Zoe Dawson - Visual Art
application
of
the
paint
on
the
canvas
was
what
distinguished
Cabanel’s
Venus
from
application
of
the
paint
on
1 t 863
he
c S anvas
hat
Cabanel’s
Venus
f m
rom
the
other
paintings
in
the
alon.
w
M as
y
t w
rip
to
d M istinguished
usée
d’Orsay
in
May
allowed
e
to
the
paintings
the
1863
Salon.
My
trip
to
usée
d’Orsay
in
May
see
o
h ther
ow
the
paint
is
in
clearly
thinned
and
glazed
u M
sing
mineral
spirits
to
a p llowed
rovide
a m n
e
to
see
how
the
paint
is
clearly
thinned
nd
glazed
u w
sing
m s ineral
spirits
to
p m
rovide
an
image
without
brushstrokes,
like
a
p a hotograph,
hich
howed
me
what
ade
the
image
without
brushstrokes,
like
a a rtists
photograph,
which
showed
me
what
a m
he
painting
so
unique.
Whilst
other
of
the
impressionist
movement
t
t ade
he
s t ame
painting
so
unique.
hilst
o o n
ther
the
impressionist
movement
t
the
same
time
used
oil
paint
t W
hickly
the
a c rtists
anvas
o t f
o
create
busy
paintings
full
of
a texture,
time
used
t o echnique
il
paint
thickly
on
the
canvas
to
p c recise
reate
b m
usy
p m
aintings
Cabanel’s
employed
much
finer,
ark
aking,
a full
nd
o a f
n
t e exture,
ffect
that
Cabanel’s
technique
employed
T m
uch
finer,
precise
mark
aking,
and
an
effect
almost
seemed
photographic.
his
attention
to
detail
is
w m hat
made
Cabanel
so
that
almost
photographic.
ttention
P t hilip
o
detail
is
what
w
m as
ade
Cabanel
o
popular
seemed
with
the
critics
in
the
T
1 his
9 th
c a entury.
Hamerton
one
of
the
c s ritics
in
popular
with
the
t c alent
ritics
a in
the
19 th [
The
century.
Philip
H G amerton
as
a o ]
ne
of
the
awe
of
Cabanel’s
nd
style.
limbs
of
the
oddess
h w ad
“kind
of
critics
in
awe
of
Cabanel’s
talent
and
style.
The
limbs
of
t f he
Goddess
had
illustrates
a]
“kind
of
the
appeal
[4] .
T [ his
rhythmical,
musical
motion”
quotation
rom
Hamerton
[4]
This
quotation
from
Hamerton
illustrates
the
appeal
rhythmical,
usical
motion”
of
Cabanel’s
m
soft,
graceful
mark
.
m
aking,
and
summarizes
the
critical
acclaim
that
was
of
Cabanel’s
soft,
g w raceful
ark
making,
and
summarizes
the
critical
acclaim
that
was
held
to
Cabanel’s
ay
of
p m
ainting.
held
to
Cabanel’s
way
of
painting.
Cabanel’s
paintings
displayed
the
qualities
in
the
lack
of
obvious
mark-‐
making
Cabanel’s
aintings
displayed
he
C q ombined
ualities
in
he
l t ack
f
obvious
m w
ark-‐
that
the
c p ritics
were
looking
f t or.
w t ith
he
c o ommon
but
ell
making
that
the
were
looking
c for.
Combined
w aint,
ith
the
common
but
well
approved
use
of
c t ritics
he
basic
materials,
anvas
and
oil
p
Cabanel’s
classical
style
approved
u h se
f
ith
the
c b ritical
asic
m s aterials,
canvas
and
oil
paint,
Cabanel’s
rewarded
im
o w
upporters.
However,
the
sensual
image
c o lassical
f
Venus
s l tyle
ying
rewarded
him
with
t c ook
ritical
supporters.
However,
the
sensual
of
Venus
lying
[Ibid] ,
h
naked
in
the
waves
many
away
from
him.
Thought
of
as
“ image
indecent”
is
[Ibid] his
naked
i v n
the
waves
a t nd
ook
many
away
from
him.
Thought
of
as
“indecent”
wildly
oluptuous
seductive
Venus
displeased
the
conservative
critical
e ,
ye,
and
wildly
voluptuous
seductive
Venus
d a ispleased
the
c e onservative
ritical
detracted
from
the
a b nd
eautiful
techniques
nd
materials
mployed
to
p c aint
it.
e T ye,
his
and
detracted
rom
the
eautiful
techniques
and
materials
to
p c aint
it.
This
takes
me
o f n
to
m
y
n b ext
investigation:
whether
Cabanel
e s mployed
ucceeded
in
apturing
an
takes
on
to
m
next
investigation:
w t hether
Cabanel
succeeded
n
capturing
ideal
o m f
e
beauty
at
y
the
time,
or
if
instead
he
sensual
painting
was
m i erely
viewed
a a n
s
ideal
of
beauty
at
to
the
time,
or
if
instead
the
sensual
painting
was
merely
viewed
as
an
erotic
appeal
desire.
an
erotic
to
desire.
Aim
Two:
a T ppeal
o
Capture
the
Ideal
of
Beauty
Aim
Two:
To
Capture
the
Ideal
of
Beauty
8
84
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