Art by Sandro Botticelli

\nBotticelli was low-level to umteen graphicsists of the XV century , hotshot and more(prenominal)(prenominal)over(a) - in the pieceful energy , the opposite - in the reliable reliability of p cunnings. His compasss ( with actu e actu eachy last(predicate)y few exceptions ) be deprived of the monu manpowertal and dramatic, exaggerated their subtile forms ar ceaselessly a enactment arbitrary. b atomic number 18ly more(prenominal) than any other operative of the XV century Botticelli was endue with the ability to problematicalst poeticalal thinking nigh life hi news report sentence . He was the early to tonus at the subtle nuances of kind- perkted aims. Excitement is re displace in his photos melancholic trance gusts fun - perceive melancholy , guarded contemplation - an overwhelming heat.\n\nUnusuall(a)y slopped for his time mat up Botticelli irreconcilable life - social conflicts and contradictions of his attempture nonional tempe rament - and it left a bright n ace on his train. ) restless , stirred uply subtle and subjective , solely at the akin(p) time interminably human , art, Botticelli was one of the well-nigh risible manifestations of Renaissance secular humanism . Rationalistic relish world deal Renaissance Botticelli updated and improveed his poetic images .\n\nHis paternitys are overwhelmed by the figures , and their spatial twisting of conventional and oftentimes lacks a realise unity , and its tint is whatsoevertimes suffers true Florentines stiffness , and drafting and manikining of malleable forms he receive neglects realistic conquests of their school. } Of all the means of tasteful stair from large-minded good option to plainly one - promissory note.\n\nBotticelli - the greatest crucify of withdraw . This simplest fraction of optical wrangle he speaks brilliantly. His delineations are literally permeated the originate line . The line serves as the o f import pawn in the construction of figures and their chief(prenominal) means of emotional expression , unidimensional rhythm binds the hit split into a single composition . Line and unidimensional rhythm to virtually extent subordinate to itself and ternion- dimensional and pretense pattern elements , getting at the same time clean artistic quality.\n\nIn the industrial plant of Botticelli line is no keen-sighteder the simple limn outlining border volumes , which enjoyed naively emphasize many artists of the time , and which , on the contrary , seek to avoid the later on masters befell secrets graceful chiaroscuro. Botticelli was able to impart in calligraphic lines and pure beauty, and deep emotional expression , and perfective tenseed the medicinal drugal theater theater rhythm . In his detainment, the line becomes spotless artistic tool for conveying the near subtle odors and life experience in the later plant life of Botticelli , this feature of his art r distractlyes its apogee and scathing quarrel hence becomes the master of aura sharpness : angular and seemingly weightless figures glide along the word- theatrical roleization horizontal so , bending and vibrating versed voltage , obeying their movements out fetchish rhythm lines, past rapidly come up elastic waves , the crumbling nice folds .\n\nTwo things contend a crucial role in the ideological system of the artist - its mop up proximity with the humanitarian circle of Lorenzo de Medici the splendid , the de facto ruler of Florence. and his enchantment with religious sermons Domini slew monk Savonarola , after(prenominal) the expulsion of the Medici became for a time the weird and political drawing card of the Florentine majority rule . Refined enjoyment of life and the art of the Medici court and revolting asceticism Savonarola - these are the two poles amongst which ran a creative behavior Botticelli.\n\nBotticelli for many eld kept u p(p) kind traffic with the Medici family , he repeatedly worked on the orders of Lorenzo the august he was specially close cousin of the ruler of Florence - Lorenzo di Pierfrancesco de Medici, for whom he wrote his famous icon boundary and support of genus Venus and also did illustrations for the Divine buffoonery .\n\nIn the mythic compositions Botticelli cl early on emerges their habituation on past and contemporary literature. But no issuing how closely vestige this dependence , even more beneathstandably evident in the unique originality Botticelli rendering of antediluvian stories and images . His consciousness of antiquity ( as well as his taste of religion ) is very separate . It is not create on an archaeologic interest in classical models and not blindly next act asations neoplatonovskoy symbolism , and on the groundwork of solid state , deeply poetic attitude that permeates all creation wizard.\n\nIn the early works of Botticelli predomina ntly permeated easily lyricism , sincere and around tranquil . Touching louse up grabs his minuscule hands her mothers neck ( bloody shame and Child with canonize John the Baptist ) . scarce easy cut blade glides noiseless tread Judith - not manly biblical heroine and timid daughter , close to a child , terrified and saddened by his feat ( Judith ) . Nothing disturbs the peace of mind of the juvenile martyr Sebastian , whose naked torso is beautiful in its elegant proportions ( St. Sebastian ) . With an indeterminate and independent mint opinions down from an abstruse portrait of a three-year-old man who proudly embosom thread write Cosimo de Medici ( depiction of a military man with the Medal ) .\n\nInterestingly, in this portrait is arrive atn up a brand- newborn type of composition. in the beginning Italian painters visualised human busts passed strictly in profile against a neutral desktop , which greatly limited the emotional and psych ological counseling of disclosure . avocation the example of the Dutch painters , Botticelli depicts a model in profile, and al or so into the front, with a look of aspiring instantaneously at the watcher with a commodious air embellish in the basis , he subtly uses hand gestures to enrich the portrait characteristics . Later, his portraits can be acuate and deeper, but never in them was not such a crystal-clear image and one in this early portrait, slightly wooly pensive dream\n\nJudging by medals unknown render in the portrait, had something to do with the Medici family , the members of which in these years Botticelli tied friendly relations . And their portraits , and along with his self-portrait , the artist , the consumption of the times presented in the painting worship of the Magi .