Venus de' Medici in the context of "Parian marble"

The Aphrodite of Knidos (or Cnidus) was an Ancient Greek sculpture of the goddess Aphrodite created by Praxiteles of Athens around the 4th century BC. It was one of the first life-sized representations of the nude female form in Greek history, displaying an alternative idea to male heroic nudity. Praxiteles' Aphrodite was shown nude, reaching for a bath towel while covering her pubis, which, in turn leaves her breasts exposed. Up until this point, Greek sculpture had been dominated by male nude figures. The original Greek sculpture is no longer in existence; however, many Roman copies survive of this influential work of art. Variants of the Venus Pudica (suggesting an action to cover the breasts) are the Venus de' Medici and the Capitoline Venus.

Doccia porcelain, now usually called Richard-Ginori (or Ginori 1735; previously known as the Doccia porcelain manufactory), at Doccia, was one of the most prestigious European porcelain factories. It was founded in 1737 by Marquis Carlo Ginori in a villa he owned in Doccia, now part of Sesto Fiorentino, Florence. The descendants of Carlo Ginori continued to own and manage it until 1896, when it merged with the Richard Ceramic Society of Milan.

"The artistic development of the Doccia Manufactory is particularly complex and [...] a reflection of the different historical and cultural circumstances that unfolded in the history of Tuscany over approximately one hundred and fifty years, from the fall of the last Medici to the years of Florence as the Capital".

The Capitoline Venus is a type of statue of Venus, specifically one of several Venus Pudica (modest Venus) types (others include the Venus de' Medici type), of which several examples exist. The type ultimately derives from the Aphrodite of Cnidus. The Capitoline Venus and her variants are recognisable from the position of the arms—standing after a bath, Venus begins to cover her breasts with her right hand, and her groin with her left hand.

This original of this type (from which the following copies derive) is thought to be a lost 3rd- or 2nd-century BCE variation on Praxiteles' work from Asia Minor, which modifies the Praxitelean tradition by a carnal and voluptuous treatment of the subject and the goddess's modest gesture with both hands—rather than only one over the groin, in Praxiteles's original.

Venus with a Mirror (c. 1555) is a painting by Titian, now in the National Gallery of Art in Washington, DC, and it is considered to be one of the collection's highlights.

The pose of the Venus resembles the classical statues of the Venus de' Medici in Florence or the Capitoline Venus in Rome, which Titian may have seen when he wrote that was "learning from the marvelous ancient stones." The painting is said to celebrate the ideal beauty of the female form, or to be a critique of vanity, or perhaps both. It was copied by several later artists, including Peter Paul Rubens and Anthony van Dyck.

The Royal Academicians in General Assembly is a 1795 oil painting by the English artist Henry Singleton. It depicts the assembled members of the British Royal Academy of Arts in the Council Chamber at Somerset House in London, then the headquarters of the academy. They are judging the various works of art produced by students of the academy. In his diary Joseph Farington noted disagreements amongst the Academicians about their respective placings in the picture. It includes many members who did not actually attend meetings including the two founding female members Angelica Kauffman and Mary Moser.

On the wall on the right is a self-portrait of the first president of the Royal Academy Joshua Reynolds who had died in 1792. Two subsequent presidents are shown in the crowd, his successor the American-born Benjamin West and the young Thomas Lawrence, then an associate of the Royal Academy. West sits on the Presidential throne while to his right in a yellow waistcoat is the architect William Chambers who had designed the building at Somerset House. The noted portraitist William Beechey is included, although he wasn't elected for another three years. There are a number of casts of sculptures on display behind the artists, including the Apollo Belvedere, Borghese Gladiator, Laocoön and His Sons, and Venus de' Medici. The paintings include portraits of George III and Queen Charlotte by Reynolds, Christ Blessing Little Children by West, Spring by Mary Moser, The Tribute Money by John Singleton Copley and Samson and Delilah by John Francis Rigaud.