Venus and Cupid with a Honeycomb

Venus and Cupid with a Honeycomb
Artist	Cranach Lucas also known as Cranach The Elder
Year	c. 1531
Medium	Oil on wooden panel
Subject	Venus, Cupid and the honeycomb
Dimensions	169 cm × 67 cm (67 in × 26 in)
Location	Galleria Borghese, Rome

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See also: Cupid complaining to Venus

Venus and Cupid with a Honeycomb is an oil painting by the German artist Lucas Cranach the Elder, one of the masters of the German Renaissance of the 16th century. It was probably executed in 1531, as once suggested by a legible inscription on the trunk in the center of the composition, after the meeting with the Greek professor of the University of Wittenberg, George Sabinus.
Twenty-four versions of this subject replicated many times by the painter, are known, from the very first series that began in 1509 and to which the painting belongs.

One of its best known versions is Cupid complaining to Venus, dated c. 1526–27 and preserved at the Metropolitan Museum of Art.

Description

In this painting, Lucas Cranach the Elder depicts Venus and her son Cupid.

Venus hair ornament

Against the brown background the bare trunk of a tree stands out, the wrinkled bark is in contrast with the ivory complexion of Venus and her tall, thin, and soft body, who could seem to people of the Mediterranean a charmingly satirical portrait of the Goddess of Love.
The divinity is a portrait of a Saxon courtesan who is completely naked and holds a threadlike drape between her right arm, which rests on the tree on one side, and on her right hand in the other. Her drape does not cover her but highlights her sensuality, while her right arm is slightly bent to emphasize the sinuosity of her body.
In contrast to her nudity, she wears an elegant red hat that reflects the Gothic style, and it is embellished by elegant crane feathers, an accessory particularly in vogue at the court of the Dukes of Saxony, where women opted between this singular headdress and a cap embroidered with large pearls to collect their hair, here both worn by the Venus to a necklace of precious gems and a ribbon on which the letters "W.A.F.I." are embroidered, perhaps a reference to the name of the effigy. She stares at the viewer smiling softly.

At her feet, the winged infant Cupid looks up at her mother. With a darker complexion, his body is full of chiaroscuro which highlights the roundness of the child. He has light blue wings with white reflections like the feathers of his mother's hat. He is holding a honeycomb, possibly taken from a hole towards the bottom of the tree's trunk. Some bees have come out of the comb and land on his arms and on the tree. Differently from other representations, in this case, Cupid does not cry and does not run away from bees (as for example the watercolour artwork made by Dürer shows), his face is sulky and he seeks consolation from his mother who looks at him with a mocking expression. She seems to be telling him that he should not be surprised because the pain he is feeling is exactly the same that he inflicts on humans when he shoots his arrows.

The painting is set in Arcadia due to the nudity of the characters but also in the early 1500s due to the Northern Renaissance-style hat, hairstyle, and necklace. Actually, it deals with an universal theme and is therefore current in all ages; the moralizing explanation is made explicit by the distich. Chelidonio highlights that the short-lived voluptas is accompanied by pain, the reference is to promiscuity, and it is an allegory of the pleasure and pains of love, and possibly also a warning of the risks of venereal disease, real epidemics widespread by the soldiers of the wars on the continent. The denunciation of casual relationships and of the most diffused diseases such as syphilis, is evident from the representation made of Venus. The meaning behind this picture is described in the moral couplet of the moralist Chelidonius, situated in the upper right corner. The bees that sting Cupid when he tastes a honeycomb out of gluttony, represent the pain that accompanies the fleeting pleasure (voluptas)

The painting date of creation

Execution date

The painting was most likely completed in 1531, as suggested by a writing that was once visible on the trunk with a legible inscription bearing the initials and the date of creation in the centre of the composition and was later recreated by Della Pergola in 1959 and Herrmann Fiore in 2010 as being part of a sign that produced a winged snake.  legible inscription bearing the initials on the trunk in the centre of the composition.

