Courtesan in the context of "Venetian painter"

Praxiteles (/prækˈsɪtɪliːz/; Greek: Πραξιτέλης) of Athens, the son of Cephisodotus the Elder, was the most renowned of the Attic sculptors of the 4th century BC. He was the first to sculpt the nude female form in a life-size statue. While no indubitably attributable sculpture by Praxiteles is extant, numerous copies of his works have survived; several authors, including Pliny the Elder, wrote of his works; and coins engraved with silhouettes of his various famous statuary types from the period still exist.

A supposed relationship between Praxiteles and his beautiful model, the Thespian courtesan Phryne, has inspired speculation and interpretation in works of art ranging from painting (Gérôme) to comic opera (Saint-Saëns) to shadow play (Donnay).

A lady-in-waiting (alternatively written lady in waiting) or court lady is a female personal assistant at a court, attending on a royal woman or a high-ranking noblewoman. Historically, in Europe, a lady-in-waiting was often a noblewoman but of lower rank than the woman to whom she attended. Although she may either have received a retainer or may not have received compensation for the service she rendered, a lady-in-waiting was considered more of a secretary, courtier, or companion to her mistress than a servant.

In some other parts of the world, the lady-in-waiting, often referred to as palace woman, was in practice a servant or a slave rather than a high-ranking woman, but still had about the same tasks, functioning as companion and secretary to her mistress. In courts where polygamy was practiced, a court lady might have been formally available to the monarch for sexual services, and she could become his wife, consort, courtesan, or concubine.

Katsushika Hokusai (葛飾 北斎; c. 31 October 1760 – 10 May 1849), known mononymously as Hokusai, was a Japanese ukiyo-e artist of the Edo period, active as a painter and printmaker. His woodblock print series Thirty-Six Views of Mount Fuji includes the iconic print The Great Wave off Kanagawa. Hokusai was instrumental in developing ukiyo-e from a style of portraiture largely focused on courtesans and actors into a much broader style of art that focused on landscapes, plants, and animals. His works had a significant influence on Vincent van Gogh and Claude Monet during the wave of Japonisme that spread across Europe in the late 19th century.

Hokusai created the monumental Thirty-Six Views of Mount Fuji as a response to a domestic travel boom in Japan and as part of a personal interest in Mount Fuji. It was this series, specifically, The Great Wave off Kanagawa and Fine Wind, Clear Morning, that secured his fame both in Japan and overseas.

Dorothea Jordan (née Bland; 22 November 1761 – 5 July 1816) was an Anglo-Irish actress, as well as a courtesan. She was the long-time partner of Prince William, Duke of Clarence (later King William IV), and the mother of 10 illegitimate children by him, all of whom took the surname FitzClarence. She was known professionally as Dorothea Francis and Dorothea Jordan, was informally Dora Jordan, and she was commonly referred to as Mrs Jordan and Mrs FitzClarence.

A hetaira (/hɪˈtaɪrə/; Ancient Greek: ἑταίρα, lit. 'female companion'; pl.. ἑταῖραι hetairai, /hɪˈtaɪraɪ/), Latinized as hetaera (/hɪˈtɪrə/ pl. hetaerae /hɪˈtɪriː/), was a type of highly educated female companion in ancient Greece who served as an artist, entertainer, and conversationalist. Historians have often classed them as courtesans, but the extent to which they were sex workers is a matter of dispute.

Custom excluded the wives and daughters of Athenian citizens from the symposium, but this prohibition did not extend to hetairai, who were often foreign-born and could be well-versed in arts, philosophy, and culture. Other female entertainers might appear in the otherwise male domain, but hetairai actively participated in conversations, including intellectual and literary discourse.

Venetian painting was a major force in Italian Renaissance painting and beyond. Beginning with the work of Giovanni Bellini (c. 1430–1516) and his brother Gentile Bellini (c. 1429–1507) and their workshops, the major artists of the Venetian school included Giorgione (c. 1477–1510), Titian (c. 1489–1576), Tintoretto (1518–1594), Paolo Veronese (1528–1588) and Jacopo Bassano (1510–1592) and his sons. Considered to give primacy to colour over line, the tradition of the Venetian school contrasted with the Mannerism prevalent in the rest of Italy. The Venetian style exerted great influence upon the subsequent development of Western painting.

By chance, the main phases of Venetian painting fit rather neatly into the centuries. The glories of the 16th century were followed by a great fall-off in the 17th, but an unexpected revival in the 18th, when Venetian painters enjoyed great success around Europe, as Baroque painting turned to Rococo. This had ended completely by the extinction of the Republic of Venice in 1797 and since then, though much painted by others, Venice has not had a continuing style or tradition of its own.

Oiran (花魁) is a collective term for the highest-ranking courtesans in Japanese history, who were considered to be above common prostitutes (known as yūjo (遊女, lit. 'woman of pleasure')) for their more refined entertainment skills and training in the traditional arts. Divided into a number of ranks within this category, the highest rank of oiran were the tayū, who were considered to be set apart from other oiran due to their intensive training in the traditional arts and the fact that they lived and worked in Kyoto, the political capital of Japan, which remained the cultural heart of the country when the seat of political power moved to Tokyo. Though oiran by definition also engaged in prostitution, higher-ranking oiran had a degree of choice in which customers they took.

The term oiran originated in Yoshiwara, the red light district of Edo in the 1750s, and is applied to all ranks of high level courtesans in historical Japan.