calls them:Ignoring the size and positioning of the wings and limbs of the flying pair on the left, which bother some other critics, Kenneth Clark calls them:Whenever the two paintings were united at Castello, they have remained together ever since. They stayed in Castello until 1815, when they were transferred to the Uffizi. For some years until 1919 they were kept in the Galleria dell'Accademia , another government museum in Florence. [24]

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