Sleeping Venus (잠자는 비너스)

Sleeping Venus (잠자는 비너스)

Author/Artist	Giorgione (1477–1510) 조르조네. 이탈리아의 화가. 16세기 베네치아 회화의 창시자
Title	Italian: Venere dormiente Sleeping Venus, Dresden Venus 잠자는 비너스
Description	르네상스 시대 처음으로 '기대어 누워있는 누드'를 주제로 한 작품. 조르조네의 마지막 작품으로 배경과 하늘은 마저 끝내지 못해, 티치아노가 마무리 진 것으로 알려져 있음. 티치아노(Titian)는 유사한 작품 '우르비노의 비너스(Venus of Urbino)'를 그림.
Date	1508-10.
Medium	oil on canvas 캔버스에 유채화
사조	르네상스 베네치아파
Dimensions	108.5 × 175 cm (42.7 × 68.9 in)
Current location	Gemäldegalerie Alte Meister 독일 드레스덴의 드레스덴미술관 (Staatliche Kunstsammlungen Dresden)의 알테마이스터 회화관 (Gemäldegalerie Alte Meister)
Photographer	Google Art Project: Home – pic Maximum resolution. http://commons.wikimedia.org/
Camera location	.
Permission	Public Domain
Licensing	This work is in the public domain in the United States, and those countries with a copyright term of life of the author plus 100 years or less. This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights. The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain". This photographic reproduction is therefore also considered to be in the public domain. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details.

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References
Wikimedia Commons http://commons.wikimedia.org/
http://en.wikipedia.org/wiki/Sleeping_Venus_(Giorgione)

Sleeping Venus (1508-1510)

Sleeping Venus (1508-1510)

Artist: Giorgione (1477 — 1510)
Title: Sleeping Venus
Deutsch: Schlummernde Venus
Year: between 1508 and 1510
Technique: Oil on canvas
Dimensions: 108 × 175 cm (42.52 × 68.90 in)
Current location: Gemäldegalerie, Dresden

This painting was done by Giorgione in approx. 1509 c. It was unfinished at the time of his death and the sky was later finished by Titian. (Titian also painted a similar Venus, but it was not as agitated and unsettled as Giorgione's nude.) Obviously a painting with underlying erotic implications, this can be seen by the Venus' raised arm (the exposed arm pit a symbol of sexuality) and also the blatant placement of her left hand. The sheets are a silver colour (a cold colour rather than a more commonly used warm tone) and they are very rigid looking (in comparison to Titian's or Velzquez's Venus'). The landscape mimicks the curves of the nude and this in turn relates the human body back to natural, organic object.