For Plato – and so for the members of the Florentine Platonic Academy – Venus had two aspects: she was an earthly goddess who This was all apparently applied after the painting was framed. Like Botticelli’s other masterpiece, Pallas and the Centaur, the Birth of Venus is painted on canvas - fairly unusual for its time - using a technique of thin tempera, based on the use of diluted egg yolk, which lends itself particularly well to give the painting that aspect of extraordinary transparency, which brings to … The iconography of The Birth of Venus is similar to a description of a relief of the event in Poliziano's poem the Stanze per la giostra, commemorating a Medici joust in 1475, which may also have influenced Botticelli, although there are many differences. [21] There is no record of the original commission, and the painting is first mentioned by Vasari, who saw it, together with the Primavera, at Castello, some time before the first edition of his Lives in 1550, probably by 1530–40. Botticelli's famous painting of The Birth of Venus was executed in the middle of the 1480s. They are among the most famous paintings in the world, and icons of the Italian Renaissance; of the two, the Birth is even better known than the Primavera. It is in the Galleria Sabauda in Turin. [22], Horne dated the work at some point after the purchase of the villa in 1477 and before Botticelli's departure for Rome to join the painting of the Sistine Chapel in 1481. Zrození Venuše je obraz namalovaný Sandrem Botticellim, který nejspíše vznikl podobně jako jiný obraz Primavera v období kolem roku 1478 nebo 1483–1486.Na rozdíl od Primavery je zde kompozice pojatá zleva doprava – dvojice letících zefyrů svým dechem ovívá zcela nahou Venuši stojící na mořské lastuře, zatímco na břehu čeká Hóra, aby ji mohla zahalit do pláště. He is in the air, and carries a young female, who is also blowing, but less forcefully. [38] The pose of Botticelli's Venus follows the Venus Pudica ("Venus of Modesty") type from classical antiquity, where the hands are held to cover the breasts and groin; in classical art this is not associated with the new-born Venus Anadyomene. Botticelli's posthumous reputation suffered until the late 19th century, when he was rediscovered by the Pre-Raphaelites who stimulated a reappraisal of his work. The floral decoration of her dress suggests she is the Hora of Spring.[6]. Bellingham, David, "Aphrodite deconstructed: Botticelli's "Venus and Mars" in the National Gallery, London", in Brill's Companion to Aphrodite, Eds Amy C. Smith, Sadie Pickup, 2010, BRILL, ISBN 9047444507, 9789047444503, google books Although the two are not a pair, the painting is inevitably discussed with Botticelli's other very large mythological painting, the Primavera, also in the Uffizi. [46], Rather than choosing one of the many interpretations offered for Botticelli's depiction of the Birth (Arrival?) For example Poliziano talks of multiple Horae and zephyrs. Aside from his painting of the Primavera, Sandro Botticellis other greatest work, done for the Medici family, is the Birth of Venus. As with most other gods and goddesses in Roman mythology, the literary concept of Venus is mantled in whole-cloth borrowings from the literary Greek mythology of her equivalent counterpart, Aphrodite. [16] The painting depicts the world of the imagination rather than being very concerned with realistic depiction.[17]. Thought to be based in part on the Venus de' Medici, an ancient Greek marble sculpture of Aphrodite. [42] This has not been adopted by Renaissance art historians in general,[43] and it remains problematic, since it depends on the painting being commissioned by the Medici, yet the work is not documented in Medici hands until well into the following century. What became a famous example of this type is the Venus de' Medici, a marble sculpture that was in a Medici collection in Rome by 1559, which Botticelli may have had opportunity to study (the date it was found is unclear). [13] The blues of the sea and sky have also lost their brightness. The Birth of Venus, painted by Sandro Botticelli in the 1480s, is one of the most famous paintings in the world: it is a celebrated work of art and the high point of a visit to the Uffizi Gallery in Florence.It is also a commercial icon and a line mark of European Art. It used to be thought that they were both commissioned by the same member of the Medici family, but this is now uncertain. Various interpretations of the painting rely on this origin for its meaning. There are differences to Botticelli's usual technique, working on panel supports, such as the lack of a green first layer under the flesh areas. The Birth of Venus (Italian: Nascita di Venere [ˈnaʃʃita di ˈvɛːnere]) is a painting by the Italian artist Sandro Botticelli, probably made in the mid 1480s. The two-dimensionality of this painting may be a deliberate attempt to evoke the style of ancient Greek vase painting or frescos on the walls of Etruscan tombs,[41] the only types of ancient painting known to Botticelli. [37], Having a large standing female nude as the central focus was unprecedented in post-classical Western painting, and certainly