Whitney Ratliff

Formal Analysis

Compositionally, the figures presented in Peter Paul Rubens Venus and Adonis

c. 1614, provides a dynamic flow of iconic symbolism each pertaining to the story of
Venus warning Adonis before his death with a boar. This painting is classified as a
historical painting based on Roman mythology, done in oil on canvas depicting a
realistic, natural scene of the two main figures, Venus and Adonis, in the middle, holding
one another in a tragic pose, iconic figures of a Cupid, his hunting dogs, her Swan
chariot, and his hunting spear displayed around them.
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One element in Rubens work, not just within this painting alone but in other

works is a term coined by the physical type of females depicted as more curvier, heavier
set women. The term Rubenesque was coined in relationship to the females depicted
within Rubens work, providing a more natural view of the female form rather than a
more idealized, God-like perfection usually depicted within mythological works. Rubens
presents Venus more Rubenesque to present her more naturally and relatable to the
mortal world. This can also be presented within his work entitled, Death of Adonis c.
1614, an aftermath of his many versions of the Venus and Adonis providing more
Rubenesque women in the background identified as the Three Graces. What influence
did this small detail of the human form have on Rubens, his peers, and the many artists
after him? Rubens was an artist who focused highly on anatomical perfection and
proportional accuracy of the human form but in a much more natural realism, looking to
the ancients in Rome for guidance in understanding the internal and external forms of
the body.
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This Rubenesque view can be seen in Venus within Venus and Adonis c. 1614,

with the round forms of her waist, the wider proportions of the body, the curvier enclaves

Whitney Ratliff
Formal Analysis

of her neck and stomach, and the voluptuous exclaves of her calves, thighs, and arms.
Rubens does a great job mimicking the human form in her stance, the way the muscles
and rounder areas of her body twist and turn as she holds onto Adonis. Cupid hanging
onto Adonis leg also presents that of a chubby child, proportionate with the other
bodies. Although Rubens influence was more associated with Roman mythology, he
provides more Greek style with the proportions of the body, understanding the natural
sizing of the head to its comparison with the body.
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Adonis follows a more idealized view of the male form, athletically toned with

more muscles showing along the lines of his ribcage and upper arm. His stance along
with the spear holding him up allows him to provide support for Venus leaning into him.
However, despite her arms wrapped around his neck, he provides a hand on her
forearm almost hinting at his rejection to have her prevent him from hunting with his
dogs leading the way into the open land. On another observation of Adonis hand on
Venus forearm as she gets out of her chariot, it is almost as if he is helping her. His
eyes provide some concern for her but not enough to fully heed her warning about
fighting the beasts that nature has armed with weapons.
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Rubens provides a center focus of color with red, white, and blue surrounding the

main focal point of characters. These are the brightest colors within the piece, allowing
the pale-toned figures to stand out more within a much more saturated range of earthy
colors within the trees, ground, and sky. These colors surrounding Venus and Adonis as
well as the light mostly from above Venus direction, are what Rubens considers the
main focus of the entire painting. He presents them in a way that is tragic, conflicting,

Whitney Ratliff
Formal Analysis

but yet endearing to the figures story, offering a pause in time to provide an amorous
sensation to a tragic love story.
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Looking closely at this painting, Rubens paints even the smallest details such as

facial stubble on Adonis, texture with the hair and how the light reflects off of it, and the
subtle contours of the hair curving in different directions. Even the contours within the
trees provide texture and the feathers within the swans, differentiating figures
respectively to one another. Although Rubens provides a middle ground of tint and
shade, his contrast is clear in defining a light source but with an overwhelming spotlight
feel on the subjects. This spotlight creates a sort of theatrical stage for Venus and
Adonis, allowing them to be center stage and looking as if they are completely detached
from the reality of their own tragedy.
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Rubens paints this scene in multiple paintings, presenting it differently each time,

recreating their love story as if keeping it alive in a moment before tragedy strikes. While
Adonis is presented with an ideal form, something Rubens is seen recreating for the
sake of artistic practice, Venus is presented much more loosely and naturally, allowing
her Rubenesque appeal contrast that ideal persona Rubens depicts with Adonis. She
becomes more real, relatable, and tangible despite being a Goddess of Love and
Beauty. Her earthly attachment to Adonis, a forbidden love that was not meant to be,
keeps her grounded and presents her more as a mortal than that of a Goddess.