Mythological background

The depicted characters are Cupid and Venus. Cupid is strictly related to Venus, goddess of beauty and fertility, who is a source of education and punishment for the Greek god of love. In this painting it’s a woman from the Court of Saxony who takes on the role of Venus: she wears an iconic hat of the time but the Latin lines on the top right-hand corner transport the figure into the classical world. This painting dates back to the Renaissance, a period in which bees and honey were considered symbols of pleasure, just like the two deities represented in the painting.

The content of this painting comes from the Theocritean Idyll XIX, in which the representative of the pastoral poetry tells that Cupid, stealing a honeycomb from the hive, was hit by a bee, that picked the tip of his finger. After manifesting his pain with screams and kicks, he flew to his mother Venus and he complained to her. She replied that Cupid is like the bee, small but capable of inflicting painful wounds. Venus’ answer alludes to Cupid’s explosive force, capable of leading human beings to the loss of reason or to destruction. Bee stings correspond to the wounds caused by Cupid’s arrows, which make humans victims of a painful desire for love. Notwithstanding this, Venus doesn't appear to be affected by the circumstance. In actuality, she is insensitive to her child's suffering. Cranach intended to portray human will to resist temptation rather than maternity in this painting.

The four line inscription taken from Latin translations of Theocritus, are variously attributed to Ercole Strozzi and Philip Melanchthon or to Georg Sabinus. The couplet wants to convey the concept that the sweetness of Venus’ pleasures causes inevitable pain. Adornment of the images of Venus with poems in Latin couplets, such as in the painting at the Borghese Gallery, clearly reveals that the artist was committed to divulging the tale from antiquity along with its moral, but also to underscoring in poetic terms the Latin humanistic tradition of addressing the erudite viewer. In the traditional title of the painting, Venus with Cupid Holding the Honeycomb, the “theft” element is missing, while it is instead contained in the Greek "keriokleptes" .

In this painting, along with the other Cranach’s paintings that concern the same topic, a moralizing tendency that emerges in some Neo-Latin versions of the Idyll just mentioned can be found. When Martin Luther published his ninety-five theses in 1517, German painters were obliged to make this moralizing use clearly visible so that viewers could understand this refined profane painting. This moralizing approach was introduced by Philip Melanchthon in the mid-twenties of the twentieth century and it was then adopted by Melanchthon’s scholar Georg Sabinus, who edited the first Latin translation of the Theocritean idylls, published in Georg Rhau’s music book “Enchiridion utriusque musicae practicae” (1536). This music book, with the pictures from 1538 edition, suggests a religious reading of the figures of Venus and Cupid in Cranach’s paintings. The concern of German artists for their subjects, bearers of moral and religious values, and for the way in which they had to involve the viewer, emerges in Cranach's paintings, characterized by Venus and Cupid as protagonists.

History

Inspirations

"The dream of the doctor" or "The Temptation of the Idler" by Albrecht Dürer

Lines of text taken directly from the poem

Several Greek poems were translated into Latin during the beginning of the 16th century. Cranach read Theocritus' collection of thirty little poems, Idyllis, in this manner. As seen in Venus and Cupid with the Honeycomb, Cranach faithfully reproduced part of the poem's words in the painting's upper-right corner. Theocritus' analysis of the bee served as his inspiration. Such a metaphor depicts a life of chastity in which every yearning causes men to suffer permanent injuries like bee stings.

In the very same years, Andrea Alciati published his masterpiece Book of emblems, This features the honey thief's symbol, an image the German painter was undoubtedly familiar with.

As is widely known, Martin Luther published his ninety-five theses in Wittenberg,in 1517, catapulting the little German town onto a global stage currently governed by stringent guidelines established by the Protestant Reformation. The artistic perspective of German painters is significantly impacted by such a circumstance. Cranach continued to produce a large number of nudes, like the Venus in the image, notwithstanding their dear connection with Martin Luther.

