AS EXAM PART 2

My next example by Botticelli shows a famous woman figure in historical art portrayed in a twisted pose.

Botticelli The Birth Of Venus 1482-1485

“The Birth of Venus”

This painting was created in the span of three years from 1482 and 1485 by Sandro Botticelli. it was made using a Tempera mix on a canvas mounted on wood measuring 172.5 x 278.5cm.

Sandro Botticelli (1445-1510)

Botticelli was an Italian painter, specifically of the early Renaissance era. Botticelli first trained with Maso Finiguerra, a goldsmith, before entering the studio of the artist Fra Filippo Lippi. He began his career painting frescoes for Florentine churches and cathedrals, and worked with the painter and engraver Antonio Del Pollaiuolo. By 1470, he had his own workshop.

Botticelli's apprenticeship with Fra Filippo gave him excellent contacts. He had enjoyed the patronage of some of the leading families in Florence, such as the Medici. Botticelli then spent almost all his life working for the Medici family and their circle of friends, for whom he painted some of his most ambitious secular paintings such as 'Primavera' (in the Uffizi, Florence). in 1481, he was summoned by the Pope to Rome to help decorate the walls of the recently completed Sistine Chapel in the Vatican.

The term Renaissance (Re-birth) applied to the period 1400-1600. It referred to the rebirth of art by drawing on the spirit of antiquity. Most apparent in the Republic of Florence, Italy. Florentine Early Renaissance is typified by interest in rediscovery of classical learning and art and architecture.

Botticelli was at his most creative during the period from 147890. This was the period during which he produced his famous mythological works, such as 'The Birth of Venus' (in the Uffizi, Florence) and ‘Venus and Mars’. In these he successfully combined a decorative use of line (possibly owing much to his early training as a goldsmith) with elements of the classical tradition, seen in the harmony of his composition and the supple contours of his figures.

Venus – Major Roman Goddess (Aphrodite = Greek) Zephyr – the west wind & Chloris

Hora

Venus The rose was born along with Venus

“The Birth of Venus”, painted by Sandro Botticelli, is one of the most famous pieces of the 15th century Italian art.

It is based on Ovid’s Metamorphoses, a classic of Latin literature, and portrays Venus, the goddess of love.

It was created for the Medici family and resides at the Uffizi Gallery in Florence.

Poetic Inventio telling the narrative through gestures

All of the figures within this painting display some form of twisting effect, whether that be in the human form or the drapery of the cloths.

In Greek mythology, according to Hesiod, VENUS was born when Uranus (the father of the gods) was castrated by his son Cronus. Cronus threw the severed genitals into the ocean which began to churn and foam.

From the aphros ("sea foam") arose Aphrodite, and the sea carried her to either Cyprus.

She holds her hands in the ‘Venus Pudica’ position first used in the famous statue of Aphrodite of Cnidos by the Greek sculptor Praxiteles Botticelli has portrayed the ancient goddess of love to be standing radically naked and beautifully, centred in the middle. Until this point in the renaissance, the only time we would see a naked figure would be Eve, and the figure is based on a ancient Roman sculpture of Venus (it is a copy of an earlier Greek sculpture known as the ‘modest Venus’) and was in the collection of the Medici. This painting may have been for one of the Medici court, maybe for as cousin of Lorenzo de Medici.

Venus is born of the sea and seems to be pushed in by the winds, the Zephyrs that are personified in the top left hand corner. She has been painted to appear almost impossibly standing on a seashell that she may have ridden in from the sea on. When Venus reaches the shore, she will be received by an attend (Hora) to wrap her body. The curve to venus’ body suggests that she has a very flexible skeletal structure – possibly to suggest a flexibility within fish and animals of the sea, of which she was born of.

Venus is in the classical contrapposto position, taken from classical statues.

She holds her hands in the ‘Venus Pudica’ position first used in the famous statue of Aphrodite by the Greek sculptor Praxiteles. This was the first representation of the female nude.

Contrapposto first used in classical sculpture to make the figure seem alive: dynamic; about to move.

The face of Simonetta personified the Italian Renaissance concept of ideal beauty. that outward beauty reflected inner beauty or virtue (spiritual beauty). Even her hair shows a twist in the wind like her body and drape of the fabrics.

Possibly based on Simonetta Cattaneo de Vespucci (nicknamed la bella Simonetta; ca. 1453 – April 26th, 1476).

Simonetta was the wife of the Italian nobleman Marco Vespucci of Florence.

Botticelli finished painting ’The Birth of Venus’ in 1485 which was nine years after Simonetta Cattaneo’s death.

Botticelli asked to be buried at her feet in the Church of Ognissanti – the parish church of the Vespucci. His wish was carried out 34 years later in 1510.

The vertical golden ration line from the left side to the right side falls exactly at the point at which Hora’s thumb and finger are touching, as though she is grasping the golden ration portion embodied in the painting, perhaps even reaching for something Divine.

The horizontal golden ration line from the top to the bottom crosses exactly at the top of the seas shell. The horizontal golden ration line from the bottom to the top crosses at the horizon line, most perfectly on the left hand side of the painting, and directly through Venus’ navel.

