Venus and Adonis

In this painting, we see Venus--the Roman goddess of love and affection--depicted with blonde hair, draped with a fine and elegant fabric from the waist down. In her lap lies Adonis, an adept hunter in Greco-Roman mythology who dons bright and vibrant orange clothing. Following Venus’ gaze, we see Cupid holding back an aggressive dog while another dog lies calmly at his feet. Veronese brings attention to the main subjects in the composition in multiple ways. The first of these is through the vibrant colors of the clothing, as well as the designs. Although Veronese transitions away from the Mannerist influences of Michelangelo and Giambattista Zelotti, characteristics of the Mannerist style are still displayed, such as the elaborate decoration of Venus and the bright colors of the clothing.¹ Golden floral decorations on the garments of Venus complement the simple, yet elegant pearl necklace as well as the golden bracelet on her wrist. In addition, the purple of the garment complements the orange of Adonis’ clothing, drawing the viewer’s attention. In a broader view, the vivid hues of purple and orange contrast with the natural browns and greens of the surroundings, as well as the dark blue of the sky, drawing attention to the foreground of the composition. This contrast in color may have been used to communicate the status of the characters within mythology. In addition to the contrast in color on a micro- and macroscopic scale, there is a sense of foreshortening through Adonis’ body. As his head lies in Venus’ lap, his body extends backward. This sense of depth is seen in the comparison of Venus’ leg with Adonis’ leg, with the latter seeming smaller and darker.
     With these qualities, this painting seeks to serve an allegorical purpose. Believed to have been the specific moment when Venus tries to keep Adonis from going on his hunt, this painting brilliantly takes a snapshot of the scene while also foreshadowing the tragic death of Adonis. Upon closer investigation, the viewer will notice the snake wrapped around Adonis’ torso as well as the aggression of the dog. However, the danger of the snake is insidious compared to the hound on the left, creating a balance in the painting that will be soon be disrupted.²
     While the visual characteristics are easily analyzed, the subject matter and function of the painting are much more convoluted. Many scholars have assumed that the figures in the painting are Venus and Adonis, as a result of Raffaelo Borghini’s comparison of the painting to previous artworks of Veronese. However, none of the elements in the composition of the painting are direct references that would serve to identify the figures. According to Victor Nieto Alcaide, these figures could be Cephalus and Procris from Ovid’s Metamorphoses, specifically Book VII.³ Regardless of the mythological allegory, a theme of love--and possibly loyalty--is displayed. This may shine a light on the function of the painting, as it was bought from Veronese by Diego Rodríguez de Silva y Velázquez, an artist for the Spanish court. As a result, the painting may serve to encourage love and prosperity in Spain, while also emphasizing the importance of loyalty and patriotism.

1. Britannica Educational Publishing Staff, The 100 Most Influential Painters and Sculptors of the Renaissance : 100 Most Influential Painters and Sculptors of the Renaissance (Chicago, IL: Rosen Publishing Group, 2009), ProQuest Ebook Central.
2. David Rosand, “The Passion of Adonis,” Arion: A Journal of Humanities and the Classics, vol. 21, no. 3 (2014) pp. 5–27, www.jstor.org/stable/arion.21.3.0005
3. Víctor Nieto Alcaide, "Veronés y Ovidio : Procris, Céfalo y la Brisa" Espacio Tiempo y Forma Historia del Arte[Online] 7, no. 16, (1 January 2003)

• Journal Article 1: David Rosand. “The Passion of Adonis.” Arion: A Journal of Humanities and the Classics, vol. 21, no. 3, 2014, pp. 5–27. JSTOR, www.jstor.org/stable/arion.21.3.0005. Accessed 27 Oct. 2020.

• Journal Article 2: Nieto Alcaide, Víctor. "Veronés y Ovidio : Procris, Céfalo y la Brisa" Espacio Tiempo y Forma. Serie VII, Historia del Arte[Online], Number 16 (1 January 2003)

• • Link to translated google doc of article: https://docs.google.com/document/d/182Klr4D0-FWSzLIOFT156nvt_4tw305EdL3RspTu2rs/edit?usp=sharing

• Book: Britannica Educational Publishing Staff. 2009. The 100 Most Influential Painters and Sculptors of the Renaissance : 100 Most Influential Painters and Sculptors of the Renaissance. Chicago, IL: Rosen Publishing Group. Accessed October 27, 2020. ProQuest Ebook Central.

• Image Source: Paolo Veronese. c. 1580. Venus and Adonis. painting. Place: Museo del Prado. https://library.artstor.org/asset/SCALA_ARCHIVES_10310195705.

• Museum: Veronese, Paolo (Paolo Cagliari). “Venus and Adonis - The Collection.” The Collection - Museo Nacional del Prado. Museo Nacional del Prado, January 1, 1585. https://www.museodelprado.es/en/the-collection/art-work/venus-and-adonis/692667da-d0f5-4765-ba03-30fdce3513d1.