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In the center of this painting, Sandro Botticelli placed a nymph who is depicting Venus, goddess of Love. To the humanists of this time, Venus represented the highest morality (Sayre).
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Leonardo da Vinci used techniques such as sfumato ("smokiness"), and glazing (building up color with layers of transparent oil paint) to create this masterpiece (Sayre).
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Raphael created this painting of the Virgin and Child using precise lines, rich color, and simple arrangements (Sayre).
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In this Giorgione, x-rays revealed that there was originally a women stepping into the pool where the soldier stands. This suggests that he did not draw his designs before painting them (Sayre).
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In this painting by Titian, the nude woman is holding a lamp, thought to symbolize Venus or sacred love; the other woman is holding a bouquet symbolizing fertility or profane love (Sayre).
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This mannerist painting by Correggio, displays its style through the position and clarity of Io's body, and the contrast of the dark blurred form of Jupiter (Sayre).
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This painting by Parmigianino is over seven feet high. The proportions of the people seem off, as well as their dimensional positions (Sayre).
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La Bella could be the same woman Titian paints in Venus of Urbino; it is possible she was Titian's version of a perfect woman. She is in at least two other Titian paintings (Sayre).
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Painted for Duke Guidobaldo della Rovere of Urbino, by Titian, this "Venus" displays the renaissance woman's sexual status; she is readily available and comfortable with her nudity (Sayre).
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In this Titian, the loose brush work demonstrates the sensuality of the scene (Sayre).
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In this portriat of Elizabeth I by Federigo Zuccaro, she appears focused and firm, but beautiful; adorned with pearls, a bejeweled dress, and her crown beside her.
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Artemisia Gentileschi paints herself as Judith multiple times, suggesting her self-transformation through her paintings. Judith was considered a symbol of courage (Sayre).
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Diego Velazquez's painting of Infanta Margarita still inspires artists today; it's complexity is due to the competing focal points (Sayre).
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Johannes Vermeer's painting of this young women seems to have no symbolism of morality issues, she is like a blank slate, waiting for her story to blossom (Sayre).
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This Francois Boucher, is a portayal of a scene from a production in which Madame de Pompadour was the star (Sayre).
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Jean-Honore Fragonard painted the baron de Saint-Julien and his mistress with full erotic intent. The lady's shoe flying, exposing her naked foot was considered a symbol of lost virginity at the time (Sayre).
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Upon submitting this painting to the Salon, Marie-Louise-Elisabeth Vigee-Lebrun was asked to remove it due to the gown the queen is wearing. Chemise was considered lingerie to the French (Sayre).
