"composition, resembles a previous rendition of this subject, Sandro Botticelli's ""The Birth of Venus"", as well as Raphael's ""The Triumph of Galatea"". ""The Birth of Venus"" was created for the Paris Salon of 1879. It was awarded the Grand Prix de Rome, and was purchased by the state for the Musée du Luxembourg. The painting is now in the permanent collection of the Musée d'Orsay in Paris. At the center of the painting, Venus stands nude on a scallop shell being pulled by a dolphin, one of her symbols. Fifteen putti, including Cupid and Psyche, and several nymphs and centaurs"
"the image of Venus in Botticelli's painting with the famous beauty Simonetta Cattaneo Vespucci, of whom popular legend claims both Lorenzo and his younger brother, Giuliano, were great admirers. Simonetta was possibly born in the Ligurian seaside town of Portovenere ('the port of Venus'). Thus, in Botticelli's interpretation, Pankaspe (the ancient living prototype of Simonetta), the mistress of Alexander the Great (the Laurentian predecessor), becomes the lovely model for the lost ""Venus"" executed by the famous Greek painter Apelles (reborn through the recreative talents of Botticelli), which ended up in Rome, installed by Emperor Augustus in the temple dedicated to"
"of his later works also contain representations of her. He finished one of his most famous paintings, ""The Birth of Venus"", around 1486, 10 years after Simonetta's death; some have claimed that Venus, in this painting, closely resembles her. This claim, however, is dismissed as a ""romantic myth"" by Ernst Gombrich, and ""romantic nonsense"" by historian Felipe Fernández-Armesto: Some art historians, including John Ruskin, suggest that Botticelli had fallen in love with Simonetta, a view supported by Botticelli's request to be buried in the Church of Ognissanti — the parish church of the Vespucci — in Florence. His wish was"
"the books and the open drapery signify the revelation that Old Testament prophecy has been fulfilled in the birth of the Christ Child to the Virgin. Madonna del Padiglione (Botticelli) The Madonna and Child with Three Angels (also known as ""Madonna del Padiglione"") is a painting by the Italian Renaissance master Sandro Botticelli, executed in 1493. It is housed in the Pinacoteca Ambrosiana of Milan. The Virgin Mary is portrayed holding a book to her breast and gesturing to the Child, the latter being supported by an angel. The Italian name (""padiglione"" meaning ""pavilion"") derives from the rich baldachin over"
"The Mystical Nativity The Mystical Nativity is a painting of circa 1500–1501 by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. Botticelli built up the image using oil on canvas. It is his only signed work, and has an unusual iconography for a Nativity. The Greek inscription at the top translates as: ""This picture, at the end of the year 1500, in the troubles of Italy, I Alessandro, in the half-time after the time, painted, according to the eleventh [chapter] of Saint John, in the second woe of the Apocalypse, during the release of the devil"
"principle, and inwardly, the ""life-force slumbering within the Earth"", an emblem of the vulva. Many paintings of Venus, the Roman goddess of love and fertility, included a scallop shell in the painting to identify her. This is evident in Botticelli's classically inspired 15th century painting ""The Birth of Venus"". One legend of the Way of St. James holds that the route was seen as a sort of fertility pilgrimage, undertaken when a young couple desired to bear offspring. The scallop shell is believed to have originally been carried, therefore, by pagans as a symbol of fertility. Alternatively, the scallop resembles"
"mythological paintings. Those of Botticelli, notably ""The Birth of Venus"" and ""Primavera"", are now among the best known, although he was deeply religious (becoming a follower of Savonarola) and the great majority of his output was of traditional religious paintings or portraits. In sculpture, Donatello's (1386–1466) study of classical sculpture led to his development of classicizing positions (such as the contrapposto pose) and subject matter (like the unsupported nude – his second sculpture of ""David"" was the first free-standing bronze nude created in Europe since the Roman Empire.) The progress made by Donatello was influential on all who followed; perhaps"
