Sandro Botticelli's The Birth Of Venus

During the Renaissance in Italy came the revival of many aspects of life and art. One major aspect was the return of mythology in art, for prior to Renaissance all art was reflection of the church. In this paper I explore the use of mythology, mainly Greek and Roman mythology, in renaissance art: why artists such as Botticelli used, what they symbolized and how the people viewed the art in context.

The Birth of Venus is a book based during the 15th century Renaissance time period, during a time where women had many restrictions set on them. In this book, art and history had a huge impact on the characters lives.

Peter Paul Rubens’ masterpiece, Venus and Adonis, is not only a significant artwork of the baroque-period in Europe during the seventeenth century, but it also tells the mythological story that begins with love, and ends in tragedy. Displayed in the Metropolitan Museum of Art, this painting is admired for representing the unique baroque-style of this era, as well as Rubens’ particular use of the medium and how it reaches those who are viewing it. His attention to detail and crafty use of symbolism within the painting assist viewers in deciphering the story, along with the values of the period in which Rubens was living. In studying the composition of the work and noting the historical context from which it came, one can ultimately

Botticelli was able to master these techniques due to being taught by another prominent Renaissance artist, Filippo Lippi. First, there is a lot of detail. For example, there are hundreds of different types of flowers and leaves in the meadow. Upon looking closely at the clothing of the different characters, one can see the immense detail used by Botticelli in the tassels and fabric of the clothing. Furthermore, the flower detail connecting Flora to Chloris is a small detail that has a deeper emblematic meaning. The standing positions of characters give off a vibe of elegance and grace to viewers; according to Dr. Harris an Art Historian from Khan Academy, "She (Venus) tilts her head to one side and holds up her drapery and motions with her hands and looks directly at us," (Harris). The position of Venus is very elegant and inviting to viewers. Also, Botticelli portrayed the subject matter in a naturalistic way, a common convention of the Renaissance. Botticelli paid attention to the canon of proportions or the standard for symmetry of the face and body as evidenced by the similarities between the La Primavera and other Renaissance paintings, all of which depict the standards of beauty of the time or what was ideal beauty. Formally speaking, Botticelli went against the conventions of the

Sandro Botticelli’s Venus and Mars is a tempera and oil painting on poplar panel, illustrating a scene from the classical mythology story of Venus and Mars, who are engaging in a love affair with each other. The painting was made during the Renaissance, around 1485. It’s dimensions are 69.2 × 173.4 cm and it is currently located at The National Gallery in London, room 58 (Nationalgallery.org.uk, n.d.)

The two works of art that I have chosen is the painting The Birth of Venus by Sandro Botticelli and the poem Stanze per la Giostra by Angelo Poliziano. The Birth of Venus was created between 1484 and 1486 by Sandro Botticelli. It was created in the early Renaissance period and is currently located in the Uffizi Gallery in Florence, Italy. Stanze per la Giostra was written between 1475 and 1478 by the Renaissance poet Angelo Poliziano. Its current location is the Metropolitan Museum of Art in New York, although it is currently not on display. The Birth of Venus and Stanze per la Giostra share many similarities as Stanze per la Giostra was Botticelli’s inspiration for creating The Birth of Venus. In The Birth of Venus, Botticelli has transformed Poliziano’s words into a beautiful work of art. These works of art share the theme of beauty. While Angelo Poliziano describes the beauty of the goddess Venus in his prose, Botticelli has captured her beauty with his delicate brush strokes. I will be comparing the theme of beauty between The Birth of Venus and Stanze per la Giostra as well as connecting it to contemporary standards of beauty.

I have chosen a famous oil on canvas painting: Venus and Cupid by Lorenzo Lotto made around the fifteenth and sixteenth century during the Italian Renaissance period. Overall, this piece is extremely intriguing to me, I cannot imagine how the artist created it with such detail and precision. Overall, this painting has this happy and positive mood, but it is also makes me curious as to what this painting is about. It also gives me this feeling to smile for Cupid and Venus in the painting, rather than with them, as there faces are conveyed as being happy together. Its colors similarly, just like the overall painting, has this beautiful bright and cheery color that seem to suit Venus and Cupid well.

