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It raises many questions such when was it commissioned? Was it a marriage painting? The answers raise further issues about sixteenth century Italian society and the role of the nude. The Venus of Urbino was painted for Guidobaldo, duke of Camerino, although we do not know if it was commissioned. It is unlikely that Guidobaldo commissioned the painting as he had already been married for four years [5] and if he had commissioned it he would have been less concerned about losing it to another buyer.
By a set piece I mean a painting that he decided to paint himself [7] to demonstrate his skill to potential customers and perhaps simply because it pleased him. Titian was a shrewd business person and if he found a buyer he would no doubt sell any such demonstration piece. Marriage chests [9] cassoni were an important symbol of marriage in Renaissance Italy. They were carried through the streets during the marriage ceremony and were frequently elaborately and expensively carved and decorated to demonstrate status.
The outside of the chest and inside of the lid were often painted and the inside of the lid sometimes had a painting of a naked person. Renaissance people believed in the magic of images, that they could hear, speak and see, [10] and it was thought that gazing at the image of a beautiful person before sexual intercourse would lead to a beautiful child. The naked person painted inside the lid could be male or female or both ; Figure 3 shows an example of a naked man which was probably one of a pair with the other showing a naked woman.
The Giorgione painting had been completed by Titian about twenty years previously and is more clearly a Venus because of the Cupid on the right hand side overpainted in so now only visible by X-ray photography. Figure 3: Florentine School, a cassone, c. The painting is a perfect example of what I believe is the artist creating an intentionally ambiguous, or what could be called balanced, image.
