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There are differences to Botticelli's usual technique, working on panel supports, such as the lack of a green first layer under the flesh areas. The laurel trees at right and laurel wreath worn by the Hora are punning references to the name "Lorenzo", though it is uncertain whether Lorenzo il Magnifico , the effective ruler of Florence, or his young cousin Lorenzo di Pierfrancesco is meant. Plato further argued that contemplation of physical beauty allowed the mind to better understand spiritual beauty. She is one of the three Horae or Hours, Greek minor goddesses of the seasons and of other divisions of time, and attendants of Venus.

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Various interpretations of the painting rely on this origin for its meaning. Gombrich , "Botticelli's Mythologies. The composition, with a central nude figure, and one to the side with an arm raised above the head of the first, and winged beings in attendance, would have reminded its Renaissance viewers of the traditional iconography of the Baptism of Christ , marking the start of his ministry on earth. The iconography of The Birth of Venus is similar to a description of a relief of the event in Poliziano's poem the Stanze per la giostra , commemorating a Medici joust in , which may also have influenced Botticelli, although there are many differences. This life-sized work depicts a similar figure and pose, partially clad in a light blouse, and contrasted against a plain dark background. It is in the Galleria Sabauda in Turin. In the case of Botticelli's Birth of Venus , the suggested references to Lorenzo, supported by other internal indicators such as the stand of laurel bushes at the right, would have been just the sort of thing erudite Florentine humanists would have appreciated.

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In a similar way, the scene shows here marks the start of Venus's ministry of love, whether in a simple sense, or the expanded meaning of Renaissance Neoplatonism. Accordingly, by overt implication, Lorenzo becomes the new Alexander the Great with an implied link to both Augustus, the first Roman emperor, and even to Florence's legendary founder, Caesar himself. Retrieved from " https. Canvas was increasing in popularity, perhaps especially for secular paintings for country villas, which were decorated more simply, cheaply and cheerfully than those for city palazzi , being designed for pleasure more than ostentatious entertainment. Images of Love and Spring, Munich, , 82— Once again, Botticelli, in his version of the Birth of Venus, might be seen as completing the task begun by his ancient predecessor Apelles, even surpassing him. Venus' body is anatomically improbable, with elongated neck and torso.

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Description: Simonetta was possibly born in the Ligurian seaside town of Portovenere 'the port of Venus'. Although it now seems that the painting was executed for another member of the Medici family, it likely was intended to celebrate and flatter its head, Lorenzo de' Medici. The painter and the humanist scholars who probably advised him would have recalled that Pliny the Elder had mentioned a lost masterpiece of the celebrated ancient Greek painter, Apelles , representing Venus Anadyomene Venus Rising from the Sea. Here one hand is raised, pointing to heaven for justification, and the figure's gaze also looks upwards. the whole effect is very different. The inventory was only published in , and made many previous assumptions invalid. Most art historians agree, however, that the Birth does not require complex analysis to decode its meaning, in the way that the Primavera probably does. More recently, questions have arisen about Neoplatonism as the dominant intellectual system of late 15th-century Florence, [30] and scholars have indicated that there might be other ways to interpret Botticelli's mythological paintings. He is in the air, and carries a young female, who is also blowing, but less forcefully. This was a Roman imperial rename, the city having originally been Fluentia, for its two rivers. The Birth of Venus Italian.
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