This painting was written by Titian to the order of Nicolo Aurelio, a representative of one of the most influential Venetian families on the occasion of his marriage. Her topic was not discussed in advance, Titian took the liberty to embody the allegory of love in the painting. The customer’s expectations were surpassed. The idea of the two Venus sisters, who embody the two varieties of love, was first recognized by the Florentine humanists of the fifteenth century.
Celestial Venus symbolized the love with which the thoughts of the eternal and divine were raised, the earthly Venus represented the beauty created in the material world, as well as the principles of the continuation of the human race. In Titian’s painting there are two Venus-Love (differ in their clothing: Earthly Love is beautifully dressed, her precious stones are a symbol of the earthly vanity.) Celestial Love is naked (in Plato’s opinion, “true love does not need ornaments”) and holds a vessel in which “the sacred flame of divine love burns.” According to the Neo-Platonic theory, the two Venes were virtuous.
In the painting of the artist we feel not the confrontation of the heroines, but their unity, which is even more tangible with the presence of cupid between them. Titian is the master of color. In 1557, during the artist’s lifetime, Lodovico Dolce wrote: “The glory of Titian spread not only beyond the borders of the Venetian Republic,
Venice for a long time occupied a special position in the fragmented into individual city-states of Italy. A convenient geographical location enabled the republic to trade with many Mediterranean countries, and the wise policy of the rulers helped Venice avoid many armed clashes with both France and the Holy Roman Empire.
Legends were made about the patriotism of the Venetians. Poet Torquato Tasso (1544-1595) called this city “an adornment and glitter of Italy”. The Venetian Republic entered the Renaissance later than the leading centers of Italian culture, and most experts emphasize the special representational nature of the art of the Venetian Renaissance. If in other areas, for example, in Florence, the artist received an order from the shops and religious brotherhoods, in Venice the masters were called upon to directly glorify its state essence, that is why the main front of works for Venetian artists is the Doges’ Palace and other government institutions.
Titian was still very young when he met Giorgione, the most respected artist of Venice at the time. His passion for Giorgione was so strong that the young artist in his early works openly imitated his teacher, not thinking about those difficulties with attribution, which will have researchers of the works of both masters in the future. Lodovico Dolce said that Titian “painted Judith, worthy of admiration in terms of both drawing and color, and all friends of Giorgione, believing that this masterpiece belongs to his brush, congratulated the master and said that it was the best of all that he created for his life. “
Giorgione was forced to admit with sadness that this is a masterpiece of his student, and for a long time was closed in himself… Time proved that the greatness of Titian and his absolutely different artistic temperament kept him from being an epigone. In the opinion of one of the researchers, “the artistic language of Titian’s works is always more energetic, the forms more coarse, and the composition is more decorative than it was in Giorgione’s works: Giorgione’s lightness and ease of manner was opposed by Titian’s nature, inclined to pathos and monumentality.