drew on the classical sculptures which were coming to light in this period, especially in Rome, where Botticelli had spent 1481–82 working on the walls of the Sistine Chapel. Sandro Botticelli (1445–1510) Alternative navne: Birth name: Allessandro Filipepi Sandro Filipepi Alessandro di Mariano Filipepi Alessandro di Mariano Filipepi Botticelli: Beskrivelse: kunstmaler og kunstner: Fødsels- og dødsdato: 1. marts 1445 17. maj 1510 / 16. maj 1510 Fødsels- og dødssted: Firenze: Firenze: Arbejdssted Here one hand is raised, pointing to heaven for justification, and the figure's gaze also looks upwards; the whole effect is very different. Hemsoll, 13:40; Hartt, 333, Clark, 97 quoted; see also Ettlingers, 134, Clark, 92, 96–97; Lightbown, 160, "the first surviving celebration of the beauty of the female nude represented for its own perfection rather than with erotic or moral or religious overtones. First, it is a representation of a nude woman: this kind of subject was restricted during the Medieval ages - the only exception was an image of Eve in the Garden of Eden. This was a Roman imperial rename, the city having originally been Fluentia, for its two rivers. Rojstvo Venere (italijansko: Nascita di Venere) je slika italijanskega umetnika Sandra Botticellija, verjetno narejena sredi 1480-ih.Upodablja boginjo Venero, ki je na obrežje prispela po rojstvu, ko je iz morja izstopila popolnoma odrasla (imenovana Venera Anadiomena in pogosto upodobljena v umetnosti). Next, there is the news of the mythological theme that in the 1480s was absolutely a new type of painting. Influences of religion on Botticelli. [7] Flora is generally the Roman equivalent of the Greek Chloris; in the Primavera Chloris is transformed into the figure of Flora next to her, following Ovid's Fasti,[8] but it is hard to see that such a transformation is envisaged here. Its size is purely imaginary, and is also found in classical depictions of the subject. It is clear that the personifications of the winds are Zephyrus and Aura, one impetuous and the other moderate. Alessandro di Mariano di Vanni Filipepi hay là Sandro Botticelli hoặc Il Botticello hoặc ngắn gọn là Botticelli, sinh năm 1445 mất ngày 17 tháng 5 năm 1510, là một họa sĩ người Ý và nhà đồ họa in ấn của những năm đầu thời kỳ Phục hưng. E pintura ta ilustra cu Zephyr, dios di biento, ta supl'e na canto di tera unda un otro dios ta wardando e cu un mantel. [48][49] There is another such workshop Venus in Berlin, and very likely others were destroyed in the "Bonfire of the Vanities". In later life, he was one of Savonarola's followers. Once draped in earthly garments she becomes a personification of the Christian Church which offers a spiritual transport back to the pure love of eternal salvation. Ông thuộc trường phái … Botticelli Birth of Venus detail Flora.JPG 336 × 378; 209 KB Botticelli, nascita di venere, dettaglio fiori.jpg 1,032 × 1,236; 863 KB Botticelli, nascita di venere, lumeggiature nella vegetazione.jpg 864 × 1,152; 666 KB Venus is the Roman goddess of love, beauty, fertility and prosperity. ", "What 'Venus', Now At The MFA, Can Teach Us About Renaissance Painter Sandro Botticelli", "Botticelli and the Search for the Divine", University of Birmingham, 18 min introductory lecture. They are among the most famous paintings in the world, and icons of the Italian Renaissance; of the two, the Birth is better known than the Primavera. Sandro Botticelli, eredeti nevén Alessandro di Mariano di Vanni Filipepi (Firenze, 1445. március 1. [2], In the centre the newly-born goddess Venus stands nude in a giant scallop shell. Unfortunately, we do not know for sure which Medici it was painted for, or which location it was originally hung in. [18], Botticelli's art was never fully committed to naturalism; in comparison to his contemporary Domenico Ghirlandaio, Botticelli seldom gave weight and volume to his figures and rarely used a deep perspectival space. Since then, his paintings have been seen to represent the linear grace of Early Renaissance painting. The laurel trees and the grass below them are green with gold highlights, most of the waves regular patterns, and the landscape seems out of scale with the figures. ... the suspension of our reason is achieved by the intricate rhythms of the drapery which sweep and flow irresistibly around the nude figures. Examples seem to have been exported to France and Germany, probably influencing Lucas Cranach the Elder among others. The composition, with a central nude figure, and one to the side with an arm raised above the head of the first, and winged beings in attendance, would have reminded its Renaissance viewers of the traditional iconography of the Baptism of Christ, marking the start of his ministry on earth. The Birth of Venus was at the Medici villa of Castello. It depicts the goddess Venus arriving at the shore after her birth, when she had emerged from the sea fully-grown (called Venus Anadyomene and often depicted in art). (1477-1485) (1477-1485) Botticelli- The Spring But in 1975 it emerged that, unlike the Primavera, the Birth is not in the inventory, apparently complete, made in 1499 of the works of art belonging to Lorenzo di