La Primavera, Botticelli: Analysis, Interpretation 1 877 Раздел в процессе наполнения и корректировки
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La Primavera by Botticelli Interpretation, Analysis of Early Renaissance Allegorical Painting MAIN A-Z INDEX
La PrimaveraBy Botticelli. One of theGreatest Paintings Ever.
Art EducationTo analyze Renaissance art, see our educational essays:Art Evaluation and also:How to Appreciate Paintings.
Contents • Description • Analysis and Interpretation of La Primavera • Explanation of Other Allegorical/Mythological Paintings
Description Artist : Botticelli (1445-1510) Medium : Tempera on poplar panel Genre : Mythological/Allegorical history painting Movement : Early Renaissance art Museum : Uffizi Gallery, Florence.
For analysis of other pictures, see: Famous Paintings Analyzed.
Zephyrus grabbing Chloris, whom he ravishes and makeshis wife. In remorse, he turnsher into the Goddess Flora (pictured left).
A masterpiece of the Florentine Renaissance, La Primavera was commissioned by the Medici family from a Botticelli (1445-1510) at the height of his powers. This complex allegorical and mythological painting brings together the elegance of Gothic art, the decorative beauty of the International Gothic and the humanistic narrative of the Italian Renaissance. It contains numerous references to classical and contemporary texts, and is open to almost endless interpretations by scholars and art historians. According to the Uffizi, it was probably painted to celebrate the wedding of Lorenzo Medici and Semiramide Appiani, which took place in May 1482. Like his other work, The Birth of Venus (1484-86) – a companion piece which hung in the Medici’s summer house – La Primavera remains an iconic painting of the Renaissance in Florence, and ranks among the finest of all Renaissance paintings. Botticelli trained under Fra Filippo Lippi (1406-69) whose style of expressive interactions between figures, combined with decorative techniques inherited from the Late Gothic period, is clearly evident in both paintings. Another influence was Antonio Pollaiuolo (1432-98), whose new style of muscular modelling was more sensitive to human anatomy and proportion.
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