Renaissance

= =  Florence and Milan =**Leonardo da vinci**=



=Botticelli’s style is a development in Naturalism which came to fruition in Leonardo da Vinci’s work.= His decorative linear style was a through back to Medieval Byzantine. The effect was heightened attention to the detail of nature. Similar to Byzantine, Botticelli slightly elongated the human body to maximize harmony and balance in the composition and heighten a sense of beauty (for example, Venus). Botticelli includes Classical narratives as well as Christian. In some parts of his painting he combines the two together. Re-discovering the Classical philosophies through Greek and Roman myths became very fashionable in Renaissance Italy. .(Large sums were paid for copies of Greek manuscripts). The knowledge that came with Greek mythology began to integrate into Renaissance culture and society (Humanism, Neo-Platonism).

Originated in Ancient Greece. Personified abstract ideas (personification)…. The Greek word //allegoria // means ‘speaking otherwise’ or describing something in terms of something else. =Botticelli “Primavera – Spring” (1482)=
 * Allegory: ** A story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one.

There is some confusion over what motivated Botticelli to paint Primavera. The following, however, did occur: - Lorenzo de’ Medici (Lorenzo the Magnificent) wanted to obtain some mining rights and later, once he had, forged a relationship with another mining family through marriage - Lorenzo’s de’ Medici’s cousin, Lorenzo di Piefrancesco de Medici married Semipamide Appiani. (spring wedding in May) It is thought, that this promoted Botticelli’s “Primavera;” the painting later was listed Lorenzo’ di Pierfrancesco’s inventory and it hung in the master bedroom. He was made ambassador to the Pope by his cousin. When the Medici’s fell frm power, Pierfrancesco took a new name: “Popolano” (after the ‘populist party’ and died in 1503 (age 40).

The painting was first described by Georgio Vassari in the 16th C: ‘Venus, adorned with garlands by the Graces, announces the Spring.”

In the 17th and 18th Century it was called “The Garden of Hesperides,” a myth where golden apples grew in the garden and were guarded by a dragon and by Hesperides, daughter of Titan Atlas. This is a widely disputed reference as there is no dragon in the painting. -Fertility and Spring (referencing wedding) - Hidden illusions to name of bridegroom 1. on the right are laurel trees = the Latin name of Laural is Laurus. Contemporaries would have heard the word Laurentius, which is the Latin word for Lorenzo. 2. Venu’s golden apples are painted as oranges, known in antiquity as the ‘health fruit:’’ medica mala, which is similar to Medici.
 * Symbols:**
 * __Medici__**

The educated public enjoyed these illusions. 19th C art historians have suggested (but not supported) that known Medici family and friends could be identified in the faces of Botticelli’s figures.

Keeps watch, sheltering the garden from threatening clouds with his wand. Contemporary (Renaissance) symbolism saw an upward gaze as a sign of relations to the beyond (spiritual realm), this links to Mercury as a messenger between humans and Gods. Mercury’s day in the Roman calendar was the 15th of May (Spring). Red represents - power Has his back to the other women - balances out male on other side He protects the fruit - seeds represents fertility, and is the male who represents fertility. Roman poet Ovid (43BC-18AD) recorded the story in the Nymphs own voice: //“Zephyrus caught sight of me, I avoided him, he followed, I took flight; he was the stronger…”// After the rape there is a happy ending. Zephyrus marries her and turns her nito the Goddess of Flora. It is Botticelli’s own invention to suggest flowers came from the nymphs mouth when she cried out for help. Botticelli likely learnt about the Greek myth from lectures by Poliziano (a poet commissioned by the Medici family in 1481. Poliziano coinded the famous saying //“Athens lies not in ruins, but brought her scholars, mice and men to set up house in Florence.”// Nature was discovered during the Renaissance, Botanists identified specifies of Flora and botany was an academic subject at Universities. It is like a celebration of a spring fesival - why they are all dancing The following plants appear in “Primavera” and all flower in Tuscany in the month of May: - Forget me not - Hyacinth - Iris - Periwinkle - Pheasants eye - Anemore Around Godess of Flora’s neck is a wreath of myrtle, wild roses are in her dress and in her hair are violets and a sprig of wild strawberries.
 * __God of Mercury:__**
 * __Zephyrus pursues the nymph Chloris.__**
 * clothes look like they are being pulled away by Zephryus (see through clothing makes her vulnerable / Zephyrus is dark)**
 * Goddess of Flora, her purity was stolen and so she spreads flowers for new life**
 * Chloris reaches to Goddess of Flora, nymph (flowers in her mouth) suggests she is transforming (seems also like a gag)**
 * __Nature:__**

The nature in the painting links to the fashion of having a country home outside of Florence. Botticelli bought a house in a small village near Careggi with the help of his brother and nephew.

In the center and framed by branches of trees (like a halo) = referencing Virgin Mary (her pose and clothing are also more in keeping with Virgin Mary rather than a goddess. She wears robes of a married women and a bonnet with a veil.). The role of Venus: = She informed the ideal of women hood in 15th C Italy. - Women drive out of men’s hearts all worry, sadness - Inspire man’s minds to great things.
 * __Venus:__**
 * 1) To be light hearted, adulterous, her son – Cupid (Blind folded) has blindly excited passion with his burning arrow.
 * 2) Harmony, balance and proportion (Idealized beauty).

her centrality in the paiting symbolises harmony and balance and proportion

Her tummy (bump) could link to virgin mary and fertiltiy.

