At the far left, Cupid pushes a somewhat reluctant couple into the group tot lovers gathered on the lawn. The couple is Rueben and his wife, Helena. Framed between the dark dress of Helena and that of the young woman on the ground to her immediate right Rueben draws the viewer into a conversation between a couple. The man speaks to the woman he pursues so sincerely, but she looks away as if she were bored. Three beautiful women are shown in the center faith three distinguished poses that may symbolize Neoplasm’s in the work. One gazes at the viewer, the other is fixated upon the heavens and the third is mature having a conversation.
Logon the edge of the fountain and throughout the upper portions of the canvas are a number of chubby cherubs. They float in the air With weapons; they flutter around to assist the love making of the various couples. In the lower middle canvas one cherub caresses a timid maiden where he seems to encourage the maiden. The focus Of the work shows the whole scene as a charming and exuberant gathering of socialites. Everyone seems is happy and gay when love, affection and fertility are intertwined. This work shows a bold Baroque style that emphasizes movement, color, and sensuality. The medium used in this painting is oil on canvas, and was painted between 1632 and 1634″ (Fleming) This painting is polychromatic, which believe enables Rueben’ to capture the layers and intensity of the symbols in this flamboyant work, This painting has many contrasting colors and shades, “Rueben combines lush colors of the Titian and the dramatic tension of Tinderbox with an unbounded energy and physical power. ” (Naming) The dark colors of certain figures allow the eye to be drawn towards the exuberant and radiant lord within other figures. The radiant color of reds, blues, and yellows, provides strength and enriches the scene.
These bright colors, allow the idea of affluence and fulfillment in love, depicted in the two women wearing golden dresses. The women with the golden gowns seem to have the most blissful faces in the entire scene. The most significant lines in this painting are diagonals and curves, which enable Rueben to develop the grandiose setting. By creating motion and softness in the work. The freedom and softness created throughout the scene expresses hat the work is more naturalistic. The space is open, active and emotional based on the unending bold blue sky, the movement of the figures, and the emotions expressed in the faces Of the figures.
There are multiple focal points; multiple focal points are vital to a complex painting such as this. This painting truly captures a dramatic, dynamic and free perspective. The technique used by Rueben was described in Myth Art of Diplomacy’ as, “His mastery of composition is used in an unrivaled manner leading our eye through the painting as a director eight lead the camera through a gathered set. ” (Lambaste) “Benefaction of the arts on a copious and worldwide scale had been a noble privilege since the time of Francis l,” (Fleming) Rueben was among the most celebrated of these privileged artists. Rueben had studied the works of Titian and Tinderbox in Venice, as well as those of Michelangelo and Raphael in Rome. He is most famous for never lacking aristocratic favor. ” (Fleming) In, “The Art of Diplomacy’ Rueben is remembered, workday, Peter Paul Rueben is best remembered as the Old Master with a penchant for fleshy, pink nudes and arouse grandiosity,” (Lambaste) During the Baroque time period, The Catholic Counter-Reformation developed in response to the Protestant Reformation.
The Council of Trend (1545-1563) enlisted art as an emotional expression of religious devotion, clearly expressed in this work through Venus and Cupid. Rulers emphasized wealth and court splendor. Napoleonic ideology was still a vibrant part of society. As expressed in ‘The Art Of Diplomacy,” “Rueben had been known to show Napoleonic ideology. ” (Lambaste) I believe a Napoleonic allegory of love is depicted in this work. A female protagonist at the left, Helena, is initiated into the realm Of love by passing through three stages represented by the three ladies, described earlier, in the center foreground of the painting.
The differences in posture can be symbolic for their identities and personify the orders of love. As discussed in “Rueben Conversation a la Mode,” ‘The woman who looks at the viewer is sensuous love; the heavenward gazing lady in the middle is celestial love; and the matronly woman on the ground is earthly love signifying initiation, maturation, and culmination in marriage. (Goodman) This painting was created to cater to the many variables within the Baroque time period.