Profane and Sensual Love
Currently on display at the Special Exhibitions Galleries on the 2nd floor at the Metropolitan Museum of Art is the exhibition titled, “Art and Love in Renaissance Italy.” The Italian Renaissance was a time of incredibly high achievement. It is during this time that some of the greatest artists were discovered including Michelangelo, Raphael, and Donatello. Italian Renaissance put intense focus and emphasis on love, marriage, and family, which they depicted through very monumental, clear, and beautiful images. As written in the entrance of the exhibit, the works in this gallery take an “important detour from the path of marriage and family to explore Renaissance artists responses to the sensual aspects of love.”
Perhaps one of the most interesting works in this exhibition falls under the category of “Profane art and love” in the Renaissance. In these works, artists explored the theme of “illicit, carnal, and erotic love.” In his painting Cupid Carving his Bow (1535), Francesco Parmigianino depicts Cupid as a adolescent, contrary to traditional cherubic and mischievous renditions. Parmigianino positions Cupid backside to viewers, where he seductively gazes out over his shoulder. Cupid appears to be in the midst of carving his bow with a knife which as been linked to “erotic and phallic connotations.” Between Cupid’s legs we see two putti, small children, often naked and having wings, used especially in Renaissance art, playfully teasing each other. Parmigianino’s unique illustration of Cupid creates a sense of eroticism, abruptly grasping the attention of viewers as they peruse the gallery. Parmigianino exposes a profane side of Cupid, revealing a licentiousness personality to the once sweet and seraphic God of erotic love and beauty. This untraditional interpretation is one example of Parmigianino’s mastery in engaging and penetrating viewers and evoking a reaction from them.
Similarly, Venetian artist Lorenzo Lotto’s painting Venus and Cupid, exhibits a playful and evocative rendition of the Gods of love. Known for representing allegorical subjects, Venus and Cupid (late 1520s), is the visual equivalent of “a poetic epithalamium, or marriage poem.” In Lotto’s image we see Venus lying in an inviting and provocative position in her bower completely nude, covered only by a few petals. Lotto conveys the intimacy of the setting with the elaborate drapery in the background and blue blanket under Venus. These poems were usually performed “at weddings and often began with verses in which Venus was roused from her bower to bless the bride and groom.” Lotto creatively visualizes this by dressing Venus in an ornate bridal tiara. To her left, we see a cherubic and cheerful Cupid deliberately urinating on Venus. Although at first this may seem like a repulsive and inappropriate action, their facial expressions signify that it is not. Instead, the urination symbolizes fertility. This is evident in both Venus’ subtle yet smiling face, and Cupid’s mischievous and giggling reaction. Furthermore, we see that Venus is neither retaliating nor disturbed by Cupid’s actions. Instead, she appears to embrace it; she playfully holds the string containing a circle in which Cupid is aiming to urinate through.
Renowned Renaissance artists, Francesco Parmigianino and Lorenzo Lotto, both successfully paint images showing highly respected and admired figures of Roman mythology in unconventional poses and settings. Their decision to illuminate the profane and provocative aspect of art and love makes their works two of the most interesting and attention-grabbing pieces in the whole gallery. Although both of these paintings were made for private consumption, viewers have the ability to share and admire their genius in creating “licentious subject matter with learned erudition.”
