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Critique of the birth of venus
Critique of the birth of venus
The birth of venus techniques used
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In this article we will discuss the “Birth of Venus,” a well-known painting by the artist Alessandro di Filipepi Botticelli; completed in 1857. The reason why I chose this painting is, because of the fact that I wanted to give you a bit of information on this painting. Some of the examples I chose are; where did it come from, who originally wanted the painting, and why it came to be? I chose these examples because I have always wondered about these things myself, and hopefully I will be able to answer them for you too. However you may now wonder why I am even talking about this piece or what my intent behind this article is, you shouldn’t. The reason I am writing, is because I have always been fascinated by this piece and the calming effect it has on me. I remember whenever I saw it for the first I thought of the figure Pomona as a motherly figure and wanted to be beautiful like Venus, but that couldn’t be. Instead, I began to do research, since I wanted to learn a bit more about the piece myself. My main goal here is to try to and make you understand some of the things that I’ve already learned about the piece.
So let’s get started and I’ll tell you some examples of the things I’ve learned while studying this piece. One that the piece was not originally released to the public, two it was not the most original piece out there, and three the piece was originally a commissioned work. Now, you might be wondering who commissioned the piece, the answer to that question is that the painting was commissioned by Lorenzo di Pier Frencesco Di Medici. He commissioned the painting, because he wanted it for private use in his villa and not for public domain. The second thing you might wonder now is why the piece was not original; the reason...
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...re that if you just type in the Birth of Venus you will find a few pictures that make fun of or use the image again; but all of the imitations always keep the same theme so I would prefer not to discuss it anymore.¬
While writing this paper I enjoyed telling you a bit about the things that I’ve learned about this piece and hope that you have enjoyed them too. I think that you should feel a bit better about knowing the fact that the piece is safe today and will continue to be, along with just knowing a few more things about this piece.
Works Cited
“Botticelli’s Birth of Venus”. Italianrenaissance.org. Italian Renaissance.org
2013 web. 12-6-2013
“Sandro Botticelli Biography”. Artble.com Artble
2013 web. 12-6-2013
“The Birth of Venus By Sandro Botticelli”. Uffizi.org
2013 web. 12-6-2013
Nicolas Pioch, “Botticelli, Sandro”. ibiblio.org.
Jun 19, 2006 web. 12-7-13
At first glance, the pottery appears to be somewhat simple but it does have a unique appeal. The calm, innocent, and humble appearance while in a painful moment is unprecedented, and it was enough to let the viewer admire and fall in love with this sculpture and its meaning. The distinctive character of glazed terracotta is the smooth, bright, often polychrome cover that has largely contributed to the success of such artifacts, and which recalls, in its plastic compositions, the works by Verrocchio and Filippo Lippi. However, Giovanni‘s art in this sculpture is elegant, remarkable, and a mix of the sophisticated religious themes with antique mannerisms and with the monumental emphasis.
By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner reading, and the angel Gabriel behind her holding a golden scepter, perhaps floating and slightly off the canvas’s center to the left. Both figures are making distinct hand gestures, and a single white dove, in a glowing sphere of gold, floats directly above Mary’s head. The rest of the study is artistic but uncluttered: a tiled floor, a bed with red sheets, and Italian-style architecture. “The Annunciation” was painted at a momentous time, at what is now considered the end of the Early Renaissance (the majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 – 1520). Because of its appropriate placement in the Renaissance’s timeline and its distinctly High Renaissance characteristics, Jean Hey’s “Annunciation” represents the culmination of the transition from the trial-and-error process of the Early Renaissance, to the technical perfection that embodied the High Renaissance. Specifically, “Annunciation” demonstrates technical advancements in the portrayal of the huma...
First, the size of the painting drew me in before all. It measures at 339.1 by 199.5 cm, surrounded by a large golden frame. The size alone is enough to bring in any person passing by. Once getting close, the really wonder happened. The story told by the painting
With the different styles of artists’ works planned to be showcased in this exhibition I hope viewers will be able to see what sorts of artworks were being done during the Renaissance that do not consist of works done by Michelangelo, da Vinci, Donatello, or Raphael. With a topic not usually covered when studying about Renaissance artist, I hope viewers will be able to not only learn about the interesting stories of famous Martyrdoms, but also learn about some of the lesser known Renaissance artists and their styles. Paintings of angles and landscapes from the Renaissance may look pretty but with these different and shocking pieces I hope to create an exhibition that will not soon fade away from visitor’s memories after they leave the National Gallery.
In an attempt to comprehend the allegorical meaning behind Botticelli’s painting, one must first understand the use of mythological figures during the Renaissance. As Europe began to move away from the stylistic nuances of the medieval period, the interest in studying the classical world became increasingly popular. Renaissance artists and philosopher’s believed that the ancients had the ability to create true beauty. In order to attain this same perfection, the contemporary artists attempted to emulate the art of antiquity. Furthermore, “the depiction of classical mythology provided a more ambitious vehicle for the artist than purely devotional subjects.” The allegory of spring – the alternative title and subsequent interpretation was applied
Paleolithic Venuses are prehistoric sculptures that are traditionally thought, by experts to be images that adore and glorify female fertility. There are three reasons why most historians who study the Paleolithic era support this traditional idea. One, most analysts only use a sampling of the 188 figurines and most of them are pregnant. Secondly, the name Venus itself conjures up the notion of fertility. Thirdly, most analysts assume that during the Paleolithic era that childbearing was something that was sacred and thus needing to be glorified with a statue. Rice offers an alternative point of view of the motivation for the creation of the Paleolithic Venuses. Rice's position on Paleolithic Venuses is that they do not solely represent women's fertility, but instead symbolize womanhood.
