In contrast, Venus and Cupid seem weightless. Even though Venus' form is by far the largest body mass in West's composition, she seems light at the same time. Part of the reason why Venus seems airy in spite of her mass is because her body is illuminated brightly. The source of light is unclear, and could either be from within the walls or from within her. Ironically the light does not come from the heavens, even though Venus points upward. Venus is larger and more substantial than Cupid and yet her body is endowed with profound illumination. However, Cupid is inherently airy because of his wings, which match the golden hue of his hair and of Venus' bracelet. His flesh is identical in color, texture, and illumination to Venus', implying their connection as the god and goddess of love.

Venus and Cupid" contains no straight lines except for one tree faintly outlined in the background. Instead, West implies line within the composition...

She sits so that her lap forms a right angle to her torso, which mirrors the right angle created by her left arm. Venus' right arm rests at an acute angle which is almost an exact mirror to the acute angle formed by the pointed finger on her other hand. Cupid's only visible arm is also bent to form a right angle. West's work is ultimately curvilinear: from the oval window to the delicately draped fabric to the curls in Cupid's hair. Curves appear more natural than straight lines, which in nature are nearly nonexistent.
Cupid appears as a cherub, angelic and childlike. On the contrary, Venus emerges as the wise temptress. She holds a small snake, a direct allusion to the Old Testament just as the Madonna and Child motif is a reference to the New. Portraying Venus as temptress sends an overtly misogynistic message that is underscored by the contrast between her mature female body and Cupid's angelic baby-like form.