French school; first third of the XIX century.
"Venus".
Oil on canvas.
Presents repainting, restorations, and patches.
Measures: 93.5 x 118 cm.
In the interior of a room, in the dark, with hardly any light, in spite of the great window located in the left zone. The author presents us a nocturnal scene, where a naked woman, lying on a divan, leans her head backwards adopting a pleasant attitude. The lady is accompanied by a small lover, who is arranged in the central area of the composition, next to the belly of the protagonist. The aesthetic follows the classical patterns imposed since the Renaissance, as for example the Venetian artists, who through examples such as Giorgione's Venus or Titian's Danae, established the basis for this type of representation. Although it is true that it is a theme inherited from the Greek artists, who managed to represent the nude female figure, a theme that was introduced in Greek statuary at the end of the classical period and with certain misgivings, unlike the nude male figure, represented with total naturalness since the archaic period.
As already mentioned, this type of representation of women has been common throughout the history of art, with its roots going back to antiquity. Thus creating a female archetype of a woman exposed to the viewer, naked before the man, deconceptualized and reduced to form. In the case of Western culture, this idea was personified in the figure of Venus, or in that of a "Maja", and even idealizing the oriental woman through the representation of "The odalisque", waitress or an assistant in a Turkish seraglio, ladies of the court in the house of the Ottoman sultan. Although Western usage, the term has come to refer specifically to the harem concubine. In the 18th century, the term odalisque referred to the eroticized artistic genre in which a nominally oriental woman and during the 19th century, odalisques became common fantasy figures in the artistic movement known as Orientalism, appearing in many erotic paintings of that era.