The portrait of Giuliano de Medici by Raphael, a tempera and oil on canvas, can be dated back to around 1515 (Fig. 2).25 The portrait includes a background depiction of Florence, which is revealed behind a green curtain. As part of a marriage arrangement with Philiberte of Savoy, it is not surprising that Florence would be depicted as an asset of Giuliano's. However, the picture was painted shortly after the carnival of 1513, and it highlights the sort of relationship that the Medici family wanted to re-establish with the city and its people, using public rituals to achieve this. Giuliano's gaze is directed to the part of the curtain revealing the city, thus asserting his status as legitimate ruler, watching over the people of Florence. This painting and the carnival of 1513 convey similar messages. When Girolamo Macchietti executed a portrait of Lorenzo the Magnificent, he used a similar device (Fig. 3). Lorenzo stands tall with Florence in the background, and he looks forward benevolently. What the Medici attempted to achieve with public rituals, they successfully managed to reflect in their portraiture. With their backs turned to the city, they would have appeared to contemporaries as larger-than-life leaders protecting Florence's interests and history. The link between the two portraits is interesting because the carnival of 1513 was a clear attempt at
The piece is so small that one can fit it in just the palm of their hand. It’s lack of facial features and detailed body parts can imply to someone that it is meant to represent fertility. On the contrary Aphrodite is not a fertility symbol but rather a representation of goddess like beauty. In the Paleolithic time Venus’s image was the one idealized by the starving. The Venus of Willendorf has a lot of extra weight while Aphrodite does not. It is also important to note that Paleolithic art included almost all female figures and no males. In Aphrodite’s time the first sculpture of a naked woman came as a shock for them.
...enus, in the middle, represents the “Humanitas” (the benevolence), which protects men”. This symbolism of “humanitas” represents the ideals of humanism such as positivity, harmony, and confidence in his abilities. A peculiarity of the paintings might be that it is interconnected with The Birth of Venus. In the first one, Venus is coming to earth from a shell and the world is attentively waiting for her. In Primavera, Venus is a full-grown woman and is already in charge of world nature. In addition, in The Birth of Venus the trees have not already produced fruits but in Primavera, oranges and flowers occupy the background. Both these differences represent the time passing, a recurrent theme of humanist artists. Primavera was significant during the early Renaissance movement as it portrayed the style of the Neo-Platonism that Sandro Botticelli introduced in Florence.
The Birth of Venus is a beautiful Renaissance canvas masterpiece created by Sandro Botticello. The picture illustrates the birth of Venus in a very mystical way. Venus has emerged from sea on a shell which is being driven to shore by flying wind-gods. She is surrounded by beautiful roses which are painted in a truly remarkable color. As she is about to step to land, one of the Hours hands her a purple cloak. The back drop includes the sea and a forest. The overall effect of this painting are almost overwhelming, color and beauty meet the eye in every angle.
In his paintings, Botticelli retained enough objects and paid enough attention to the human body to create a sense of realism, but it is evident that he was more concerned with the spiritual presence of his subjects (Magill, 1989). Because of this, his subjects were less individualized in terms of their clothing or bodily st...
As the seventeenth century began the Catholic Church was having a hard time bringing back the people who were swept away by the protestant reformation. The conflict between the protestant had a big influence on art. (Baroque Art) The church decided to appeal to the human emotion and feeling. They did so by introducing a style called Baroque. Baroque was first developed in Rome and it was dedicated to furthering the aims of Counter Reformation. Baroque was first used in Italy than later spread to the north. In this paper I will argue that the Italian Baroque pieces were more detailed and captured the personality of the figure, in contrast and comparison to Northern Baroque pieces that aimed to produce a sense of excitement and to move viewers in an emotional sense leaving them in awe. I will prove this by talking about the different artwork and pieces of Italian Baroque art versus Northern Baroque Art.
...laced on the style and materials presented in the painting. While evaluating and comparing various paintings the author feels that at the beginning of the Renaissance era the skill level of the artist was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, fresco painting, which emerged near the end of the period, changed this so called “deposit”, along with the relationship of the artist and the patron, allowing for the talent and skill of the artist to shine.
The painting clearly shows Mars and Venus being tied together by a cupid. So I can see why this is the most popular translation of this painting. My personal response was really strong after seeing the painting for the first time. As soon as I saw this painting I knew that it had a deeper meaning to it; and not just some people being tied together by a cupid. I knew right away that it had to do with Roman mythology just from the names. After looking at this painting for a while there is still something that the artist is trying to portray, that is really tough. It feels like there is more going on than what seems. The painting has such a calm tone to it but it gives a little hint of roughness with the sword and the horse, which I think, helps to balance this painting.
There are many beautiful and innovative works of art from the eighteenth- century. However, the “Venus Consoling Love” a painting of the Rocco style by Francois Boucher is quite relative and stood out to me because I believe it depicts the story of Venus the goddess of love and her beautiful winged children. This speaks to my life because I am a mother with three children. You can clearly see how Venus is disciplining Cupid by disarming him of his arrows, while the other two winged creatures are looking rather delighted by this. Cupid was always misbehaving. Cupid was mettlesome, carefree, and loved using his arrows, often in a troublesome and sometimes damaging ways. This portrait speaks to me so much because it reminds