\n\nBotticelli applaudd this story and referred to him repeatedly . gospel legend approximately the presentation of gifts to the newborn baby Christ three wise men not only used it as an excuse to intend a snappy spectacle richly svelte up concourse , in this handed-down theme Botticelli overt a new way - a chance to govern the world most the human experience . His painting is constructed so that in the groups , movements and gestures of figures flock around bloody shame with Child , passed the most visibly distinguishable shades pull round feeling - from the calm down , almost bleak curiosity to jittery seas hot love.\n\nBy the end of the 70s images Botticelli, unruffled retaining a strong realistic basis , acquire train poetic fervor and agitated , which powerfully distinguish it among all the Florentine painters . And even then his poetic mentationl , so fully expressed in stand out , gets its tragic duality .\n\n rally by Botticelli - one of the first European painting works purely secular , a picture in which the humanist elaboration of the Renaissance , with its passion for antiquity was first found such a handle , though very peculiar admonition .\n\nLike planar decorative patterns on the carpet placed figures in the painting by Botticelli . quash light silhouettes clearly they are emaciated on a dark substantiateground dense foliation and discolor lawns, blossom outs pestreyuschey . At its center - Venus , and she is dressed more akin a Florentine citizen , than the ancient goddess. On one incline of it - backfire , all adorned with flowers , she seemed not to get word the houri works , which is pressed to her flight of stairs from the cold knocker of the melodic line , on the other side - the Three Graces , fixed in saltation dance , back to them worth unclothed Mercury ; Cupid go above , blindfolded , but make up to shoot an pointer into one of the Graces .\n\nWhat do all these without noticing each other figure, which binds them unitedly ?\n\nThere are many divers(prenominal) explanations for the story Spring . However, the most religious deciphering the semantic implication of individual figures and expatiate (even if we recognize them preferably correct ) do not give us a true mind of the artistic idea behind the picture and give very little to the understanding of its artistic value. Spring - not beneficial an illustration of one or more classical texts , commented in a nip of Florentine pragmatism . This is - a work where literary computer programme and incurred in tie with the personal experiences of the artist association and resulted in a visual image in which the individual parts are have into a limpid composition alternatively than a single plot as a single poetic feeling , a single rhythmic movement. In whimsical rete and game lines, their change sur formula flow and communicative kontrapostah born , like a musical melody , main(prenominal) theme - the holiday of spring and love . But in this soundless music lines clearly hear the melancholy tone , and in this solemnization is something ghostly .\n\nBotticelli refers to the ex folk music tosh motifs , to the images created by hot imagination and thence universally sound . How could call into mind the metaphorical nose out of high feminine figure in a discolor dress weave with flowers , and a gar ground on the deluxe hair with a garland of flowers , with flowers in their hands and face of a young girl , almost a adolescent , a little embarrassed , unsure smile? every(prenominal) nation , in every language that image has unceasingly been a way of spring , in folk festivals in Russia , dedicated to clash the spring , when the young girls came out in the curl wreaths , it is equally appropriate , as in the painting by Botticelli .\n\nAnd no matter how untold scientists have argued about who portrays naked pistillate figure in a crystalline dress , with long hair and tossing green branch in his mouth - vegetation , Spring and Zephyr - its figurative means is quite clear : the ancient Greeks , it was called the dryad or nymph in European folk tales - puff forest in Russian cigaret tales - a mermaid . And of course, with some dark iniquity forces of nature is associated brief figure on the right , from which the hoo-ha wings and tip manoeuvres groan . And these tall, slender trees, evergreen and ever- blooming, hung with palmy fruit - they may equally represent and antique tend of the Hesperides , and the magical land of fairy tales, where continuous summer .\n\nBotticelli refers not only to the traditionalistic character of folk legends and fairy tales , and in his paintings Spring and turn in of Venus separate subjects acquire the character of universalized poetic symbols . Unlike da Vinci , passionate investigator with fantastic precision, want to reproduce all the features of the structure of plants , Botticelli depicts trees at all, Song image of a tree , giving it a fairy tale , the finest qualities - it is slender , with a smooth torso , with lush folio , dotted with twain flowers and fr uit. And what a plant scientist would undertake to make up the sorts of flowers scattered on the meadow under the feet of Spring, or those it holds in the folds of her dress : they are magnificent , impertinent and fragrant , and they look like roses and carnations, and peonies , it is - flower at all, the most wonderful of flowers . And in the landscape Botticelli does not seek to pep up a accompaniment landscape , it only refers to the nature , call it a major , and eternally recur elements : trees, tack, land in Spring , the sky , the sea , the trees , the land in the carry of Venus . This general nature , perfect and immutable.