Pierfrancesco's branch of the family. Accordingly, by overt implication, Lorenzo becomes the new Alexander the Great with an implied link to both Augustus, the first Roman emperor, and even to Florence's legendary founder, Caesar himself. Kevät on kooltaan varsin suuri, noin kaksi metriä korkea ja runsaat kolme metriä leveä. Thus, in Botticelli's interpretation, Pankaspe (the ancient living prototype of Simonetta), the mistress of Alexander the Great (the Laurentian predecessor), becomes the lovely model for the lost Venus executed by the famous Greek painter Apelles (reborn through the recreative talents of Botticelli), which ended up in Rome, installed by Emperor Augustus in the temple dedicated to Florence's supposed founder Julius Caesar. Most art historians agree, however, that the Birth does not require complex analysis to decode its meaning, in the way that the Primavera probably does. The full text of the article is here →, {{$parent.$parent.validationModel['duplicate']}}, 1-{{getCurrentCount()}} out of {{getTotalCount()}}, https://en.wikipedia.org/wiki/The_Birth_of_Venus. While Botticelli might well have been celebrated as a revivified Apelles, his Birth of Venus also testified to the special nature of Florence's chief citizen, Lorenzo de' Medici. The Hora originally had "low classical sandals", and the collar on the mantle she holds out is an afterthought. Vasari was probably correct in identifying her as "Aura", personification of a lighter breeze. [50], More than a decade later, Botticelli adapted the figure of Venus for a nude personification of "Truth" in his Calumny of Apelles. – 1510. május 17.) Kenneth Clark wrote: "Her differences from antique form are not physiological, but rhythmic and structural. He is best known for The Birth of Venus, painted c. 1482-1486. At the start of the 16th century, the painting hung together with Primavera in the country villa of the Medici in Castello. This was the year after their father died at the age of 46, leaving the young boys wards of their cousin Lorenzo il Magnifico, of the senior branch of the Medici family and de facto ruler of Florence. Most art historians agree, however, that the Birth does not require complex analysis to decode its meaning, in the way that the Primavera probably does. Botticelli could not have seen the frescos unearthed later in Pompeii, but may well have seen small versions of the motif in terracotta or engraved gems. In 1550 Vasari was himself painting in the villa, but he very possibly visited it before that. Legouix, 21 argues for the traditional one for the female held by Zephyr. The composition of the painting is quite simple: in the center, there’s a figure of Venus, goddess of love, standing in a shell being washed up on a beach, blown there by two personifications of winds visible on the left, and welcomed by a maiden on the right. It has long been suggested that Botticelli was commissioned to paint the work by the Medici family of Florence, perhaps by Lorenzo di Pierfrancesco de' Medici (1463–1503) a major patron of Botticelli, under the influence of his cousin Lorenzo de' Medici, "il Magnifico". So, looking at Venus, the most beautiful of goddesses, might at first raise a physical response in viewers which then lifted their minds towards the godly. However, the roses blown along with the two flying figures would be appropriate for Chloris. Ronald Lightbown concludes that it only came to be owned by the Medici after that. There is heavy use of gold as a pigment for highlights, on hair, wings, textiles, the shell and the landscape. But something more than a rediscovered Homeric hymn was likely in the mind of the Medici family member who commissioned this painting from Botticelli. Flora is generally the Roman equivalent of the Greek Chloris; in the Primavera Chloris is transformed into the figure of Flora next to her, following Ovid's Fasti, but it is hard to see that such a transformation is envisaged here. The early, Etruscan or Latin goddess of vegetation and gardens became deliberately associated with the Greek Goddess Aphrodite. If you would like to participate, please visit the project page, where you can join the discussion and see a list of open tasks. Botticelli represented the Neoplatonic idea of divine love in the form of a nude Venus.[28]. [5], At the right a female figure who may be floating slightly above the ground holds out a rich cloak or dress to cover Venus when she reaches the shore, as she is about to do. [14], Although the pose of Venus is classical in some respects, and borrows the position of the hands from the Venus Pudica type in Greco-Roman sculptures (see section below), the overall treatment of the figure, standing off-centre with a curved body of long flowing lines, is in many respects from Gothic art. [45], These essentially pagan readings of Botticelli's Birth of Venus should not exclude a more purely Christian one, which may be derived from the Neoplatonic reading of the painting indicated above. Pliny went on to note that Apelles' painting of Pankaspe as Venus was later "dedicated by Augustus in the shrine of his father Caesar."
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