Whitney Ratliff Formal Analysis
Compositionally, Compositionally, the figures presented in Peter Paul Rubens’ Venus and Adonis c. 1614, provides a dynamic flow of iconic symbolism each pertaining to the story of Venus warning Adonis before his death with a boar. b oar. This painting is classified as a historical painting based on Roman mythology, done in oil on canvas depicting a realistic, natural scene of the two main figures, Venus and Adonis, in the middle, holding one another in a tragic pose, iconic figures of a Cupid, his hunting dogs, her Swan chariot, and his hunting spear displayed around them. One element in Rubens’ work, not just within this painting alone but in other works is a term coined by the physical type of females depicted as more curvier, heavier set women. The term Rubenesque was coined in relationship to the females depicted within Rubens’ work, providing a more natural view of the female form rather than a more idealized, God-like perfection usually depicted within mythological works. Rubens presents Venus more Rubenesque to present her more naturally and relatable to the mortal world. This can also be presented within his work entitled, 1614, an aftermath of his many versions of the
c. Death of Adonis c.
providing Venus and Adonis providing
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Rubenesque women in the background identified as the Three Graces. What influence did this small detail of the human form have on Rubens, his peers, and the many artists after him? Rubens was an artist who focused highly on anatomical perfection and proportional accuracy of the human form but in a much more natural realism, looking to the ancients in Rome for guidance in understanding the internal and external forms of the body. This Rubenesque view can be seen in Venus within
c. Venus and Adonis c.
1614,
with the round forms of her waist, the wider proportions of the body, the curvier enclaves
Whitney Ratliff Formal Analysis
of her neck and stomach, and the voluptuous exclaves of her calves, thighs, and arms. Rubens does a great job mimicking the human form in her stance, the way the muscles and rounder areas of her body twist and turn as she holds onto Adonis. Cupid hanging onto Adonis’ leg also presents that of a chubby child, proportionate with the other bodies. Although Rubens’ influence was more associated with Roman mythology, he provides more Greek style with the proportions of the body, understanding the natural sizing of the head to its comparison with the body. Adonis follows a more idealized view of the male form, athletically toned with more muscles showing along the lines of his ribcage and upper arm. His stance along with the spear holding him up allows him to provide support for Venus leaning into him. However, despite her arms wrapped around his neck, he provides a hand on her forearm almost hinting at his rejection to have her prevent him from hunting with his dogs leading the way into the open land. On another observation of Adonis’ hand on Venus’ forearm as she gets out of her chariot, it is almost as if he is helping her. His eyes provide some concern for her but not enough to fully heed her warning about fighting “the beasts that nature has armed with weapons.” Rubens provides a center focus of color with red, white, and blue surrounding the main focal point of characters. These are the brightest colors within the piece, allowing the pale-toned figures to stand out more within a much more saturated range of earthy colors within the trees, ground, and sky sk y. These colors surrounding surr ounding Venus and Adonis as well as the light mostly from above Venus’ direction, are what Rubens considers the main focus of the entire painting. He presents them in a way that is tragic, conflicting,
Whitney Ratliff Formal Analysis
but yet endearing to the figures’ story, offering a pause in time to provide an amorous sensation to a tragic trag ic love story. Looking closely at this painting, Rubens paints even the smallest details such as facial stubble on Adonis, texture with the hair and how the light reflects off of it, and the subtle contours of the hair curving in different directions. Even the contours within the trees provide texture and the feathers within the swans, differentiating figures respectively to one another. Although Rubens provides a middle ground of tint and shade, his contrast is clear in defining a light source but with an overwhelming spotlight feel on the subjects. This spotlight creates a sort of theatrical stage for Venus and Adonis, allowing them to be center stage and looking as if they are completely detached from the reality of their own tragedy. Rubens paints this scene in multiple paintings, presenting it differently each time, recreating their love story as if keeping it alive in a moment before tragedy strikes. While Adonis is presented with an ideal form, something Rubens is seen recreating for the sake of artistic practice, pra ctice, Venus is presented much more loosely and naturally, allowing her Rubenesque appeal contrast that ideal persona Rubens depicts with Adonis. She becomes more real, relatable, and tangible despite being a Goddess of Love and Beauty. Beauty. Her earthly attachment to Adonis, a forbidden love that was not meant to be, keeps her grounded and presents her more as a mortal than that of a Goddess.