Hair was only let down by young girls; it was thought to be a weapon of a seductress. The 3 graces show fashions of hair styles in Renaissance Florence.
 * __Beauty:__**

Venus’s feet are showing, this was very unfashionable for a Florentine married women to do so. Her shawl is also draped with little regard symmetry, rather it is placed in an antique (classical) manner (asymmetrical). She was also unnaturally tall.

15th Century Fashion (beauty) is evident in: - Eyebrows have gentle curves - Foreheads no longer high and shaved like Medieval but broad - Rounded, slightly protruding belly, - Beauty of hands placed against background of dress (evident in Venus) - Pale, tall (slightly elongated)
 * Botticelli works in a distinctive manner**
 * = he incorporates ideas (some veiled, some self-evident),**
 * = he encourages his viewers to think**

Beauty was linked to intelligence.

Botticelli “The Birth of Venus” (c.1486)
 * Theoretical trends include:**
 * = combining classical philosophy (ideas) with Christian ideas, e.g. Venus is similar to how the Virgin Mary is depicted in Renaissance art.**

Botticelli “The Birth of Venus” (c.1486)

Botticelli’s Venus was the first female nude for 1000 years. Previously the female nude was considered to be an incarnation of sinful lust. At best a female nude was Eve, punished. In 1430 Donatello made the first male nude: “David” (sculpture). The 50 years between Donatello and Botticelli illustrates the weight of Christian beliefs in the society, almost all art at the time had a Christian focus. The Renaissance rediscovered beauty of the human body.

Aphrodite was the Greek Goddess of beauty and love, (the Romans called her Venus). She was held in high regard by the Greeks but with rise of Christianiy she fell from Grace (she was seen sinful and lustful). She was reborn in Renaissance Florence. It is thought that wherever the goddess of Love is, roses fall from the sky. Where her foot first landed on land sprang the first rose bush. Pale red roses are wound round the waist of the girl waiting to revive Venus **(possibly 1 of the 3 Graces) or 1 of the 3 Horae (seasons),** (spring = cornflowers on her dress; spring was the time of the year that Venus restored love and beauty after winter). During the battle of gods, Cronios defeats and castrates his father, Uranus (the heaven). His seeds flow into the sea, the union of water and heaven create the birth of Venus. Her birth was considered a sacred mystery (a cult formed around it) = symbolized by the purple gown held ready for her. The gown symbolizes a border between two regions (newly born and the dead are wrapped in cloth).
 * __Venus:__**

The **sea shell** (like water) symbolizes fertility and resembles female genital organs. It therefore represents pleasure and sexuality.


 * Zephyrus** – god of wind has his companion **Chloris** (rapped by Zephyrus and turned into goddess of flowers) wrapped around him and on blows a breath of sprint into the land. He also blows Venus up onto land.

The influence is visible in the weight of Venus (leaning on one leg) and the ideal beauty (for example seen in Greek sculptures by Polyclitus and Praxiteles). The ideal beauty is evident in the equal measurements between the breasts and between the navel and crotch.
 * __Influences:__**
 * Greek and Roman Sculptures / statues.**

One possible link is Lorenzo the Magnficant and his brother Giuliano commissioned the painting as a homage to Simonelta Vespucci (wife of a Florentine merchant) who was known as “Queen of Beauty” at a tournament organized by Giuliano in 1475. People concluded the nature of their relationship was romantic. She was born at Porto Venere (Port Venus) so it is said that Venus bears her features.
 * __Link to contemporaries:__**
 * Medici:** It is assumed the painting (all four) were commissioned for the villa owned by Lorenzo di Pier Francesco (but the birth of Venus does not appear in the recently discovered inventory). The painting did officially later enter ownership of the Medici’s but it is not known how.

Botticelli’s up bringing would not have exposed him to the Classics (i.e. in the books in his home or in his education). His knowledge of the Classics would most likely have come from relationships he formed with the intellectual elite of Florence who had gone about re-discovering the classics. Botticelli collaborated with humanist and poet **Angelo Poliziano** (1454-1494) e.g. he decorated a jousting banner for Guiliano de Medici with allegorical motifs devised by the scholar in a poem for the same tournament. Poliziano describes the birth of Venus similar to the way Botticelli portrays it in his painting.

Roses were also associated with the Virgin Mary. Over lapping of classical and middle ages makes for ambivalent symbolism.
 * Linking Christianity and Classical Antiquity:**

Botticelli also possibly collaborated with **Marsilio Ficino** (1433-1499), whose life work was to link Christianity with Classical myths. “Celestial Venus” represented = humanity, charity, love and her beauty let mortals to heaven.

Both Poliziano and Ficino’s ideas were entrenched in Renaissance society so Botticelli could portray naked Venus in good conscience.

Waves, branches of oranges, roses floating to earth, ripples on the sea, robes on different figures all show movement. Movement symbolizes the expression of life and natural energy in re-discovered Roman statues. The Renaissance valued this idea.
 * Alberti’s** advice to Botticelli was to show Zephyrus bellowing down to emphasize the graceful fluttering of robes in the breeze and flowing curls of hair …. //“ in flowing curls which appear to form rings, or to surge like flames into the sky, or to be intertwined like snake.”//