Primavera, also known as Allegory of Spring, is a tempera panel painting by Italian Renaissance artist Sandro Botticelli. Painted ca. 1482, the painting is described in Culture & Values (2009) as "[o]ne of the most popular paintings in Western art". It is also "one of the most written about, and most controversial paintings in the world." While most critics agree that the painting, depicting a group of mythological figures in a garden, is allegorical for the lush growth of Spring, other meanings have also been explored. Among them, the work is sometimes cited as illustrating the ideal of Neoplatonic love. The painting itself carries no title and was first called La Primavera by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, in 1550.

The Birth of Venus is a 1486 painting by Sandro Botticelli. Botticelli was commissioned to paint the work by the Medici family of Florence, specifically Lorenzo di Pierfrancesco de' Medici under the influence of his cousin Lorenzo de' Medici, close friend to Botticelli . It depicts the goddess Venus, having emerged from the sea as a fully grown woman, arriving at the sea-shore (which is related to the Venus Anadyomene motif).The painting is on display at the Uffizi Gallery in Florence, Italy.

Venus and Mars is a c. 1483 painting by the Italian Renaissance master Sandro Botticelli. It shows the Roman gods Venus and Mars in an allegory of Beauty and Valour. Venus watches Mars sleep while two infant satyrs play carrying his armour as another rests under his arm. A fourth blows a small conch shell in his ear in an effort to wake him. The scene is set in a forest, and the background shows, in the distance, the sea from which Venus emerged. A swarm of wasps hover around Mars' head, possibly as a symbol that love is often accompanied by pain. Another possible explanation is that the wasps represent the Vespucci family that may have commissioned the painting; the symbol of the Vespucci house is the wasp. The painting is thought originally to have been the back of a lettuccio, a wooden sofa.

The Triumph of Galatea is a fresco masterpiece completed about 1514 by the Italian painter Raphael for the Villa Farnesina in Rome. The Farnesina was built for the Sienese banker Agostino Chigi, one of the richest men of that age. The Farnese family later acquired and renamed the villa, smaller than the more ostentatious palazzo at the other side of the Tiber. The fresco is a mythological scene of a series embellishing the open gallery of the building, a series never completed which was inspired to the "Stanze per la giostra" of the poet Angelo Poliziano. In Greek mythology, the beautiful Nereid Galatea had fallen in love with the peasant shepherd Acis. Her consort, one-eyed giant Polyphemus, after chancing upon the two lovers together, lobbed an enormous pillar and killed Acis.

Bacchus and Ariadne (1520–23)[1] is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso d'Este, the Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed and the commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid. The painting, considered one of Titian's greatest works, now hangs in the National Gallery in London.

The Judgement of Paris produced by Peter Paul Rubens is one of two very similar paintings. Both show Rubens' version of idealised feminine beauty, with the goddesses Venus, Minerva and Juno on one side and Paris accompanied by Mercury on the other.

The Rokeby Venus is a painting by Diego Velázquez (1599–1660), the leading artist of the Spanish Golden Age. Completed between 1647 and 1651, and probably painted during the artist's visit to Italy, the work depicts the goddess Venus in a sensual pose, lying on a bed and looking into a mirror held by the Roman god of physical love, her son Cupid. Numerous works, from the ancient to the baroque, have been cited as sources of inspiration for Velázquez. The nude Venuses of the Italian painters, such as Giorgione's Sleeping Venus (c. 1510) and Titian's Venus of Urbino (1538), were the main precedents. In this work, Velázquez combined two established poses for Venus: recumbent on a couch or a bed, and gazing at a mirror. She is often described as looking at herself on the mirror, although this is physically impossible since viewers can see her face reflected in their direction. This phenomenon is known as the Venus effect. In a number of ways the painting represents a pictorial departure, through its central use of a mirror, and because it shows the body of Venus turned away from the observer of the painting.

Boucher’s popularity during his career was matched only by his artistic versatility. In addition to theatre costumes and set designs, tapestries, and designs and decorations for court celebrations, he also dabbled in gouache. This piece is one of only three gouache paintings by the artist. This piece, which was probably produced as an independent work, rather than as a study for a painting, bears a striking resemblance to another one of his paintings, Venus on the Waves. Boucher was a master at depicting idyllic classical scenes, and in this one we see his adeptness at portraying the mythical scene of impassive Venus, surrounded by nymphs and tritons, all paying tribute to the goddess of love.

Shows the aristocratic Montgomery sisters – Barbara, Elizabeth and Anne. Their father was the Irish aristocrat Sir William Montgomery and they were known as the Irish Graces. They are shown gathering flowers to decorate a statue of Hymen, the Roman god of marriage.

The Venus of Urbino is a 1538 oil painting by the Italian master Titian. It depicts a nude young woman, identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. It hangs in the Galleria degli Uffizi in Florence. The figure's pose is based on Giorgione's Sleeping Venus (c. 1510), which Titian completed. In this depiction, Titian has domesticated Venus by moving her to an indoor setting, engaging her with the viewer, and making her sensuality explicit. Devoid as it is of any classical or allegorical trappings – Venus displays none of the attributes of the goddess she is supposed to represent – the painting is unapologetically erotic.

Landscape with the Fall of Icarus is a painting in oil on canvas long thought to be by Pieter Bruegel, although following technical examinations in 1996, that attribution is regarded as very doubtful, and it is now usually seen as a good early copy by an unknown artist of Bruegel's original, perhaps painted in the 1560s, although recent technical research has re-opened the question.

Venus, Cupid, Folly, and Time is an allegorical painting by the Florentine artist Agnolo Bronzino. It is now in the National Gallery, London.