Botticelli’s great work of art the Primavera, also known as Allegory of Spring, painted ca. 1482, depicts different mythical characters, and is generally regarded as an allegorical depiction of spring. However, its symbolism and content have been subject to much controversy, and the painting is still interpreted differently by scholars to this day. Going through the different ways it has been interpreted, it is impossible to formulate a clear consensus. Its unclear origins make varying analyses and interpretations possible. However, it is clear that most scholars believe that the painting is drawn from literary inspirations.
Alessandro di Mariano Filipepi, known as Sandro Botticelli, was an Italian Renaissance artist born in Florence in 1445 (Gebhart 9). One of his most famous and controversial paintings is the Primavera, although it wasn’t always that way. Vasari, one of his contemporaries, simply described the painting as “Venus with the Graces who cover her with flowers, representing Spring” (Gebhart
The Primavera can be viewed as a depiction of Neoplatonism as Marsilio Ficino was “the spiritual mentor of Botticelli 's patron at the time the 'Primavera ' was painted”, and they discussed the Neoplatonic conception of the classical Gods in their correspondences (Gombrich 7). To Botticelli’s patron, who is most likely a member of the Medici family- and probably Lorenzo di Pierfrancesco- Venus would have represented Humanitas, embracing Love and Charity, Dignity and Magnanimity, Liberality and Magnificence, Comeliness and Modesty, Charm and Splendour. Thus, to Lorenzo, Venus did not represent ust (Gombrich 17). Given the popular Neoplatonism of the Italian Renaissance, and the speculation that the painting was commissioned by Lorenzo, it is therefore highly likely that Botticelli represented Neoplatonic love in his
Galatea is one of Raphael’s frescos which was commissioned by Agostino Chigi in 1513. Raphael produced this fresco during the golden age of Rome under the rule of de Medici Pope. He created the scene based on Ovid’s Metamorphoses that telling the story about “Galatea’s escape from her rough lover” (“Session 14”). Raphael’s Galatea depicts the scene of mythology; similarly, Botticelli’s Birth of Venus is also a masterpiece which telling the mythological story about the birth of the goddess Venus. Birth of Venus is one of Botticelli’s paintings and was produced during 1484 to 1486.
At first glance, the pottery appears to be somewhat simple but it does have a unique appeal. The calm, innocent, and humble appearance while in a painful moment is unprecedented, and it was enough to let the viewer admire and fall in love with this sculpture and its meaning. The distinctive character of glazed terracotta is the smooth, bright, often polychrome cover that has largely contributed to the success of such artifacts, and which recalls, in its plastic compositions, the works by Verrocchio and Filippo Lippi. However, Giovanni‘s art in this sculpture is elegant, remarkable, and a mix of the sophisticated religious themes with antique mannerisms and with the monumental emphasis.
Dante, an Italian poet during the late middle ages, successfully parallels courtly love with Platonic love in both the La Vita Nuova and the Divine Comedy. Though following the common characteristics of a courtly love, Dante attempts to promote love by elevating it through the lenses of difference levels. Through his love affair with Beatrice, although Beatrice has died, he remains his love and prompts a state of godly love in Paradiso. Dante, aiming to promote the most ideal type of love, criticizes common lust while praises the godly love by comparing his state of mind before and after Beatrice’s death. PJ Klemp essay “Layers of love in Dante’s Vita Nuova” explains the origins of Dante’s love in Plato and Aristotle themes that designate
“Mars and Venus United by Love” by Paolo Veronese is done in the Renaissance style of painting. This is done in this style, because Poalo Veroneses was a Renaissance painter as well as his teacher Titan.
In the essay “Naturalism and the Venetian ‘Poesia’: Grafting, Metaphor, and Embodiment in Giorgione, Titian, and the Campagnolas,” Campbell explains the role of poetic painting, poesia, in Venetian artwork during the 1500s. Titian personally used the term poesia when he “[referred] to paintings he was making for [King Philip II] with subject matter derived from the ancient poets.” Poesia now refers to a type of sixteenth century Venetian painting, which Giorgione and Titian initiated and used within their works. Campbell’s main argument is that poesia is not simply aesthetic or reflective of poetry, but rather “grounded in the process of making – and in making meaning – rather than in an aesthetics of self-sufficiency or self-referentiality.” Like poetry, it is not self-contained; meaning lies outside of the work, within the interpretations of the viewers. He discusses the idea of grafting in poetry and how the same grafting model is utilized in the visual arts. Different images, such as pagan figures and contemporary figures and settings, are juxtaposed to create visual discordance and give an intrinsic meaning to the viewer. Campbell then uses many examples of writing, poetry, engravings, and paintings to explore his argument and the connections between artists during the 1500s.
