This work was commissioned by the Duke of Guidobaldo II della Rovere. It may be painted to celebrate his wedding in 1534. The Italian cassone with the original decoration which was a traditional box (also known as safe or Keith, was one of the oldest forms of furniture) was regarded as a wedding present. The maid behind the painting was carrying off to look for the clothes of Venus. Surprisingly, in view of its open pornography, the purpose of this painting was an enlightening model for the duke’s very young bride – Jurano.

The Venus of Urbino showed Titian’s delicate description and innovative composition. In front of painting, a naked beauty was lying in bed. The protagonist was believed to be a social butterfly with high income called Angela del Moro in Venice, which was also the mistress of Titian who accompanied him to have dinner. Behind her a large black cloth curtain covered the left half of the painting, and the right half showed the indoor scene and space. Titian cut off the background and dealt with the great difference to guide the viewers to know where was behind the shady place on the one hand. On the other hand, he intent to let people satisfy their inner desire. Titian’s processing and composition method was a challenge and breakthrough in the history of painting.

The painter placed Venus in a noble room, who seemed to have become the master of the bedroom. The Venus was staring at the audience and was indifferent to her naked body. Her right hand held a bouquet of roses, and her left hand covered her vulva, suggestively placing in the center. There was a small dog accompanying her beside the bed, and the dog was often used as a symbol of the “loyal”. The chamber had a maid who was prepared the clothes for the hostess after the bath. Titian placed Venus in an environment with strong family fun, which helped to strengthen the close and the warm feeling, and also catered to upper-class taste. In shaping the image of Venus, the painter gave full play to the body-building style, meant to depict the ideal and healthy women. Venus was rich, mature, gentle, and full of the young beauty. This painting became the leader in similar subjects, and also became the hard-to-reach typical type in female nude paintings.

In the ancient Roman myth, flora was the symbolization of the wisdom, beauty, and love. From April 28th to May 3rd every year, the traditional flora festival was held in Italy. In these six days, people were experiencing all kinds of joyful activities and decorating themselves with roses or their beloved animals. In people’s mind, flora was a symbol of happiness.

Titian’s Flora targeted at the hypocrisy of asceticism in the Middle Ages, praised the beauty of female body, and repeated this eternal theme in the work again and again. In accordance with the aesthetic point of view of the Renaissance, Titian depicted the flora virgin. Like the early bud, her eyes flashed the reserved glory. But her body was as mature as that of a lady to meet the people’s general appreciation. Titian’s work was not as rigorous and quiet as Leonardo da Vinci in the composition and atmosphere, not as reserved and gentle as Raphael in the characters, not as painful and angered as Michelangelo. He was good at outlining the characters based on the brown background, rubbed out the hidden soft notes by hand, making the character float out with the color, like Botticelli’s Birth of Venus. Before this, no one dared to boldly depict the completely secular women who were full of vitality. If saying Michelangelo was the giant of using nudes who dignified to the church, then Titian was using the mature naked human bodies to express the confidence of the emerging bourgeoisie from the point of hedonism.

Open Window Collioure was the work exhibited in autumn salon in 1905 when Matisse was 36 years old. In that salon, he showed the works of Open Window Collioure and Woman with a Hat. This painting was composed of wide vertical lines which were performed in bright green, blue, purple and orange. The window wall was only a small part, more like a gorgeous picture frame. But the window only accounted for the three fourths of the painting. The

casement was open. The balcony placed the flower pots and growing vine, then was the sea, the sky and the ships were showed with the brightest colors. In the distance there was a beautiful pattern with bright little strokes. The strokes extended from the green dots to a little wider light red, white and blue. In this painting, Matisse had exceeded any impressionist and showed the slight traces of abstract colors. Matisse said that this painting was inspired by the illness when he was 21 years old. What he painted was the window that he had stared at for a long time in the patient’s room.

Open Window Collioure was perhaps the first example that the painting topic achieved the full development. For the rest of my life, Matisse always preferred this theme. It was only a small part of the wall and the windows accounted for a large space. The outside world was a beautifully decorated pattern with bright small strokes. Matisse said, “My painting is to express a state of mind.” The open window was showing a state of mind.

Woman with a Hat was painted in 1905, which was the painting that made French Fauvism representative Henri Matisse famous. This work depicted a portrait of a woman’s back. Here Matisse aggressively abandoned the snap in the form and put the pigment indiscriminately on the screen. Not only the background and hat, but also the woman’s face and appearance, were in bold green and red brushwork to trace the outline.

In the autumn salon of 1905, Matisse exhibited a portrait of his wife, entitled

Woman with a Hat. This was the early Fauvism work of Matisse and also the most representative work of Fauvism, which caused a great sensation. In the painting, the strong colors directly out of the paint tubes did not represent the real objects existing in reality, but through the painter’s own visual experience of processing their characters to cause the vibration of the viewers’ retina, to establish a new painting criterion that was different from the tradition.

Woman with a Hat was the early work of Matisse. We could see that based on the realism, his attempts were made to an impulse. The various color paints that were applied to the woman’s face, clothes and hat were a bit stiff, but his determination was overweeningly ambitious. This was the innovation, which made an innovation to the realism and impression and created new forms. He gradually knew the bright colors could restore the passion of life, arouse people’s desire, and sublimate to the ideal realm filled with joy.

Harmony in Red was made in 1908, which measured 177 x 200 cm. It had a big width. Seen from the distance, it was totally red. Now it is preserved in Russia St Petersburg Al Mita Museum, which was one of the representative works of Matisse. In this painting, he made a new exploration and completely removed the perspective to show a pattern world full of contrasting colors with full colors, orange and blue, yellow and purple, red and black. The Islamic textiles, oriental tapestry or other decorations seen in Algeria, Spain and other places were plane.

Harmony in Red turned the scenes in front into decorative pattern and the perspective was completely removed. Through the window, the characters and scenery became part of the pattern. The dark lines ticked the simple shapes, and no walls, floor, table, with a large red, full of colors to show a full of contrasting color world. This painting was more exotic and mysterious than the image that Gauguin and other impressionists could imagine He only used one red block without harmonic production, defining the interior room space. Vine pattern was evenly distributed in the wall and on the desktop, which enhanced the red block’s attachment for the painting. The abstract trees and plants silhouetted against the green earth and the blue sky, defining the outdoor scenery. The red building on the top repeated the room’s color. To some extent, it established the illusion of depth of this landscape painting. Matisse abandoned the formal perspective and added a few strokes with perspective of embellishment, such as window frames, the chair in the left foreground, things placed in the table, vine pattern around the edge of the table. In essence, through the use of color and line, a fresh painting space world palpable was made.