Past researches have established that Cranach's lover served as the model for the figure of Venus. She was a Sussex duchess who had goddess-like features. On Venus's hairnet, the initials W.A.F.I. stand in for her name.

According to the critics, one of the most important models from which the painting took inspiration is the engraving "The dream of the doctor" by Albrecht Dürer, characterized by the whole figure of Venus on the right and Cupid on the left, who brushes the edge of the painting with his foot. Regarding the position of the characters, Cranach also derives from this work the veil worn by the woman and the movement of the arms. The full-length representation of Venus, without clothes and at the very least, also comes from other models, such as the woodcut of the "Triumph of the new men over the satyrs", made in 1947 by Jacopo de' Barbari. He was a Venetian artist in the service of the court of Frederick III of Saxony, known as Frederick the Wise, who was replaced in 1505 by Cranach. Another model could be the famous engraving of "Adam and Eve", made by Dürer in 1504, which also features the detail of the outstretched right arm and a Y-shaped tree behind the two protagonists. The Y shape refers to the crossroads between the via virtutis and the via voluptas.

The provenance of the painting

Venus and Two Cupids by Andrea del Brescianino

The origins of Venus and Cupid with the Honeycomb are not perfectly clear. As many historians have proved it, Cranach is thought to have applied his first paintbrush strokes in XVI century, in Wittemberg, a small town in northern Germany.

According to Kristina Herrmann Fiore, the artwork was eventually given to Cardinal Scipione Borghese as a gift by Paduan jurist Alvise Corradini. There is still a great deal of mystery surrounding what followed after the picture was entrusted to the cardinal. It is known that the picture was framed by the carpenter Annibale Corradini in these exact years, around 1611, thanks to the recording of an invoce.

Venus and Cupid with the Honeycomb made its initial appearance in an art gallery alongside Venus and Two Cupids in the early XVII century. The picture eventually disappeared due to curious transfers from one institution to another, and it wasn't found again until 1883 when it resurfaced in some records that identified the painting's real creator, Cranach.

Modern analysis

An analysis of the surface of the painting in the 1950's indicated that the original dimensions of the painting had been enlarged as a result of an earlier restoration, possibly in the 18th century.

Female Sensuality between Sacred and Profane

Cranach was extraordinarily successful in introducing this canon of beauty to the Wittenberg court as well as to other cities and to the aristocratic abodes of Saxony, as witnessed in countless copies and variants of his female nudes still present today in public and private collections the world over. Cranach was extraordinarily successful in introducing his canon of beauty with a chiaroscuro woodcut, the elegant silhouette of Dürerian inspiration, featuring slightly elongated body and a dance-like step which fits to the Flemish-Burgundian aesthetic canon to the Wittenberg court as well as to other cities and to the aristocratic abodes of Saxony, as witnessed in countless copies and variants of his female nudes still present today in public and private collections the world over. A parade of female nudes that has no equal in 16th-century European art, and that begins to take shape from the latter part of the 1520s. Unsurprisingly, it is precisely during these years, as has reasonably been suggested, that Cranach had to adapt to an artistic market that was undergoing a transition because of the scant interest of Lutheran churches in the figurative arts. The Venus accompanied this time by a Cupid who is a honey thief – an extremely popular subject and based on a fable attributed to Theocritus – would allude, according to a recent, quite risky, proposal, to a Lutheran concept that counters the pain that comes with voluptas with the agony of the Passion.

Conservation

The first document that establishes the painting's conservancy dates back to January 24th, 1611, when the Scipione´s family note of payment for the painting's frame allowed Venus and Cupid with a Honeycomb into the Borghese Collection.

