Abstract This paper examines Sandro Botticelli's life and influences on his painting. First, the writer gives a brief biography of Botticelli's life, citing the major philosophical and artistic influences that affected his art. Next, some of Botticelli's works are described with an emphasis on his personal style and subject matter. In particular, the paper cites the influence of Neo-Platonic philosophy on his works and the concept that there is an ideal world as opposed to the ordinary world of common reality.
Outline:
Introduction
Brief Biography and Influences
Influences, Style and Art
From the Paper "In more philosophical and theoretical terms one of the major influences on his life and work was that of Christian Neo-Platonism. This was a theory or view that attempted to, "...reconcile classical and Christian views," and was to have a profound influence on the subject matter of his works, as well as on his style. (Sandro Botticelli: 1445 - 1510) The Christian Neo-Platonic attempt to bring together these different views of life and reality can be seen in famous works like Birth of Venus. In other words, this was an attempt to bring together Christian and pagan subjects and styles."
Abstract This paper looks at the life of Botticelli's, his work and Renaissance Neoplatonism. It describes in detail three of Botticelli's Neoplatonic paintings: "The Birth of Venus", "Pallas and the Centaur" and "Primavera". It describes their origins and how Botticelli interpreted the pagan themes with a hint of Christianity thrown in, which was the hallmark of Neoplatonism.
From the Paper "Born Alessandro di Mariano Filipepi in Florence, Italy in the working class rione of Ognisanti, Sandro Botticelli was an Italian painter of the Florentine school during the Early Renaissance Quattrocentro. Botticelli Sandro Botticelli was first apprenticed ..."
Abstract In this article, the writer discusses the artist Sandro Botticelli and looks at his most famous work 'The Birth of Venus'. The writer discusses various influences on the work of Botticelli and points out that he combined ideas of mythology with Christian concepts in his painting. The writer notes that the 'Birth of Venus' is believed to be inspired by the Homeric Hymns and Ovid. Furthermore, the writer discusses that in the painting itself, Venus is loosely correlated to the Virgin Mary, while Zephyr and Aura are represented as angels and the nymph Hora, who welcomes Venus, suggests the relationship of St. John to the savior. The writer concludes by pointing out that Botticelli's later works focus on more Christian subjects with traditional themes.
From the Paper "In his art, Botticelli was truly a Florentine of his time as he spent his whole life there minus one year in Rome where he worked on the Sistine Chapel. Furthermore, the subject matter of his art was influenced by the social and philosophical atmosphere established in Florence by the famous Medici family. Botticelli benefited by a close relationship with that family at the height of their influence on the social and political atmosphere of Florence. Several of his works were painted either directly for the Medici family such as portraits or indirectly through commissions that the Medici family controlled. Without a doubt, Botticelli was a favorite in the family and had access to other artists and thinkers gathered around the family."
Abstract This paper discusses Sandro Botticelli, who was an important artist during the period of the Italian Renaissance. The paper discusses the history of Botticelli's works and his rise to fame. It looks at the styles that he used and the themes that he tended to paint (often religious). It then describes his recognition as a portraitist. Finally, the paper discusses some of the other artists that Botticelli worked with.
From the Paper "Most of Botticelli's life was spent in Florence, at his workshop. However, during 1481 and 1482 he agreed to cooperate with Perugino, Ghirlandaio and Rosselli to paint frescoes in the Sistine Chapel. The themes that he chose were inspired by both the Old and the New Testament and were called: "The trials of Moses", "The temptation of Christ" and "The punishment of Korah, Dathan and Abiram". Initially, the painters were given the assignment to create sample frescoes which were to be evaluated. On the basis of the evaluation, they were to be employed or not. However, their talent was rapidly acknowledged and they were commissioned to continue the work without any other testing. The individual scenes constitute a whole because they comprise typological references to one another. They present Moses as prefiguring Christ. We must mention, however, that, only after Michelangelo's later work (1508-1512) did the Chapel become famous."
Abstract "Mars and Venus" by Sandro Botticelli is a typical example of the art of the Early Italian Renaissance. The writer explains how the painting depicts the relaxed goddess of love, Venus, looking over the sleeping form of Mars, the god of war, showing the power of love to conquer violence and war. It points out that "Mars and Venus" falls neatly within the themes of the Italian Renaissance, which focused on the classical works of both Greek and Roman material. The painting also illustrates Botticelli's ability to capture muted skin tones and create a fantastic and dreamlike atmosphere.
From the Paper "Born Alessandro di Mariano Filipepi in 1445 in Florence, Italy, Sandro Botticelli became one of the most noted artists of the Early Italian Renaissance. Botticelli was known for his commissions for major churches in Florence, as well as his famed wall frescos on the Sistine Chapel of the Vatican in Rome. He painted a number of famed religious paintings, including "The Adoration of the Magi", "Madonna of the Pomegranate", "The Cestello Annunciation", as well as a number of paintings that depicted Roman and Greek legends, including "Primavera", "The Birth of Venus", "Mars and Venus" (WebMuseum)."
