The relationship between the artist and the audience is a crucial element to the success of the artwork in its historical era. Titian’s traditional Renaissance symbolism and style of painting made his work a masterpiece of his time. According to art critic Brand Hamlee Titian’s work met the “demands of an admiring public. As he was particularly famous for his portraits and mythological works” this created a positive relationship between “Venus of Urbino” and the intended Renaissance audience. The relationship between the artwork and the audience is also evident through the Renaissance symbolism throughout his artwork, Venus seductive glaze captured Renaissance viewers and the high quality of Venetian light and tone to perfection was a vital characteristic to the success of the artwork to its intended audience. In addition, using symbolism, which had significance to the Renaissance mythological style also strengthened the relationship between the artist and the artwork. The Spaniel represents a symbol of fidelity a strong theme in Renaissance art as well as the use of roses, myrtle tree and the Spaniel were traditionally associated with the goddess Venus. The Brush strokes and pale rosy and ochre colours luxuriously applied created the central tones of the Venus body is an essential symbol of Renaissance sensuality, beauty and desire that was praised by all audiences.

Although the intended Renaissance audience understood the key symbolism, the relationship between the artwork and the contemporary audience is slightly different. Both audiences acknowledge the use of rich amber and red colours; it depicts the unity of the composition in the artwork as well as providing a strong sense of sensuality and vitality. However, with certain contemporary assumptions that the Venus lacks the passive persona of an ancient goddess, this is supported by the modern interpretation of Venus’ glaze, which asserts her character, intellect and her power to choose in contrast to the intended Renaissance audience who perceive her glaze as seductive and alluring. The background of the painting humanises Venus in society through the maids working which to modern audiences challenges her divinity as a goddess

Manet’s relationship with the intended audience is completely opposite to Titian, Manet work, “Olympia” was rejected by the Salon in 1865. The public presented a hostile and outraged response to the symbolism of Manet’s work as it portrayed the reality of Paris life and the social status of prostitutes. The Slender body of Victorine Meurent, significantly encouraged the misinterpretation of Manet’s work, her slender defined hips similar to an adolescent became a symbol for child prostitution. The lack of tradition brushwork techniques, such as the use of broad strokes eliminated mid tones and created shallow depth, which challenged other smooth idea