In the "Galleria Borghese", visitors are now able to view it, displayed in Room 10, as it is an important addition to the Gallery’s impressive collection of paintings by an artist as widely regarded as Lucas Cranach the Elder. Lately, “Galleria Borghese” has been experiencing some problems in managing the energy efficiency of the buildings linked to the museum. There have been some inconveniences caused by climatic system failures, which have damaged the works preserved there and which have caused stress to visitors. After analyzing the current situation and after calculating the structure's winter and summer heat loads and ventilation air flow rates, a group of engineers explored the rooms to ensure internal environmental quality, architectural conservation and sustainability. Among the main objectives are: to reduce the thermal capacity of the sealed structure, guarantee a greater exchange of air and implement a renewal of the system. The renovation project also involved the conversion of some architectural elements, such as the flue which became part of the new HVAC system.

This painting has also been exhibited multiple times in various museums, including Torino's Mole Antonelliana in 1992 and frankfurt in the Städel Museum in 2007–2008.

See also

The unorthodox movement of 1521- 22 in Wittenberg had torn down church stages and set fire to oils and rustic puppets, crucifixes and chandeliers; in its destructive fury it guillotined gravestone puppets n the belief that the true living image of Christ could only be handed by mendicants on the thoroughfares, and not by workshop of art. Especially intriguing is the fact that within this setting Cranachpro-duced, in the German sphere, an unknown number of oils depicting profane subjects, similar as apologues, myths, hunting scenes, genere oils, still lifes and pictures. For case, further than forty Venuses with or without Cupid were produced by Cranach and his factory.

Related paintings a Venus with Cupid stealing honey painted by Lucas Cranach

• 
  Venus and Cupid, Hermitage, 1509
• 
  Venus mit Amor als Honigdieb (Schloss Güstrow), 1527
• 
  National Gallery, London, 1529
• 
  Lucas Cranach d.Ä. - Venus und Amor als Honigdieb (Fränkische Galerie), 1534
• 
  Germanisches Nationalmuseum, Nuremberg, after 1537
• 
  Metropolitan Museum of Art, follower, 1580-1620

Related paintings by other artists

• 
  Hans Brosamer - Venus und Amor als Honigdieb (Fränkische Galerie), 1534
• 
  Hans Brosamer, Cupid Bringing and Honeycomb to Venus, 1548
• 
  Metropolitan Museum of Art, follower, 1580-1620

Restorations

• 1905 Woodworm eradication was performed by Luigi Bartolucci;
• 1933 Colour correction, grouting, cleaning, and firing of small pieces of damaged colour was performed by Tito Venturini Papari;

• 1949 General picture restoration was performed by Carlo Matteucci and Oddo Verdinelli;
• 1950-51 Removal of previous repairs, levelling of the table, disinfection of woodworm, washing, and painting by Ettore Patrito;
• 1958 Frame restoration by Renato Massi;
• 1977–1978 restored the ancient parqueting, consolidated the picture, disinfected it, removed the paint that had yellowed, retouched it, and painted over any holes by Gianluigi Colalucci;
• 1992 restoration of the cornice and colour painting by Luisa Barucci;
• 2008 completed the final adjustments by Laura Ferretti.

An analysis of the surface of the painting in the 1950's indicated that the original dimensions of the painting had been enlarged as a result of an earlier restoration, possibly in the 18th century.

External links

"Storia dell'arte - Lucas Cranach Il Vecchio "Venere e Cupido che reca il favo di miele&quot".

"un giorno de venere".

"Il museo e la galleria Borghese, Roma 1893".

Gestione igienico sanitaria degli apiari a salvaguardia dell'ambiente e della biodiversità - L'ape e il mondo dell'arte"

"L'educazione di Amore. Mito e tradizione iconografica tra mondo antico ed età moderna"

Cipollini, Antonio (1887). Gli idilli di Teocrito: Siracusano. Naples. p. 395.

Venus and Cupid with a Honeycomb  - Cranach Lucas the Elder (collezionegalleriaborhese.it)

Lucas Cranach the Elder | Venus and Cupid | NG6680 | National Gallery, London