Workshop of Alessandro Varotari, Detto Il Padovanino, Sleeping Nude Venus with Cupid, 1680, Oil on Canvas

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Alessandro varotari, known as padovanino (padua, 1588 - venice, 1649) workshop of

sleeping venus with cupid

oil on canvas (90 … Read more Alessandro varotari, known as padovanino (padua, 1588 - venice, 1649) workshop of

sleeping venus with cupid

oil on canvas (90 x 145 cm - framed 114 x 168 cm)

the iconography of the sleeping venus is one of the most fascinating, sensual, and successful themes of 16th-century venetian renaissance painting, representing the perfect fusion of classical myth and the celebration of feminine beauty.

it is in this artistic context that the female nude becomes the absolute protagonist of the painting, like our sinuous venus, absorbed in sleep and reclining on a bed of soft white pillows and red drapes, a color combination with immediate symbolic value that together create a perfect balance between spiritual love and carnal passion, celebrating the concept of ideal love.

the pale, luminous complexion stands out sharply from the shadows, immediately drawing the viewer's gaze. She wears only strings of pearls around her arms and in her hair, traditional symbols of purity and attributes of regal beauty. Next to venus's left hand is a richly decorated golden casket or container, a possible allusion to the goddess's jewels or secrets.

behind her, half-hidden in the shadows of a sumptuous canopy, emerges cupid, the small god of love, gazing at the viewer, raising a finger to his mouth in the classic gesture of silence to protect the deity's slumber.

during the renaissance, paintings of the sleeping venus were often commissioned as wedding gifts to celebrate aristocratic unions, and such works served as a wish for married life. The presence of cupid, poised to shoot his arrow, was therefore crucial, alluding to the moment when two hearts are struck and inextricably united, symbolizing fidelity and understanding.

in the background, a vast and evocative landscape of hills and mountains opens up, with small rural buildings and a slender bell tower, typical of the venetian tradition (influenced by giorgione and titian) that seeks harmony between man and nature.

if we now look at the compositional style, with its accentuated chiaroscuro, the light vigorously shapes the goddess's soft forms, and the fusion of the mythological element and the vastness of the natural landscape powerfully echoes the great lesson of sixteenth-century venetian painting. In particular, among the absolute founders of the visual canon of the sleeping venus are giorgione, who painted the nude goddess asleep outdoors, perfectly integrated into a hilly landscape (sleeping venus, 1507-1510, gemäldegalerie, dresden), and even more so titian, the artist who revolutionized the concept of sensuality in painting for the first time (venus of urbino, 1538, uffizi, florence).

commissions from powerful lords and rulers of the time such as the este family, the gonzaga family, and the spanish royals, interested in recreating a mythical world populated by sensual female nudity in their private spheres, pushed titian to inaugurate a genre characterized by intense and elegant eroticism.

there is a third name, that of paris bordone, and his sleeping venus with cupid (dated 1550-1555) from the galleria giorgio franchetti at the ca' d'oro in venice, which celebrates the goddess immersed in a hilly landscape, blending the harmony of nature with the typical nuanced colors of the venetian school.

regarding the latter, we can mention a painting virtually identical to the one proposed here, once in the baumgärtner collection, acquired by lempertz of cologne (21 may 2016, lot 1316*), and previously attributed to bordone himself.
*old masters auction, lempertz, cologne, may 21, 2016, lot 1316, estimate 40,000 - 45,000 eur.

this work, too, stands out for its fusion of classical perfection of the figure with a strong erotic and contemplative charge, drawing close to titian's models. However, upon closer inspection of the composition and stylistic details, we discern nuances that point to another great exponent of the early 17th-century venetian tradition.

in our opinion, this is a beautiful work from the workshop of alessandro varotari, known as padovanino (padua, 1588 - venice, 1649). It features the artist's characteristic full forms, soft, luminous complexions, and warm palette, which varotari borrowed directly from his in-depth study of titian's masterpieces.

his venuses became extremely famous among 17th-century collectors for their ability to revive the chromatic sensuality of the previous century.

padovanino was, in fact, the main architect of the renaissance of venetian painting in the early 17th century: in an era dominated by the baroque and caravaggism, he deliberately chose to look backward, traveling to rome to copy the masterpieces of the venetian renaissance (especially titian's bacchanalia and venuses).

in his works, in addition to the influence of titian, we can see a focus on architectural settings inspired by veronese and, over the years, the dynamism of palma the younger. His formal elegance and pictorial softness are enhanced in the mythological scenes characterized by sensual and classical nudes, and for this reason we are inclined to attribute the painting to him.

additional information:

the work is beautifully framed and comes with a certificate of authenticity and an iconographic . This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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