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Peter paul rubens, venus, mars and cupid, c 39 x 50 cm frame 53 x 65 cm 1635, dulwich picture gallery, london, uk
This has always been a reductive view of an artist who could turn his hand to anything, anywhere
He started as a painter of portraits and religion and ended up a landowner happily producing idealized landscapes. Rubens' composition in venus at a mirror is harmonious and refined, highlighting the beauty of the female form The painting depicts venus standing nude, gracefully poised as she observes her reflection in a mirror held by the winged cupid Like titian's depiction, she is mostly nude but has a sheer white cloth that hangs out in between her legs
Rubens uses this and her full figured, curved body to represent innocence and fertility as most depictions of venus do The light and dark shadows on her body show movement as well as a realistic body complexion. Rubens depicts the scene when adonis, spear in hand and with hunting dogs straining at the leash, is impatient to be off, while venus imploringly tries to hold him back But she pleads in vain
The painting is a variation on a picture painted by the master rubens most revered
So why was rubens so fascinated with this particular type of female nude, which he painted with such idiosyncratic consistency The modest venus pose firstly, it can be seen that the female nudes in these paintings are all variations on the theme of the venus pudica (modest venus). View nude venus with cherubs (1890) after peter paul rubens
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