The visual work I have chosen is the Bith of Venus and is one of the world’s most famous works of art. Painted by Sandro Botticelli between 1482 and 1485, it is the first example of painting on canvas. The written work I have chosen is the Stanze per la Giostra. It was written by Angelo Poliziano, written between 1475-8. Both works are examples from the Italian Renaissance era, during the Medici rule, and share the theme of beauty and humanism. The works I've selected share the same subject matter, Venus, and is the perfect example of beauty and humanism. She is the epitome of beauty and her birth from the sea is an example of her metamorphosis of humanism. For this paper, I will compare both works then discuss how the shared theme is seen in contemporary works. How does Venus and her beautiful metamorphosis fit into contemporary forms of beauty and humanism?

From Pollaiuolo creator of the engraving Battle of the Nudes to Michelangelo's David the human form was not about reality but idealism the ultimate portrayal of God's ultimate creation. This perfected view of the human form can also be seen later in Da Vinci's Vitruvian Man and Michelangelo's muscular figures whether male or female. Humanism’s affects did not stop there. The topics of paintings also began to change. Botticelli’s Primavera and The Birth of Venus depict this change clearly. Both show mythological themes. The focus on these themes inspired Raphael and Titan to develop their famous pieces as the early Renaissance became the High Renaissance. From here interesting occurrences began to evolve. Humanism itself develops a new school of thought known as Neo-Platonism; an idea that mixes ancient philosophy and Christian truth. For example, the reaction to Botticelli's creations was that of others trying to find a religious meaning within the mythological topic. Slowly however, even this will fade as the Mannerist style develops. Along with the movement toward secular and eventually erotic portrayals of art the artist began to enjoy a new status. Duke explains that they became “practitioners of the high-status liberal arts” someone to be sought after, someone to study and someone to stand in awe of. Humanism’s affect spread north but there

Diego Velazquez was the leading figure during the era of Spanish Baroque art. He surpassed other skilled artists in genre and portrait paintings to gain a place in King Philip the IV’s Spanish Court. During the time of Philip IV’s ruling (1605-1665) Spain was a strong advocate for Catholic counter-reformation art in a desire to halt the spread of Protestantism. As a result of Spain’s support for this approach to art, Spanish artwork at this time was massively influenced by religious themes. The Spanish Inquisition rigorously censored art and issued a policy strongly discouraging the practice of painting the female nude, unless painted for royalty or other leading officials in the Spanish Court. Fortunately, Velazquez’s appointment into the royal court allowed him to escape the censorship and produce The Rokeby Venus for Gasper Mendez, a close associate of King Philip IV. Completed during Velazquez’s second visit to Italy in 1648-53, The Rokeby Venus is the only surviving nude by the artist.

The Birth of Venus is a beautiful Renaissance canvas masterpiece created by Sandro Botticello. The picture illustrates the birth of Venus in a very mystical way. Venus has emerged from sea on a shell which is being driven to shore by flying wind-gods. She is surrounded by beautiful roses which are painted in a truly remarkable color. As she is about to step to land, one of the Hours hands her a purple cloak. The back drop includes the sea and a forest. The overall effect of this painting are almost overwhelming, color and beauty meet the eye in every angle.

This essay seeks to provide an analytical description of Sandro Botticelli’s Venus and Mars, which is a tempera and oil painting on poplar panel illustrating a scene from the classical mythology story of Venus’ and Mars’ love affair. The painting was made during the Renaissance, around 1485. Its dimensions are 69.2 × 173.4 cm and it is currently located at The National Gallery in London (Nationalgallery.org.uk, n.d.). The painting shows Venus (goddess of love) and Mars (god of war) as a young man and woman, having just engaged in a love affair with each other and now resting on a grassy field facing each other, surrounded by 4 infant satyrs.

The Birth of Venus the audience sees the Goddess Venus the moment she is born from the sea

Throughout time art have been perfected, by using detailed in the areas of shading and defining the human body. This is present in the Renaissance and even more noticeable in The Baroque eras, but there are differences in the eras along with similarities. To understand the differences and similarities of the two eras by using two painting from both eras. The painting that will represent the Renaissance era is The Birth of Venus painted by Sandro Botticelli. The Baroque era will be represented by Allegory of Victory painted by Louis Le Nain.

Also known by the titles "Venus, Cupid, Folly, and Time" and "A Triumph of Venus", this painting was on purpose designed as a complex, erotic allegory that includes an extent of iconographic symbols from the ancient world of mythology. It was a present from Cosimo de Medici to King Francis I of France. Being rich and vivid in symbolism relating to the constituting ideas of the High Renaissance, the painting gives Bronzino the opportunity to establish his maestro figure painting and portrait art. Through personification of qualities and varying contrast and brightness, Bronzino is able to justify that personal gains outweigh anything and everything that is moral.