TRÉSOR DE MUSÉES # 18 (ENG)

Mars, Venus and Cupid, by Bartholomeus Spranger
Schloss Eggenberg & Alte Galerie
Graz, Austria
www.altegalerie.at

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Bartholomeus Spranger (1546–1611), Mars, Venus and Cupid
Oil on canvas, Inv. no. 67
Schloss Eggenberg & Alte Galerie, Graz © UMJ / N. Lackner

Text: Ulrich Becker, Curator of the cultural history collection Universalmuseum Joanneum, Graz.

Nothing is so typical for Renaissance art as the world of ancient gods and heroes. Italy is the classic soil of ancient culture. Finds of Roman statues turn into sensations, princes, clerics and patricians become collectors. The Renaissance is also making its way into the north. From there throngs of artists head towards Italy to perfect their skills there. Art conveys complex thoughts as never before at a high intellectual level. Ancient figures are ideal for this. The more complicated the content of an artwork is, the more it is appreciated. Such complex programmes give both artists and clients the opportunity to demonstrate their own education and competence. Erotic scenes warrant particular applause. They flatter the eye of the connoisseur. Painters often take classical themes on the occasion, to prove their skills with sophisticated nude studies.
Under Emperor Rudolf II (1576–1612), the Habsburg Court in Prague becomes a leading centre of late Renaissance art. The court painter is the Flemish Bartholomew Spranger. His work indicates a fondness for the refined, for the maniera. The mannerist period owes its name to this. The union of Mars and Venus is not only an example of mythical eroticism, but also of the ambivalence of human nature, which despite everything still finds harmonious unity. Harmonia is also the name of the child, who emerges from the relation between the two gods. Behind this is concealed an allegory to peace: Love triumphs over war. Amor triumphs over the weapons of Mars. Despite its subtle presentation, behind this lovemaking of Mars and Venus lies a serious truth of which contemporary protagonists are only too aware: for it is not Cupid but Mars who rules the hour. Around 1600 Europe is beset by seemingly endless wars, conflicts of faith and power struggles. In these circumstances, the triumph of love is nothing more than a distant pipe dream.