Abstract This paper is a summarization of the training, background, artistic influences, social context, and religious affiliations of Sandro Botticelli, Italian painter and draftsman, as presented by the "Oxford Art Online" summary. The paper also discusses how these factors played their role in the development of the art of Botticelli.
From the Paper "Many factors played a part in the style and rendering of Botticelli's art. Much of his work had a direct correlation with his teaching, philosophy, society, religion and political influences during his career. Botticelli's concept of what was "creation" and the influence of his teacher was evidenced in his earliest work. Soon his art began to evolve into a more distinguished and abstracted style. Yet, Botticelli utilized the same methods of painting throughout his career. Much of his methods were similar to other Italian artists of the time with the exception of his utilization of black ink and wash applied after the foundation colors were laid down. This process reset the contours and gave the human form mass by modeling the light and shadows. Botticelli would then apply the finest pigments in opaque layers known as scumbles."
Abstract The paper examines the Savonarolan iconography in the "Mystic Nativity" painting by Allesandro Botticelli in order to provide evidence for the influence of Savonarola's preaching, beliefs and political influences on Botticelli's artwork during the time of Savonarola's authority over Florence and her people.
From the Paper "Allesandro Botticelli painted the Mystic Nativity during the beginning of the 1500s in Florence, most likely for a private patron and follower of the fanatical Dominican Friar, Savonarola. The Mystic Nativity, named for its mysterious symbolism is tempera on canvas measuring 108.6 x 74.9 cm and is currently located in the National Gallery, London. Although there are many interpretations of the iconography included in this nativity scene, the majority of the interpretations diverge primarily into two lines of thought. One such line of thought confidentially believes that the Dominican Friar, Savonarola had an enormous impact on Botticelli's later paintings including such artistic works as the Mystic Nativity and the Mystic Crucifixion due to the Savonarolan beliefs, preaching, and political influences of the Dominican Friar. Another line of thought belongs to those who identify the iconography with the other symbols of Botticelli's time and the city of Florence during the late 1400s until the early 1500s where Botticelli painted the Mystic Nativity."
Abstract This paper examines the sublime quality of Botticelli's painting "Birth of Venus". The paper provides a summary of the artist's life in 16th century Italy. The author writes that the theme of the painting is the goddess of love, which is universally understood for all humanity throughout time. The paper continues to describe the imperfects of the masterpiece, which creates an elevated design of Venus's figure.
From the Paper "Botticelli's works are some of the most enduring masterpieces today. While many of the old masters? works struggle for relevance into today's changed times, Botticelli's works have actually gained understanding and critical acclaim as the centuries progressed.
"Sandro Botticelli was born Alessandro di Mariano di Vanni Filipepi in either 1444 or 1445."
Abstract This paper discusses the legacy of Sandro Botticelli, known as one of the best and most spiritually enlightened of the Neo-Platonic Renaissance painters who was eventually hired by the Pope to work on the Sistine Chapel. He was born to an artisan-class family of tanners where his artistic tempermant was ignored and started his working career as a goldsmith until he received his first apprenticeship as an artist. Eventually he rose to fame, gained more commissions, both creating panels and the like for rich merchant families and frescoes and other church decorations. He became known for his dreamy and melancholic mythic religiousity and implications of human form and feature and ranked among the greatest of the allegorical and mystical painters of his time.
From the Paper "Sandro's original apprenticeship as an artist was under the legendary Fra Filippo Lippi. In many ways this was a fortunate choice in masters; Botticelli's mystical and dreamy nature fit well with Lippi's penchant for the ideal and devotional. An apprenticeship in one of the more modern, naturalistic studios might have created a far different Sandro Botticelli, or hidden his actual talent. (Botticelli, 13) Lippi's influence is obvious in most of his student's early work, to such a degree that most of the earliest Botticelli paintings are virtually recreations of Lippi pieces, keeping content and design and scene in common while changing method and form ever so slightly. The resemblance between Botticelli's Madonna Guidi and Lippi's Madonna and Child with Angel is far from accidental."
Abstract This paper examines the life and paintings of Sandro Botticelli. It portrays the life of the great Italian Renaissance artist who created the masterpiece "Birth of Venus". The paper analyzes this piece of art and provides its critical reviews throughout time. The author illustrates the intellectual environment of the artist's time, including paganism, theology, and the classical world.
