Born Alessandro di Mariano di Vanni Filipepi in 1445, the Florentine better known as Sandro Botticelli would become a leading painter in the humanist circles of Lorenzo the Magnificent. His painting Primavera (seen above) became a symbol of Lorenzo’s court, and became one of his most famous and recognized works, along with The Birth of Venus, both of which are arguably the most notable works of Renaissance Florentine art.
Taking ideas from classical secular texts, the two paintings are in true humanist form. Venus, the goddess of Love, appears as the center of attention in both paintings- the main subject in the Birth of Venus, and as part of a larger scene in Primavera. The Primavera or Allegory of Spring was painted for the cousin of Lorenzo the Magnificent, Lorenzo di Pierfransesco de’ Medici. It is designed as an appreciation of beauty and an encouragement of virtue. It is rich in complex symbolism, and can be read in part as a scene unfolding. The light characters contrast heavily against the dark background of a forest, although the idealized characters themselves show little contrast, with soft shadows characteristic of Botticelli’s style.
In the center we see an emphasized Goddess of Love, with a hovering cupid above ready to shoot an arrow of passion. The Venus is the most highly contrasted with a light gown and light red robe standing in front of a dark green bush, which contrasts with the blue midday sky beyond. This sequence of contrast is reminiscent of Leonardo’s early Florence paintings. To the far left we see a scantily clad Mercury who guards the garden with helmet, sword, and winged shoes, while pointing to touch the clouds. Next to Mercury are the three dancing figures of the three Graces, nearly naked save for transparent robes. Such garments as these, painted with very thin layers of paint mixed with linseed oil, would be considered profane and the reason many of Botticelli’s paintings were burned. The Graces are meant to be fairly seductive, and dance a rondel, while in the sights of Cupid’s bow. The Grace on the right is clearly Caterina Sforza, who appears in the portrait Catherine of Alexandria. On the right side of Venus we see a group of three figures. Zephyrus, the god of the winds, lusts after and pursues the nymph Chloris, who stumbles to the left and is transformed into Flora, the Goddess of Spring, who spreads flowers across the garden.
The highly detailed Primavera (about 150 botanical species are accurately portrayed) painted with beautiful precision and style, along with The Birth of Venus and other religious works, put Botticelli as the leader of the Florentine school. His fame at the time called for the commissions of many prominent patrons of the Medici circle including big name such as Arnolfini, Tanis, and Portinaris. He was commissioned for panels on the Sistene Chapel’s walls, which would unfortunately be shadowed by Michelangelo’s magnificent ceiling.
Botticelli’s fortune and fame would not last forever as was evident with the death of Lorenzo the Magnificent. Lorenzo’s death would affect many painters besides Botticelli and turned the Florentine culture on its head. Troublesome speakers such as the monk Girolamo Savonarola would rouse political unrest in the city. The recent years were deemed improper and immoral and the people were called on to be penitent and meditative. This resulted in the burning of books and artwork, which included several of Sandro Botticelli’s works which were deemed improper and profane. Savonarola was eventually burned at the stake himself, and his followers eventually dispersed, but the ordeal would have a profound effect and cause a nervous breakdown for our Florentine master. Still painting, though not as much, his later years show a desperation in his work. He eventually died in May, 1510.
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