Painting nude (photos)

The (also known as ) is an oil painting by Italian painter , depicting a nude young woman, traditionally identified with the goddess , reclining on a couch or bed in the sumptuous surroundings of a palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the in .

The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old , reluctantly made a cardinal (though not a priest) by his uncle, . He was trying to pursue a military career, and was a . On 20 October 1532, he spent the night in with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and , the latter a friend of the cardinal. Titian painted Ippolito’s portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.

On 20 December 1534, Titian wrote to Ippolito’s chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian’s studio when , the 24-year-old son of the came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as “the nude woman”, and was worried Titian would sell it to someone else. Later that year he inherited the on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in . Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him , or its consummation, which was probably a few years later.

In his 1880 , called the “the foulest, the vilest, the obscenest picture the world possesses.” He proposed that “it was painted for a [brothel], and it was probably refused because it was a trifle too strong”, adding humorously that “in truth, it is a trifle too strong for any place but a public art gallery”. Twain does this to juxtapose the artistic license (for nudity, for example) allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the “last eighty or ninety years”. In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had “stood in innocent nakedness for ages.”

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