Sleeping Venus (c1510). Oil on canvas. 108 x 175. The Sleeping Venus, also known as the Dresden Venus, is a painting traditionally attributed to the Italian Renaissance painter Giorgione, although it has long been usually thought that Titian completed it after Giorgione's death in 1510. The landscape and sky are generally accepted to be mainly by him. In the 21st century, much scholarly opinion has shifted further, to see the nude figure of Venus as also painted by Titian, leaving Giorgione's contribution uncertain. It is in the Gemäldegalerie, Dresden. The painting, one of the last works by Giorgione, portrays a nude woman whose profile seems to echo the rolling contours of the hills in the background. It is the first known reclining nude in Western painting, and together with the Pastoral Concert, another painting disputed between Titian and Giorgione, it established the genre of erotic mythological pastoral, with female nudes in a landscape, accompanied in that case by clothed males. A single nude woman in any position was an unusual subject for a large painting at this date, although it was to become popular for centuries afterwards, as the reclining female nude became a distinctive feature of Venetian painting. There was originally a sitting figure of Cupid beside Venus's feet, which was over-painted in the 19th century. In the course of painting, the landscape has also been changed at both sides, as has the colouring of the drapery, and the head of Venus was originally seen in profile, making it very similar to Titian's later Pardo Venus. According to the usual account, the painting was unfinished at the time of Giorgione's death. The landscape and sky were later finished by Titian, who in 1534 painted the similar Venus of Urbino, and several other reclining female nudes, such as his much repeated Venus and Musician and Danaë compositions, both from the 1540s onwards. Other elements reused by Titian are the mountains on the horizon at left, which reappear in The Gypsy Madonna and the buildings on the right, seen again in the Noli me tangere of c. 1514. The painting is usually identified with one, including a Cupid, described in the collection of Girolamo Marcello in 1525 by Marcantonio Michiel, a Venetian patrician interested in art, who left notes compiled between about 1521 and 1543 on paintings he saw. He describes the painting as by Giorgione, but with the landscape completed by Titian, and until very recently this double attribution has been generally accepted, despite art historians knowing that Giorgiones were already rare and over-attributed even by this early date. At least by the time Carlo Ridolfi saw the Marcello painting, about a century later, Cupid was holding a bird, whereas in the Dresden painting he seems to be pointing his bow, perhaps at the viewer, although his pose is hard to decipher. It remains possible that the Marcello painting is not in fact the one now in Dresden, or that it is, but that the information Michiel was presumably given as to its authorship is incorrect. Marcello married in 1507, and it has been suggested that he commissioned the painting to celebrate this; the suitability of a reclining nude as a marriage picture has also been explored in connection with the Venus of Urbino. The painting was bought from a French dealer for Augustus the Strong of Saxony in 1695 as a Giorgione, but by 1722 was described in a catalogue as the Famous Venus lying in a landscape by Titian. By the early 19th century it was thought to be a copy after Titian. It was not identified with the painting Michiel saw before the 19th century, when Giovanni Morelli proposed this, following which Michiel's attribution to Giorgione, with a Titian landscape, was mostly accepted for over a century. Any underdrawing was lost when the painting was transferred to a new canvas, probably in the early 19th century. Underlying erotic implications are made by Venus's raised arm and the placement of her left hand on her groin. The sheets are painted in silver, being a cold colour rather than the more commonly used warm tones for linens, and they are rigid looking in comparison to those depicted in similar paintings by Titian or Velázquez. The landscape mimics the curves of the woman's body and this, in turn, relates the human body back to being a natural, organic object. The shape of being is the visual demonstration of a state of being in which idealized existence is suspended in immutable slow-breathing harmony. All the sensuality has been distilled off from this sensuous presence, and all incitement; Venus denotes not the act of love but the recollection of it.