From the Paper "One of the most important artists to emerge from the early Renaissance and late medieval period in Florence, Italy was Sandro Botticelli. The Renaissance period in Italy and particular in Florence marked an era where for the first time there was a flowering of interest in the pagan, classical era of early Greece and Rome. Botticelli's "Birth of Venus" and "Primavera" paintings emerged quite early from this growing syncretism of medieval and classical interests. They were to become emblematic of a new period of interest in the human form and the human condition, as it might be expressed outside of the narrative constraints of Biblical and iconic art. However, as documented quite poignantly in The Bullfinch Guide to Art History, with the emergence of the High Renaissance style of specific, quite anatomically accurate art at the turn of the 16th century, this artist fell out of fashion. He died in obscurity and was ?only returned to his position as one of the best-loved quattrocento painters through the interest of Ruskin and the Pre-Raphaelites.? (West The Bullfinch Guide to Art History)"
Abstract "Primavera" by Botticelli - intriguing because of its portrayal of a mythological scene, beautiful because of its master's dedication - is without a doubt a masterpiece. The importance of the painting in its time period and Botticelli's scrutinizing attention to detail make the "Primavera" a truly remarkable work. This paper takes a close look at at the painting. It discusses the 500 different types of plants identified in the painting and their association to mythological figures. The paper also looks at the reason why "Primavera" is considered a painting which is not typical of its time.
From the Paper "Due to its representation of mythological figures and scenes, it might be initially difficult to discern the time period of the Primavera. Executed in a time of paintings of saints and countless reproductions of Madonna and Child scenes, the Primavera definitely stands out, and appears out of keeping with contemporary visions. The clues to its time period are subtle. Venus is clothed in heavy, colorful robes, and the hair of the Graces are beaded with pearls, both styles of dress unique to the Early Renaissance. Also typical of the Early Renaissance is the attempt to achieve "anatomically correct, but idealized figures"perfected generic types? (Stokstad 643). The full return to Classical proportions had not yet occurred, but the artists of Botticelli's time were looking toward an ideal in human anatomy, and this can be seen upon close examination of the female figures in the painting. From the Graces to Chloris, all six females in the work have generally the same body type, if not exactly the same, and their faces also hold relatively the same features."
Abstract In this article, the writer discusses that the "Birth of Venus" by Sandro Botticelli is an important work in the study of art. The writer notes that this late-15th century painting reflects the struggle many Italian artists felt between the great history and traditions of their land, and the strong influence of the Catholic church. The writer points out that both of these influences are present in the "Birth of Venus", even though the painting depicts a pagan theme. The writer concludes that at a time when many pagan works of art were destroyed, including Botticelli pieces, the "Birth of Venus" was somehow spared.
Outline:
Birth of Venus: Specifications
Iconography and Meaning
Style
Historical Context
Conclusion
From the Paper "Botticelli's depiction of the water on which Venus rides could be described as iconography. While Botticelli paints complex and accurate human figures, the water is very simple; it is a blue field with some lines representing waves, and it looks almost like a blue carpet. When we compare that to how water is often represented in other works of art as a powerful, and sometime dangerous, force, we can conclude that Botticelli made the sea simple for a reason."
"In Roman mythology, the gods had the power to control nature, so it would have been inappropriate for Venus to ride to shore on large and dangerous waves. Botticelli made the water simple, calm and flat to show how it could be completely tamed by the gods."
This paper compares three writers and their definitions of "decadence" in art. It talks about Botticelli's Birth of Venus, the Mona Lisa and how some view them as sick and diseased.
Abstract This paper was written for a class about decadence in art and discusses Richard Gilman (author of "Decadence: The Strange Life of an Epithet"), Arthur Symon (author of "The Decadent Movement in Literature") and Walter Pater (author of "The Renaissance"). These three authors have differing views on women in artwork including pictures of the Madonna and Christ child, the Mona Lisa and Botticelli's Birth of Venus.
From the Paper "The most important word used to describe Pater's The Renaissance is "diseased". Symons and Gilman refer repeatedly to the word in describing decadence. "Diseased" is not only the condition of an ill person but also can be the spiritual condition of the mind of a person who sees death and disease in a piece of artwork that most others see as beautiful. Society might construe this deviation from the normal as unhealthy, because, on the whole, society regards anything different from itself as abnormal and thus diseased and in need of being "cured."
Abstract This is an in-depth analysis of Sandro Botticelli's painting "The Mystical Nativity" (1500). It includes an analysis of the aesthetic, symbolic, and formal elements of the painting, as well as a short biography of the painter and a section on the theological implications of the painting. As a traditional Christian theme, the nativity is one of the most popular. This radical reinterpretation, however, combines symbolism from Revelation with the scene of the first coming of the messiah, creating a dynamic image. The style is a throwback to medieval formalism, and the distorted figures are a reference to a holier time, perhaps influenced by the resurgence of medieval ideology in the person of Savonarola, whose ideas heavily influenced this painting. The paper can serve as a demonstration of understanding of Renaissance religious symbolism, or as a deep analysis of a single work of art from the quattrocento.
