Zoe Dawson - Visual Art
appreciated
the
simultaneous
purity
and
eroticism,
writing
that
the
Goddess
was
[8]
appreciated
imultaneous
purity
and
eroticism,
writing
that
the
Goddess
was
“everything
the
i s magination
can
dream
of”
the
i C magination
can
dream
of”
[8]
ideal
beauty
is
subjective.
Although
“everything
Whether
abanel
succeeded
in
capturing
many
c Whether
Cabanel
t s he
ucceeded
in
capturing
ideal
b o eauty
s
subjective.
ritics
considered
painting
vulgar,
members
f
the
g i eneral
public
A a lthough
nd
many
critics
onsidered
the
painting
vulgar,
members
of
the
general
public
Napoleon
III,
c w
ho
bought
the
painting,
thought
otherwise.
This
proved
that
a d nd
espite
Napoleon
III,
w v ho
bought
the
painting,
therwise.
This
p w
roved
mixed
critical
iews
on
the
piece,
it
was
thought
a
very
p o opular
painting,
hich
t g hat
ave
d C espite
abanel
mixed
ritical
views
on
T t his
he
p leads
iece,
o it
n
w to
as
the
a
v t ery
popular
painting,
hich
Cabanel
both
m c oney
and
fame.
hird
and
final
aspect
w
I
w
ill
b g e
ave
looking
at:
both
money
and
f p ame.
This
i l n
eads
on
a t nd
o
the
third
final
a f spect
I
will
be
looking
at:
Cabanel’s
career
rospects
1863,
how
this
and
painting
urthered
them.
Cabanel’s
career
prospects
in
1863,
and
how
this
painting
furthered
them.
Aim
Three:
To
Further
his
Career
Aim
Three:
To
m F id
urther
is
Career
By
the
19 th
c h entury,
the
Paris
Salon
was
not
simply
a
place
for
artists
to
th
c a
entury,
the
Paris
Salon
was
not
simply
a
place
or
a
rtists
exhibit
By
the
h m
id
w
19 ork
their
ard
nd
look
upon
the
achievements
of
others.
It
w f as
place
t f o
or
exhibit
their
ard
work
and
look
upon
the
achievements
f
others.
It
w
for
business.
By
t h he
time
Cabanel
was
showing
The
Birth
of
V o enus,
there
w as
as
a a
p c lace
ertain
business.
the
T t herefore
ime
Cabanel
was
showing
he
Birth
of
Venus,
here
was
a
c t ertain
profitable
B g y
oal.
in
producing
the
p T ainting,
creating
a
c t omposition
hat
profitable
oal.
Therefore
roducing
the
painting,
reating
a
composition
that
would
be
p g opular
with
the
in
m p ale
viewers
and
would
d c raw
spectators
was
highly
would
be
popular
with
the
m
viewers
and
spectators
highly
important.
The
nude
figure
is
ale
reclining
on
the
w o ould
cean,
d a raw
graceful
twist
w
in
as
the
body,
important.
The
nude
figure
on
h t er
he
face.
ocean,
a
g w raceful
the
body,
with
the
theatrical
swoop
of
is
a r n
eclining
arm
over
The
ay
her
t b wist
ody
c in
urves,
opening
with
the
theatrical
woop
of
an
a the
rm
s o pectators
ver
her
face.
The
body
curves,
opening
up
and
baring
her
c s hest,
allows
a
view
o w
f
h ay
er
h e er
ntire
voluptuous
body,
up
and
baring
er
chest,
allows
the
spectators
a
view
her
entire
body,
while
the
arm
t h hrown
across
her
face
gives
a
sense
of
o c f
oyness
and
voluptuous
ulnerability.
This
while
the
arm
a t ppealed
hrown
across
er
face
gives
a
s a ense
of
coyness
and
w v oman,
ulnerability.
This
contradiction
to
the
h m
ale
audience,
s,
unlike
a
real-‐life
the
Venus
contradiction
appealed
to
c t ould
he
m s ale
audience,
as,
b u e
nlike
a
real-‐life
woman,
the
Venus
portrayed
in
the
painting
imultaneously
considered
a
passionate
and
portrayed
in
the
painting
could
simultaneously
be
considered
a
p T assionate
sexual
woman,
and
a
pure,
vulnerable
and
‘respectable’
woman.
his
theory
and
is
[Appendix
3] i .
s
sexual
oman,
nd
a
pure,
vulnerable
and
‘respectable’
woman.
This
theory
known
w
as
the
M a adonna-‐Whore
complex,
created
by
Sigmund
Freud
As
Paul
3] .
As
Paul
known
s a aid,
s
the
M V
adonna-‐Whore
complex,
by
a S nd
igmund
Freud
[Appendix
Mantz
the
enus
in
the
painting
was
created
“wanton
lascivious…but
harmonious
[9] t .
he
Mantz
said,
Venus
in
ainting
as
“wanton
and
lascivious…but
harmonious
and
pure”
The
face
o
f
the
f p igure
is
h w idden
partially
by
her
hand,
leaving
an
air
of
and
pure”
[9] .
The
face
of
the
figure
is
hidden
partially
by
her
hand,
leaving
an
air
of
10
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10