MWW Artwork of the Day (4/4/16) Sandro Botticelli (Florentine, c. 1445-1510) La Primavera, “Allegory of Spring” (1485-87) Oil on panel, 315 x 205 cm. Galleria degli Uffizi, Florence
This masterpiece – painted for the villa of Lorenzo di Pierfrancesco de’ Medici at Castello – marks the artistic prestige of Botticelli, reflecting with philosophical and literary themes the cultural background of humanistic circle of Lorenzo dei Medici. The painting is an allegory of Spring, with mytological figures identified as (right to left): Zephyr running after the nymph Clori, who transforms herself into Flora, goddess of Fecundity; in the center is Venus, goddess of Love and here represented as queen of her realm, with Cupid straining a dart to the three Graces, while Mercury raises the caduceo to the clouds. Many flowers in the grass symbolize wedding: the picture could be indeed commissioned by Lorenzo the Magnificent as the wedding present offered to his cousin Lorenzo di Pierfrancesco dei Medici, who married in 1482 Semiramide Appiani.
Botticelli succeeded Masaccio as the foremost painter working in the Florentine tradition. The sharply contoured, slender forms and rippling sinuous lines that are his trademark were influenced by the precise draftsmanship of the Pollaiuolo brothers; but his sophisticated understanding of perspective, anatomy, and the Humanist debate of the Medici court never overshadowed the sheer poetry of his vision. Nothing is more gracious, in lyrical beauty, than Botticelli’s mythological paintings “Primavera” and The “Birth of Venus,” where the pagan story is taken with reverent seriousness and Venus is the Virgin Mary in another form. In this allegory of life, beauty, and knowledge united by love, Botticelli catches the freshness of an early spring morning, with the pale light shining through the tall, straight trees, already laden with their golden fruit: oranges, or the mythical Golden Apples of the Hesperides?
More than sixty Botticelli paintings are included in the MWW gallery/album: * From Giotto to Bitticelli II: The 15th c. Italian Masters For his many fine portraits, see this gallery: * Renaissance People I: A Portrait Gallery (1450-1525)
OKAY SO HERE ARE THE PICS. Inspired by this post by @pipistrellus (@pipcomix)
These are 16th century Renaissance inspired hotpants, panelled with navy velvet with a red silk lining and hand-embroidered butt slogan, which I believe is like 300% historically accurate. They’re actually modelled off a genuine Tudor pattern but then made ridiculous because who am I.
Worn with thigh highs and a 18th C shirt cuz it was all I had to hand and frankly shirts don’t change that much lol.
@trinitybat oh man I think I finally found it. Medieval German hot pants are totally Taako’s aesthetic
hello friends i recognise that it has been a long time since this post has been in circulation but um.
let me just say that this idea would not let me go.
(i may do a full post for this soon which is why i’m reblogging to my art blog! but, soooo, here is a thing that i made. the watermark is for my instagram btw!)
Valentina of the Rose Kingdom, a friend’s D&D character for her secret santa! This is technically the second version of this, as I didn’t like the first one - this is ten times better so I’m really glad I started over. Her dress is Italian Renaissance inspired because I’m a big ol’ nerd for historical costuming.
Another painting based on the 21 letters from Ovidius, collectively known under the name Heroides. The story of Ariadne is most renowned from her helping her beloved Theseus to kill the Minotaur and escape out of the labyrinth that her father had built. She did this by giving him a ball of thread so that he could find his way back. Here she is shown sleeping on a bench, while her lover is leaving her behind and sails away. The two panthers represent the god Dionysus who seduces her and makes her his wife.
In the Vatican Museum, there is a marble Hellenistic sculpture showing Ariadne in almost the same pose as on this painting. Waterhouse must have used it as a model. There are also obvious resemblances with the painting of Saint Cecilia (1895): the ship in the background, the balustrade separation and the sleeping woman to name just a few. In 1895, there was a large exhibition of Venetian art in London and its effect on his paintings is undeniable. Waterhouse becomes more and more influenced by the paintings of Botticelli and other works from the Italian Renaissance.
Sandro Botticelli, Coronation of the Virgin (the San Marco Altarpiece) (detail), 1490-92. Tempera on panel, 378 x 258 cm. Galleria degli Uffizi, Florence.
My year begins with participation in Cirque du Passione Zine, which was announced for release this spring. It’s a pity it’s impossible to use all the artworks I have created on the wave of inspiration for this project, but the illustrations and thumbnails that haven’t been included can be shown right now!
