The painting was commissioned by the Duke of Urbino, Guidobaldo II della Rovere as a gift for his young wife and to celebrate his 1534 marriage.

The eroticism of the painting depicts a nude young woman which reminds her marital obligations of what she would have to fulfill to her husband. The young woman was identified as the goddess Venus, reclining on a couch or bed in the surroundings of a Renaissance palace. Titian brings out her eroticism through the light and warm color of her body which is in contrast to the dark background. In this picture, Venus stares straight at the viewer making eye-contact. She is unconcerned with her nudity. She holds roses whilst in her right hand while she laid her other hand over her genitals.

The work can be viewed at Galleria degli Uffizi in Florence

In the near background, is the dog at the feet of the woman Venus and is the symbol of marital fidelity while in the background of the painting, the house maid or servant was looking down at the young girl as she rummages in a chest symbolizes motherhood. The painting was for private and domestic purposes only and therefore used as a gift from husband to wife because of the strong sensuality of Venus in this painting.

The model for the painting (a woman named Venus) has been assumed as Angela del Moro, a highly paid courtesan in Venice and a well-known companion of Titian. The pose of the nude woman and her expressions was certainly a tribute to his close friend cum Master Giorgione who in 1510 had painted a very similar subject namely the Sleeping Venus. It was Titian who used wise colors, contrasts and allusions to achieve the goal of representing the perfect Renaissance woman Venus which becomes the symbol of love, beauty and fertility in Urbino.

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One of the most noticeable paintings of Venus and has been considered as the first non-religious nude since ancient times.

The assumption is that the painting was commissioned by a member of the Medici family, for the walls of the bedroom, along with another artist’s painting of Venus, The Primavera. The painting depicts Venus, the Roman goddess of love, and the patroness of marriage. The figure of the goddess is naked, but with covered intimate body parts. Venus sails on the shell with help of the wind, personified in the character of god Zephyrus, and the breeze, the goddess Aura. On the right part of the composition, there is the coast and there is Horae, goddess of seasons who is waiting for Venus with a dress. The mythological scene has been painted according to the literary descriptions of ancient authors. The theme of the painting is the birth of a goddess Venus and ultimately birth of Love. Painting can be understood in Neo-Platonic tradition.

The work can be viewed at Uffizi Gallery, Florence, Italy.

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The Doni Tondo or Doni Madonna also called The Holy Family is the only finished panel painting by the mature Michelangelo without the aid of assistants.

The Doni Tondo was most likely influenced by Leonardo da Vinci, The Virgin, and Child with St.Anne. Doni Tondo’s composition features Mary.  She is seating on the ground taking up much of the center area of the image. There is no cushion between Mary and the ground, and it displays her better relate to the earth. Joseph features as the head of the family have a higher position as compared to Mary. Mary reaches towards her child over her shoulder. Joseph squats behind her and there is some debate as to whether is it Joseph who passes the infant to Mary or is it Mary who passes the child. Mary’s clothing consists of a red dress and a blue mantle complemented by a strip of green. Joseph’s garment’s color is yellow-orange which is covered by a deep blue tunic.

Plants and water are the elements seen around the painting. One of the most amazing things about this painting is that it is still seen in its original form. In Michelangelo Buonarroti’s clever composition, the three heads form an inverted triangle that is supported and balanced by their arms position. The figures interact in an intimate and intense way, the action flows from Joseph’s eyes are firmly fixed on the child. The child, in turn, looks at his mother with head tilted downwards.

Mary’s face depicts love, adoration and cares for her son as her eyes roll upward. The painting depicts “moons are bound with ribbons, interlocking it with lions,” which is possibly a reference towards the marriage of their families. The painting also contains the carvings of crescent moons,vegetation, stars and lion heads. Perhaps, these symbols make reference both to the Doni and Strozzi families, taken from each of one’s coat of arms.

The work can be viewed at Uffizi Gallery in Florence, Italy

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Coronation of Mary is a subject of Christian Art, one of the commonest subjects during the 14th-18th century, because of a general increase in devotion to Mary in this early gothic period

Christ places the ornate golden crown upon Virgin Mary’s bowed heard. Divine light symbolizing their divinity is present. Angels playing music and many important figures are present witnessing her coronation.

Coronation of the Virgin was a very popular painting beginning from the 13th to 18th century and even now in Italy. Mary Magdalene usually dressed in blue and is crowned with twelve stars above her head. Twelve stars on the crown means that the number twelve represents perfection and the twelve tribes of Israel. Mary usually wears blue because it reminds us of the color of the sky. In ancient times, a crown made of gold signifies symbol for victory showing that she is victorious in Heaven and wealthy in God’s promises. The impressive colors and the structure of work of Angelico, who then executed another painting Coronation of the Virgin in Uffizi. Fra Angelico got inspiration from Lorenzo Monaco which helped him to master Coronation of the Virgin.

The work can be viewed at Uffizi Gallery, Florence

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Annunciation is Leonardo da Vinci first major work, perhaps with the help of his master Andrea del Verrocchio’s workshop, he executed a large painting by his own hand.

The composition follows with the angel on the left (The Archangel Gabriel), the Virgin on the right (Mary), and a lectern in between them. Leonardo maintains a respectable distance between Mary and the Angel, sitting at a reading desk. The Angel explains that she was destined to be the mother of the Son of God named Jesus. The Angel, Archangel Gabriel was kneeling in the garden of the Virgin. The Angel, holding a Madonna Lilly in her left hand is kneeling and her right hand was raised in greeting. Here, Madonna Lily represents a symbol of Mary’s purity. Mary, The Virgin was surprised while reading on the sitting desk raises her hand towards the Angel in a gesture of astonishment.

The composition, the Archangel Gabriel, and the landscapes are certain aspects of Annunciation which are pure da Vinci work but it is a fact that some details of the painting such as wings of the angel should have been repainted by another hand and the marble sarcophagus by Andrea del Verrocchio. He was Leonardo da Vinci’s master. It is known that the work is a collaboration of several artists with finishing touches of the painting completed by Leonardo only.

Leonardo’s master used lead-based paint and heavy brush strokes. He also left a note for da Vinci to finish the background and the angel on the painting. Leonardo used light brush strokes only and no lead. Researchers came to a conclusion that when the Annunciation was x-rayed, Verrocchio’s work was evident (visible to them) while Leonardo’s angel was invisible.

The work can be viewed at Uffizi, Florence, Italy

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One of the extremely well known and most admired masterpieces of The Renaissance and has always considered as one of the best lyrical expressions of Lippi’s art

The Madonna sits on a seat, and has an extensive style with a delicate cover and pearls. Child is held not by the Madonna, but rather by two holy messengers, one of which, in the frontal area, grins towards the onlooker. Behind them is a stunning landscape inspired by Flemish paintings. The angel in the foreground looks towards the spectator with a smile. Madonna’s head is bowed in reverence and looking at one of the angels, who smiles at someone outside the frame of painting

The technique of using soft light is well executed through transparency of the veil and halo creates the illusion of movement rather than of stiffness.

The work can be viewed at Uffizi Gallery, Florence

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