Velázquez's Toilet of Venus Painting Analysis

Velázquez's Toilet of Venus

The Toilet of Venus (1650), Oil on canvas. National Gallery, London.

Description of the Scene

This painting represents the Roman goddess of love, beauty, and fertility reclining languidly in her bed, her back toward the female spectator. The spectator can identify with Venus due to the presence of her son, Cupid. He appears without his usual bow and arrows. Cupid is holding a pink ribbon of silk that is draped over the mirror and curls on its frame.

The Mirror and Reflection

The most original part of the composition is the mirror Cupid holds, in which the goddess looks outward to the viewer of the painting through her reflection in the mirror.

Symbolism of the Mirror

The fact that Venus is looking at the viewer through the mirror represents 'the idea of consciousness of representation, very characteristic of Velazquez'. And the viewer, in turn, can see in the mirror the face of the goddess, blurred by the effect of distance, revealing only a vague reflection of its facial features. The blur of the face led to the suggestion that the woman is really ugly.

Colour Palette and Technique

The folds of the sheets on the bed echo the physical form of the goddess, and are presented to emphasize the dramatic curve of her body. The colours used mainly shades of red, white, and grey, even employed in the skin of Venus, although the effect of this simple colour scheme has been praised.

Luminescent Skin Tones

The luminescent colours in the skin of Venus, charged with "smooth, creamy treatment, or 'flux'," which contrasts with the dark grey and black silk or satin on which she rests, and the brown wall behind her face.

Composition and Spatial Depth

Velázquez is able to achieve depth through the composition. Placing objects and bodies one after another: the different sheets, the body of Venus, the mirror, Cupid, the curtain diagonally, and the wall, give the idea of a very deep space.

Painting's Origin and Model

It is believed the painting was executed during one of the visits to Rome by Velázquez, and Prater noted that various identities have been proposed for the model in Rome. It was thought that the painting represents a lover of Velazquez, who he was known to have had while in Italy, with whom he is supposed to have had a son.

Alterations and Pentimenti

Both the figure of Venus and Cupid were significantly altered during the painting process. Resulting corrections appear on the contours the artist originally painted. These 'pentimenti' can be seen in:

• The raised arm of Venus, which was initially in a higher position.
• The position of her left shoulder.
• Her head, which had a sharper profile, showing a bit of her nose.