The dimensions of the canvas are almost exactly a Golden Ratio. It measures 172.5cm x 278.5cm (67.9 x 109.6 in). The ratio of the width to the height (based on the more accurate measures in centimetres) is thus 1.6168, which is only a 0.08% variance from the Golden Ratio of 1.618. For the canvas to be an exact golden ration of 1.6190339887‌, the height of the canvas would need to be reduced by less than 0.13 of a centimeter or 1/20 of an inch.

Every figure within the painting floats – unlike other Renaissance paintings which usually feature a real naturalism and figures that have a weight to them in a realistic environment. Botticelli is inspired by ancient Greek vase paintings as these were available to him at the time in a classical Greek tradition.

Gold has been placed in her hair and in the trees and the painting as a whole is enticing to the viewer – from the flutter of petals to the drapes of clothing and the lines in her hair and in the waves.

It makes the viewer want to step into this divine world – but also portrays Venus’ impossible placement of her feet off the edge of the shell to appear like she is stepping out to us.

“Roman women offering their jewellery in defence of the State” is a painting by Vincenzo Camuccini which, unlike ‘The Birth of Venus’, has a structured element to it in where the figures are placed and how the objects around them are symmetrical.

The three groupings in this painting (the Zephyrs, Venus and Hora) are very isolated from one another and could be imagined as a line painting on a vase.

Botticelli is de-emphasizing deep space and focusing on beauty and pattern – a decorative quality throughout the composition.

‘David’ was a reoccurring theme in Italian art. My next example is another sculptor of David in a twisted, contrapposto form.

Michelangelo David 1504

“David”

This sculpture by Michelangelo was commissioned in 1501 by the city government of Florence to create the piece as part of a series of statures meant to adorn the roofline of Florence’s cathedral dome. However, upon it’s three year completion, Michelangelo’s patrons were so overwhelmed by David’s beauty that they decided to scrap that plan and place it where it could be appreciated up close. The sculptor is 17 feet tall at 434cm.

Michelangelo (c. 1475-1564) Michelangelo trained in Florence under an artist known as Ghirlandaio. He was a painter and sculptor, but worked in architecture and wrote poetry also. In 1492, he studied human anatomy by dissection (which was completely illegal) in order to glorify God. He moved away from Florence because of the removal of the Medici family and the miserable rules set up under the 'mad monk’ Savonarola.

Michelangelo moved back to Florence after.

Portrait of Michelangelo

by Daniele da Volterra

The silhouette is of regular contrapposto, with David’s weight onto the right leg. The body is an idealised-influence from the classical sculpture.

The pose allows for a graceful yet tense twist throughout the body – the torso is rigid and upright, while the limbs are curved dramatically and in preparation for the fight between Goliath and David.

David stands in a contrapposto stance, with the torso slightly twisted and the legs and arms bent.

The figure is nude, and is captured before the event of slaying the giant takes place. This is evident in how David is standing and what objects he possesses. In his left hand (presumably left handed) David carries the slingshot over his shoulder gallantly.

David was created using chisels and hammers in order to gain textures and the smoothness of the skin and roughness for the hair.

David was created on a large and heroic scale that was originally intended for the viewing of the public (to be placed on the exterior of Duomo, Florence.

The sculpture is a relatively naturalistic but more so idealised style – similar to Antique sculpture. It is a subject of the Old Testament and is an adolescent male nude.

The technical virtuosity of figure carved from single block of white Carrara marble.

There is an undercutting in the hair, drilled pupils.

For much sixteenth-century Italian art and architecture, especially in Rome, the term ’High Renaissance’ was used, to denote a further elaboration and refinement of the Renaissance characteristics by means of; Harmony, simplicity grandeur, Assured handling of multi-figure compositions, technical mastery, deeper investigation of/and relationship with classical antiquity.

• Development of more monumental forms and the creation of unified and harmonious compositions that rejected the decorative details of 15th-century art.

Subtle carving of muscle and veins help contribute to the smooth finish Michelangelo achieved. The tree trunk was used as support, as in many ancient examples.

The figure is represented in a ready-tofight pose rather than the victorious David we see within Donatello’s interpretation.

David holds a slingshot and a set gaze, ready to throw at the giant Goliath. The head, hands and feet are too big as the sculpture was originally to be placed on the Cathedral of Florence, so when the viewer would look up, the joints would seem in proportion to the rest of the body.

David is ready to launch his shot towards Goliath, and is the first colossal nude since antiquity. In 1501, Michelangelo was commissioned to create the David by the Arte della Lana (Guild of Wool Merchant), who were responsible for the upkeep and the decoration of the Cathedral in Florence.

David implies that an ordinary human can become great, through significant action.

Donatello's David vs. Michelangelo's David

Donatello's David

Date:

c. 1430.

1501-1504.

Period:

Early Renaissance.

High Renaissance.

Material:

Bronze.

Marble.

Height:

5 ' 2 1/4 ".

13 ' 5 ".

Nude?

Yes.

Yes.

Contrapposto?

Yes, very relaxed.

Yes., but tense

Moment in story:

After the fight: Note sword and head

Before the fight.

David represents...

Florence.

Florence.

Goliath represents...

Milan.

Rome (Medici power).

Palazzo Medici.

Intended for buttress on Florence Cathedral, sited in front of Palazzo Vecchio/Signoria.

Original location:

Michelangelo's David