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
Artemisia Gentileschi (1593 – 1652), daughter of a well-known Roman artist, was one of the first women to become recognized in her time for her work.. She was noted for being a genius in the world of art. But because she was displaying a talent thought to be exclusively for men, she was frowned upon. However by the time she turned seventeen she had created one of her best works. One of her more famous paintings was her stunning interpretation of Susanna and the Elders. This was all because of her father. He was an artist himself and he had trained her and introduced her to working artists of Rome, including Michelangelo Merisi da Caravaggio. 1. In an era when women artists were limited to painting portraits, she was the first to paint major historical and religious scenes. After her death, people seemed to forget about her. Her works of art were often mistaken for those of her fathers. An art historian on Artemisia, Mary D. Garrard notes that Artemisia “has suffered a scholarly neglect that is unthinkable for an artist of her caliber.” Renewed and long overdue interest in Artemisia recently has helped to recognize her as a talented renaissance painter and one of the world’s greatest female artists. She played a very important role in the renaissance.
Turner, Jane. "Bellini, Giovanni." The Dictionary of Art. Vol. 3. New York: Grove, 1996. 657-68. Print. This book provided a wealth of knowledge and information regarding everything involving the artist Giovanni Bellini. The information was extremely detailed and was used in writing both the biography and analyses.
I started watching movies of Al Pacino when I got serious enough about films. The first movie which I saw was ‘Scarface’. It really opened my eye as to what impact, communism could have on a young rebellious delinquent completely altering the course of his life. The movie was full of violence with overt drug and sexual indulgence, but the part which was really amusing is the caricature of the character. It is almost like a dynamite waiting to explode any second. The making of the character; truly symbolizes the personality of a Cuban revolutionist .His acting uncovered a craft which looked so unique and unrivalled. It is only then, that I started watching his films with more interest.
I choose to look at the painting “The Toilet of Venus” or more commonly referred to as “The Rokeby Venus” by Diego Velalazquez. The “Rokeby” part came into effect, because the painting was originally displayed in the Morritt Collection at Rokeby Hall in Yorkshire, before being moved to its current home in the National Gallery. Diego Velazquez was born in Seville in 1599, and went on to become one of the most brilliant and influential painters ever to come from Spain. He lived in Madrid for most of his adult life, and was employed as a court painter. Throughout his career, he tackled a wide variety of subjects, such as landscapes, scenes from real life, and mythological/religious figures. He was a master realist who excelled at capturing essential features upon the canvas. He painted “The Rokeby Venus” between 1647 and 1651, and was his only nude portrait, as well as the first one in Spain, at that time. Initially the painting met with some disapproval, especially from the Church, since it was a nude, but eventually the work received great praise, and became known, as being one of the most beautiful and significant portrayals of Venus in the history of Western Art.
The Birth of Venus by Sandro Botticelli depicts a moment from Venus birth when she stepping, almost floating, off the seashell that was blown ashore by Zephyors along with Chloris. Horae awaits Venus arrival to shore with a large red cloak to cover her naked body .Venus is the Roman goddess of love, sex, beauty, fertility, and prostitution. Venus is the Roman Aphrodite. Born of seafoam from a singled drop of blood in to the sea from the castration of her farther Uranus by his son Saturn.
Long, J.C., (2008). Botticelli’s Birth of Venus as wedding painting. Aurora, The Journal of the History of Art, 9, p.1. ISSN 1527-652X.
The main influences perceptible in this painting are those of Millet, Delacroix, and the Impressio...
As the seventeenth century began the Catholic Church was having a hard time bringing back the people who were swept away by the protestant reformation. The conflict between the protestant had a big influence on art. (Baroque Art) The church decided to appeal to the human emotion and feeling. They did so by introducing a style called Baroque. Baroque was first developed in Rome and it was dedicated to furthering the aims of Counter Reformation. Baroque was first used in Italy than later spread to the north. In this paper I will argue that the Italian Baroque pieces were more detailed and captured the personality of the figure, in contrast and comparison to Northern Baroque pieces that aimed to produce a sense of excitement and to move viewers in an emotional sense leaving them in awe. I will prove this by talking about the different artwork and pieces of Italian Baroque art versus Northern Baroque Art.
From its conception Baroque art, especially painting, has been designed to overwhelm and wow the viewer. Artistic devices of spatial illusion were developed during the Baroque in response to cultural anxieties occasioned by revolutionary scientific discoveries, revolutionary religious upheaval, and the new taste for virtuosic visual display. A spectacular painted phenomena, quadratura painting, make Baroque paintings seem to reach beyond their architectural limits into the viewer’s space. This trend of illusionistic painted surfaces begins early with Andrea Mantegna’s fresco Camera degli Sposi in 1465. With a di sotto in su, or “seen from below”, perspective the illusion of winged puttos, a peacock and some women lean out into what appears to be a third dimension. Viewers and painters alike grasped onto this illusionistic perspective in painting and ran with it. It was the Baroque era that really explored and perfected the techniques of illusionistic painting. From Mantegna to Pozzo and beyond, to this day illusionistic painting of the Baroque era still leaves viewers in awe.