オルガン奏者のいるヴィーナス

Around 1550 Titian was the most sought-after painter in Europe, sending pictures to the Habsburg court of Charles V and his son Philip. This is one of at least five variations he made over roughly 30 years on a single idea, a reclining nude Venus and a musician who has turned from his keyboard to look at her. Scholars read it as an argument about the senses, sight set against hearing, both offered as ways to reach beauty. The Berlin canvas is the one where Venus has company on both sides, a small Cupid leaning in at her shoulder and a lapdog under her hand. The organist keeps one hand on the keys and his eyes entirely off the music.