A young woman emerges from the brown background of the painting, holding out a bouquet of spring flowers, consisting of violets, rosebuds and jasmine. She is dressed in ancient style, with a bright white robe that slides down over her right shoulder, offering a glimpse of her breast, while her head gently rests on her left shoulder as she gazes outside of the painting. Her face, with its delicate features, meets all of the cannons of 16th-century Renaissance beauty: luminous pale skin, pink cheeks and a face framed by loose long, copper blonde hair - the typical hair colour of women painted by Titian (hence the term “Titian red”).

　The subject has been identified as “Flora”, the nymph bride of Zephyr, whose story is Greek in origin, told to us by Ovid. This identification dates back to Joachim von Sandrart, Dutch historian who saw the work in around 1635 in the collection of don Alfonso Lòpez, Spanish ambassador in Amsterdam. Don Alfonso Lòpez sold the painting to Archduke Leopold Wilhelm of Austria, and it was taken to Florence in 1793 as part of an exchange of artworks between the Imperial Belvedere Gallery in Vienna and the grand dukes of Tuscany. The fame of this painting is shown by the many engravings made of it from the 16th century onwards.

　The painting is part of the research into the image of feminine beauty that began at the start of the century by the “Laura” by Giorgione, dated 1506 and now in the Kunsthistorisches Museum, Vienna. On a par with other depictions of women of a particular beauty and sensuality, which form a subgenre of painting, established around Venice and known as the “Belle” [Beauties], the image is not an unequivocal allusion to Flora, animator of the licentious celebrations of Ancient Rome, but rather to feminine beauty, able to combine modesty and voluptas.

百度翻译：http://fanyi.baidu.com

　　《花神》（Flora）是画家提香创作于1515至1517年间的油画作品。与《天上的爱与人间的爱》一样，是色彩处于最和谐的历史时期完成的。这幅画实际上是一幅肖像。画家对于女性的内心富有洞察力，这个花神既非豆蔻少女，也并不象征春天。作为丰腴的妇女形象，如果说是神，她只是盛夏的化身。
　　这是一幅肖像性很强的主题性绘画，画中是位手持花束的威尼斯美人，整个形象就像盛开的鲜花令人倾慕。
　　据说画中女子是画家当时热恋的情人，画家只是借神话之名，表达自己对情人的爱慕之情。画家以半身肖像构图。画中人转身俯视，目光专注作沉思神态；似乎由于转身的动态而使宽松的内衣自然滑落，裸露出丰腴的酥胸；金黄色的秀发披撒在圆浑的双肩上，与充满生命的肉体形成对比，使健壮的身体透露出青春活力，整个形象给人以庄重、典雅之感。
　　提香是一位伟大的色彩大师，他特别强调色彩的和谐，绘画笔触要服从于色彩与光线对比的需要，笔触不仅要刻画对象的质感，同时笔触的动态起着塑造形体结构和传达情绪的作用。我们在花神的形象上看不到笔触和色彩，映入眼帘的是真实的秀发、肉体和服饰，它们之间所富有的节奏韵律恰似一首优美和谐的交响乐曲。
　　提香在这里创造性地把她描绘成一个庄重妩媚的民间少女形象，她身上的外套刚滑落，手上还捏紧着衣服的一角，露出了洁白的古罗马式内衣，衬托了花神神情的典雅与肉体的丰满。这种女性美带有牧歌情调，女神垂着头，表现出沉思的样子。我们能从形象上看出乔尔乔奈的艺术的影子。
　　提香和乔尔乔奈本来都是乔凡尼·贝利尼的学生，后来提香非常崇拜乔尔乔奈的色彩。由于提香悉心摹仿，他俩在构思和色彩上有许多相似之处。事实上，乔尔乔奈有好些未完成的画由提香来完成。但总的来说，提香的艺术造诣要比乔尔乔奈高得多，这在于他对生活的热情，对事物的强烈感情。提香的生活面广泛，也敏于思考，他能发现客观自然的美，并能紧扣时代的脉搏。