on canvas, 90 × 74 cm
Pushkin Museum of Fine Arts, Moscow
The preaching element was apparently still present, but an easel painting is an object of a special kind. If it is good enough, then a person looking at it forgets about the outside world. Cranach detected the appreciation forming in those around him for that sort of sweet self-deception and began creating artistic forms.
The Birth of Venus
Noël-Nicolas Coypel, 1732
oil on canvas, 81 × 65 cm
The Hermitage Museum, St Petersburg
In the extended landscape format, the nymph’s body, like an obstacle on the way to the spring, is stretched out on the very edge, so close that there is no hope of moving away unnoticed. The maiden is waking, aware of the eyes fixed upon her; their owner, forgetting about the spring, has crept up to the sleeping beauty and is bending over her. Comparing the paintings with the drawing, we recognize that in the painted variants Cranach insistently foists two illusions on the viewer.
Odalisque
François Boucher, 1743
oil on canvas, 53 × 64 cm
Musée du Louvre, Paris
The first is that he is looking at the nymph as if kneeling in front of her, when the gaze is barely distinguishable from a fondling touch. The second is that her body is anything but still. It is delineated by wavy, slipping contours as if it were resting not on the ground but in some unstable medium, the invisible shifts of which, supporting the body in weightlessness, evoke barely noticeable counter-reactions in it.
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