The Birth of Venus (2)

It has long been suggested that the Birth of Venus was commissioned by the Medici family of Florence, perhaps by Lorenzo di Pierfrancesco de' Medici, a major patron of Botticelli, under the influence of his cousin, Lorenzo de' Medici, "il Magnifico." However, this theory has recently been widely doubted, though it is still accepted by some. The idea that the painting was commissioned by the Medici family has influenced various interpretations of the painting and its meaning. It is possible that the painting was commissioned as a way to glorify the older Lorenzo, as some interpretations suggest, though it is also possible that there is an intentional ambiguity as to which Lorenzo is intended to be evoked.

It was previously believed that the painting was commissioned soon after the purchase of the Villa di Castello, a country house outside Florence, by Lorenzo and Giovanni in 1477, and was intended to decorate their new home, which was being rebuilt. This was the year after their father died, leaving the young boys wards of their cousin, Lorenzo il Magnifico, of the senior branch of the Medici family and de facto ruler of Florence. However, it was later discovered that the Birth of Venus is not listed in the inventory of the works of art belonging to Lorenzo di Pierfrancesco's branch of the family, which was made in 1499, suggesting that the painting was not owned by the Medici until after that date.

The date of the painting is still debated, with some scholars suggesting a date of around 1484-1486 based on the work's place in the development of Botticelli's style, while others believe it was painted after Botticelli's return from Rome in 1482 and perhaps around the time of Lorenzo di Pierfrancesco's wedding in July 1482. The Birth of Venus and the Primavera have remained together since they were first united at the Villa di Castello and were later transferred to the Uffizi in 1815. From 1815 to 1919, they were also displayed at the Galleria dell'Accademia, another government museum in Florence.

Although there is no single text that provides the exact imagery for the painting, many art historians believe that Neoplatonic interpretations, which suggest that the painting represents the Neoplatonic idea of divine love in the form of a nude Venus, are the key to understanding it. According to Plato and the members of the Florentine Platonic Academy, Venus had two aspects: she was an earthly goddess who aroused humans to physical love or a heavenly goddess who inspired intellectual love in them. A Neoplatonic reading of the Birth of Venus suggests that 15th-century viewers would have looked at the painting and felt their minds lifted to the realm of divine love.

Recently, questions have been raised about the dominance of Neoplatonism as the intellectual system of late 15th-century Florence and scholars have suggested alternative ways to interpret Botticelli's mythological paintings. Some believe that the Birth of Venus and Primavera may be wedding paintings that depict appropriate behaviors for brides and grooms.

The laurel trees and wreath in the painting are believed to be punning references to the name "Lorenzo," though it is uncertain whether Lorenzo il Magnifico or his cousin, Lorenzo di Pierfrancesco, is meant. Similarly, the flowers in the air around Zephyr and on the textiles worn and carried by the Hora evoke the name of Florence.

One of the closest precedents for the scene depicted in the Birth of Venus is believed to be found in one of the ancient Greek Homeric Hymns, which describes Aphrodite being carried over the waves of the sea on foam by Zephyr and welcomed by the Horae, who clothe her in heavenly raiment. This poem, published in Florence in 1488, was likely known to Botticelli's contemporary and Lorenzo di Medici's court poet, Angelo Poliziano. The iconography of the Birth of Venus is similar to a description of a relief of the event in one of Poliziano's poems, though there are some differences. Some have suggested that Botticelli was commissioned to paint the scene by Lorenzo di Pierfrancesco, but this theory is not widely accepted today. Another poem by Politian speaks of Zephyr causing flowers to bloom, which may explain the roses he is depicted blowing along with him in the painting.

