2. Themes:
Classical mythology
Nature (Botany)
Spring (The Weather)
Marriage
Love (Platonic)
Re-birth (Renaissance)
Poetry
Sunday, 6 March 2011
3. Composition
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
4. Composition
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
5. Composition
The Primavera by Botticelli, c.1482
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6. Composition
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
7. Composition
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
8. Composition
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
9. Composition
The Primavera by Botticelli, c.1482
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10. Composition
The Primavera by Botticelli, c.1482
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11. Composition
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
12. Composition
male
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
13. Composition
male male
The Primavera by Botticelli, c.1482
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14. Composition
female
male male
The Primavera by Botticelli, c.1482
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15. Composition
female female
male male
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
16. Composition
female female
male male
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
17. Composition
female female
male male
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
18. Composition
female female
male male
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
19. Composition
female female
male male
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
20. Composition
female female
male male
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
21. Composition
Technique:
female female
balance male male
order
harmony
framing
rhythm
control
structure
symmetry
repetition
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
22. Composition
Technique: Effects:
female female
balance male male
flowing
order sinuous
harmony serpentine
framing gentle
rhythm graceful
control delicate
structure vibrant
symmetry mysterious
repetition idealised
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
23. The Gaze
The Primavera by Botticelli, c.1482
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24. The Gaze
The Primavera by Botticelli, c.1482
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25. The Gaze
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
26. The Gaze
The Primavera by Botticelli, c.1482
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27. The Gaze
The Primavera by Botticelli, c.1482
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28. The Gaze
The Primavera by Botticelli, c.1482
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29. The Gaze
The Primavera by Botticelli, c.1482
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30. The Gaze
?
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
31. The Gaze
?
?
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
32. Allegory:
An allegory is a device used to present an idea, principle or meaning,
which can be presented in literary form, such as a poem or novel, or in
visual form, such as in painting or sculpture. Allegory communicates its
message by means of symbolic figures, actions or symbolic representation.
Sunday, 6 March 2011
33. Allegory
The Primavera by Botticelli, c.1482
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34. Allegory
Zephyrus
The Primavera by Botticelli, c.1482
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35. Allegory
Zephyrus
Chloris
The Primavera by Botticelli, c.1482
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36. Allegory
Zephyrus
Flora
Chloris
The Primavera by Botticelli, c.1482
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37. Allegory
The Graces Zephyrus
Flora
Chloris
The Primavera by Botticelli, c.1482
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38. Allegory
Mercury
The Graces Zephyrus
Flora
Chloris
The Primavera by Botticelli, c.1482
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39. Allegory
Cupid
Mercury
The Graces Zephyrus
Flora
Chloris
The Primavera by Botticelli, c.1482
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40. Allegory
Cupid
Mercury
The Graces Venus Zephyrus
Flora
Chloris
The Primavera by Botticelli, c.1482
Sunday, 6 March 2011
41. Platonic Love:
The term amor platonicus was coined as early as the 15th century
by the Florentine scholar Marsilio Ficino. Platonic love in this original
sense of the term is examined in Plato's dialogue the Symposium, which
has as its topic the subject of love or Eros generally. With genuine
platonic love, the beautiful or lovely other person inspires the mind and
the soul and directs one's attention to spiritual things. One proceeds
from recognition of the beauty of another to appreciation of beauty as
it exists apart from any individual, to consideration of divinity, the
source of beauty, to love of divinity.
Sunday, 6 March 2011
42. The Birth of Venus by Botticelli, c.1486
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43. Patronage:
Along with Da Vinci and Michelangelo, Botticelli was supported by Lorenzo de’Medici, a member
of the ruling family of fifteenth century Florence, Italy. Lorenzo, while a poor business man was
successful at promoting the arts and philosophical learning. He secured patrons for his favoured
artists; he supported Neoplatonic debate that fuelled the development of humanism. Lorenzo’s
humanistic influence in Botticelli’s work can be seen in the neopagan themes in his most famous
paintings, The Birth of Venus and Primavera. A few of his earlier religious works include members
of the Medici clan-- for example, portraits of Cosimo, Giovanni and Giuliano de’ Medici appear
in the Adoration of the Magi.
Pope Sixtus IV was briefly a patron of Botticelli. Sixtus IV summoned him to work on the Sistine
Chapel. Scenes from the Life of Moses is one of the frescos he painted on the north and south
walls of the chapel. His paintings in the Sistine Chapel did not achieve the fame of those
completed by Michelangelo, and in fact are not considered some of his best work.
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