Boticelli
The Life and Art of Sandro Botticelli The age of the Renaissance in Italy was graced with manyextraordinary artists, one of which was the painter SandroBotticelli. He is believed to be born between the years 1444 and1445 (there is no official birth date recorded), to MarianoFilipepi of Florence, Italy. His surname was changed toBotticelli because of the nickname 'Il Botticello' given to himas a young boy, which means 'Little Barrel.'(Ettlinger 7) Sandrobenefitted greatly from the arts and politics alive in the city. Florence itself is one of the larger cities in Italy and had agrowing and prosperous merchant class with ties to all the majorEuropean countries (Ettlinger 7). The leader of the time thatruled Florence with a strong hand, who would eventuallycommission Botticelli's work, was Cosimo de' Medici. There was astrong contempt towards the corruption of the Church and clergyat the time, and an appreciation of holiness that is reflected inthe abundant naturalism of the artworks produced (Lightbown 14). This, as well as the importance of being well skilled andknowledgeable in sport, art, music, history, classic Greek andLatin works, and military strategy were all elements of the
rules over May as Venus rules over April, the two months in which the Floralia were celebrated. (Ettlinger 10-11) The artistswere most likely encouraged by the Pope to use the most rich anddecadent colors of the era- blue and gold, and they jointlydecided to keep Moses in the same yellow robe and olive cloak(Lightbown 62). Botticelli produced his first work, Fortitude, in 1470 forthe Mercanzia, a court comprised of several guilds who had chosento collect representations of the seven Virtues (Ettlinger 9). There arelilies and red roses being held by the surrounding angels assymbols of Mary's purity and love (Ettlinger 88). Botticelli acquired his first craft out of admiration forhis eldest brother Antonio, who was a goldsmith for AntonioFiniguerra (Lightbown 16). The presence of motion isfelt in the two winds and Flora surrounding her. The subject of theAdoration of the Magi was quite popular for artists at the timeand Botticelli completed many versions, two of which arecontained in the Mellon and Uffizi collections (Lightbown 27). The image of Moses' gesture and the hopelessness in thefaces of the condemned men became the center of the Punishment ofKorah because it captured a certain sentiment in Botticelli(Venturi 18). The girls, in white dresses and with blondhair, illuminate the first plane and seem to be alive and almostdancing. During his time as an apprentice, Botticelli learned how to uselines to express the human form naturally and with imaginedmovement (Lightbown 20). They present aframe that draws the eye inward to accentuate her grace andsensuality. The work is one of many representations of Greek myth and legend,not meant to be pagan but exhibiting the characteristics ofcharity and piety.
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