Executed for the Duke of Urbino, Guidobaldo Della Rovere, the foremost Venetian High Renaissance Master, Titian, imbued the work with the trademark ambiguity of La Serenissima. Reminiscent of a reclining ‘Venus’ by Giorgione, Titian’s is more ‘Venus’ is more likely a high-class courtesan. While the myrtle plant suggests it could be Venus, no Cupid can be seen, in addition to the direct gaze of the female as well as a maid present and in a contemporary interior would suggest otherwise. Further confounding the situation is the presence of a cassone in addition to a spaniel – a symbol of fidelity. Lastly, in a letter from Guidobaldo to the artist, he referred to the painting as the “naked woman.” Even featuring a variation of the ‘Venus Pudica’ pose, the Venus might actually be adding to her provacativity rather than modesty, by drawing the viewer’s eye to her crotch. Guidobaldo kept the painting behind a curtain for perhaps this reason. Titian’s use of color organizes the form of his painting and his ability to render texture adds sensuousness to the piece. Regarding of the Venus’ intention, Titian’s work is in line with the popular Venetian ambiguity; with Titian bring this with him to the court of Urbino.