The painting depicts Venus, the goddess of love and beauty, standing naked in a giant scallop shell. She is being blown towards the shore by the wind god Zephyr, who is holding a young female figure in his arms. The female figure is blowing less forcefully than Zephyr. Both have wings. At the right side of the painting, a female figure is holding out a cloak or dress to cover Venus as she approaches the shore. This figure is one of the three Horae, or Hours, who are Greek minor goddesses of the seasons and attendants of Venus. The floral decoration on her dress suggests that she is the Hora of Spring. The subject of the painting is not the actual birth of Venus, but rather the moment when she arrives on land, blown by the wind. The land in the painting is believed to represent either Cythera or Cyprus, both Mediterranean islands associated with Venus in Greek mythology. The painting is on canvas, rather than the more expensive panel support used in many other works by Botticelli. The canvas was tinted with a blue gesso ground, and the painting was finished with a "cool gray varnish." The composition and poses of the figures in the painting have been interpreted by some as representing Neoplatonic ideas of divine love, and the work has also been seen as a wedding painting that offers guidance for appropriate behavior for brides and grooms. The painting is believed to have been commissioned by the Medici family of Florence, perhaps at the request of Lorenzo di Pierfrancesco de' Medici, and is dated to the period between 1484 and 1486. The pose of Venus in the painting is based on the Venus Pudica ("Venus of Modesty") type from classical antiquity, and the two-dimensionality of the work may be an intentional reference to the style of ancient Greek vase painting and frescos.

The painting, titled "The Birth of Venus," depicts the goddess of love and beauty emerging from the sea on a giant clam shell, surrounded by attendant figures and winged creatures. While the pose of Venus follows the Venus Pudica ("Venus of Modesty") type from classical antiquity, with her hands covering her breasts and groin, the overall treatment of the figure, with its elongated neck and torso, flowing lines, and off-center placement, has been described as having a Gothic influence. The use of gold as a highlight color, as well as the lack of shadows cast by the figures, contribute to the otherworldly, imaginative quality of the painting.

Art historians have suggested a number of possible sources and interpretations for the work, including Neoplatonic ideas of divine love and the Baptism of Christ, as well as the influence of ancient Greek and Roman art and literature. It has been suggested that the painting may have been commissioned by the Medici family, possibly for the villa of Lorenzo di Pierfrancesco de' Medici, and that it may contain references to the Medici family and the city of Florence through its imagery. The work is thought to have been completed in the 1480s, around the time of Lorenzo di Pierfrancesco's wedding.

The Birth of Venus is a painting by Botticelli that depicts the goddess Venus emerging from the sea as a fully-grown woman. The pose of Venus is based on classical sculptures, but the overall treatment of the figure is more Gothic in nature. The painting is known for its anatomically improbable elongated neck and torso, and its impossible pose, in which Venus's weight is shifted too far over her left leg for the pose to be held. Despite these inconsistencies, the painting has been admired for its beauty, with the figures' ecstatic movement described as "perhaps the most beautiful example of ecstatic movement in the whole of painting." There are various interpretations of the painting, including Neoplatonic readings and allegorical interpretations linking the painting to the Medici family. Some art historians have even suggested that the painting may have been intended as a wedding gift, offering guidance on appropriate behaviors for brides and grooms. Overall, the painting is seen as a celebration of divine and earthly love, and may also be interpreted as a tribute to the Medici family and the city of Florence.

Botticelli's painting, The Birth of Venus, has long been shrouded in mystery and speculation. Many theories have been proposed regarding the painting's origins, meaning, and intended audience. Some experts believe that the painting was commissioned by the Medici family, possibly by Lorenzo di Pierfrancesco de' Medici, with the intention of glorifying his cousin, Lorenzo de' Medici. Others speculate that the painting was meant to be a wedding gift or a commentary on appropriate behavior for brides and grooms. Still others believe that the painting is a Neoplatonic interpretation of divine love, or an allegory extolling the virtues of Lorenzo de' Medici.

Despite these various theories, one thing is certain: the painting is a masterpiece of Renaissance art, featuring a central nude Venus surrounded by winged beings and other figures. The work is notable for its depiction of a large standing female nude, a subject that was largely unprecedented in post-classical Western painting. The painting may have been influenced by ancient Greek art, including vase paintings and frescos, as well as classical sculptures that were being rediscovered in Rome during Botticelli's time. Some believe that the painting was inspired by a Homeric Hymn, while others point to the influence of ancient Greek painter Apelles and his famous depiction of Venus Anadyomene. Ultimately, the true meaning of Botticelli's Birth of Venus may remain a mystery, but its enduring beauty and impact on art history are undeniable.