"signifies the allegory of Henry IV, the promiscuous husband. The cycle's second painting, ""The Birth of the Princess"", represents Medici's April 26, 1573 birth. Symbols and allegory appear throughout the painting. On the left, two putti play with a shield on which the Medici crest appears, suggesting that Heaven favored the young Medici from the moment of her birth. The river god in the picture's right corner is likely an allusion to the Arno River that passes through Florence, Marie's city of birth. The cornucopia above the infant's head can be interpreted as a harbinger of Marie's future glory and"
"associated with enlightenment. The figures of Classical mythology began to take on a new symbolic role in Christian art and in particular, the Goddess Venus took on a new discretion. Born fully formed, by a sort of miracle, she was the new Eve, symbol of innocent love, or even, by extension, a symbol of the Virgin Mary herself. We see Venus in both these roles in the two famous tempera paintings that Botticelli did in the 1480s for Cosimo's nephew, Pierfrancesco Medici, the ""Primavera"" and the ""Birth of Venus"". Meanwhile, Domenico Ghirlandaio, a meticulous and accurate draughtsman and one of"
"includes a segment on Camilla. She is not often a subject in art, but the female figure in ""Pallas and the Centaur"" by Sandro Botticelli (c. 1482, Uffizi) was called ""Camilla"" in the earliest record of the painting, an inventory of 1499, but then in an inventory of 1516 she is called Minerva, which remains her usual identification in recent times. Camilla is similar to Penthesilea of Greek mythology. Camilla (mythology) In Virgil's ""Aeneid"", Camilla of the Volsci is the daughter of King Metabus and Casmilla. Driven from his throne, Metabus is chased into the wilderness by armed Volsci, his"
"The Birth of Venus (Bouguereau) The Birth of Venus () is one of the most famous paintings by 19th-century painter William-Adolphe Bouguereau. It depicts not the actual birth of Venus from the sea, but her transportation in a shell as a fully mature woman from the sea to Paphos in Cyprus. She is considered the epitome of the Classical Greek and Roman ideal of the female form and beauty, on par with ""Venus de Milo"". For Bouguereau, it is considered a ""tour de force"". The canvas stands at just over high, and wide. The subject matter, as well as the"
"no known parallels elsewhere in Anglo-Saxon jewelcrafting; its creator must have been one of the best craftworkers in the country at the time. Its shape is a significant link with early Christianity. The scallop had long been associated with love, fertility and birth and was a symbol of the classical goddesses Aphrodite and her Roman counterpart Venus, who was said to have floated ashore on a scallop shell (as in Sandro Botticelli's famous depiction of ""The Birth of Venus""). By the 4th century, however, Christians had adopted the scallop as a symbol of rebirth through baptism and life as a"
"in space such as the disproportion of the architectural background which is too small compared to the figure of Mary and also compared to the flowers in the garden behind her. Madonna of the Rose Garden (Botticelli) The Madonna of the Rose Garden is a tempera on panel painting (124x64 cm) made by Sandro Botticelli, whose date of between 1469 and 1470 makes it one of his earliest paintings. It is now in the Uffizi Gallery in Florence. The work was in the Chamber of Commerce of Florence which leads to the hypothesis that like Botticelli's earlier painting, the ""Madonna"
"known works today, he painted a wide range of religious subjects and also some portraits. He and his workshop were especially known for their ""Madonna and Child""s, many in the round tondo shape. Botticelli's best-known works are ""The Birth of Venus"" and ""Primavera"", both in the Uffizi in Florence. He lived all his life in the same neighbourhood of Florence, with probably his only significant time elsewhere the months he spent painting in Pisa in 1474 and the Sistine Chapel in Rome in 1481–82. Only one of his paintings is dated, though others can be dated from other records with"
"Madonna and Child and Two Angels (Botticelli) The Madonna and Child with Two Angels is a painting by the Italian Renaissance master Sandro Botticelli, dating to c. 1468-1469. It is now in the Museo Nazionale di Capodimonte, in Naples. The work was once attributed to Filippino Lippi, master of Botticelli. The composition essentially derives from Botticelli's master (and Filippino Lippi's father) Filippo Lippi. The faces and other details suggest around the same period of the ""Fortitude"" and the other juvenile Madonnas of the Italian painter. The composition is similar to Verrocchio's ""Madonna of the Milk"", probably dating to a year"
"the better. The two great masters of the nude in the late ""quattrocento"", Pollaiuolo and Botticelli, are concerned with embodiments of energy or ecstatic motion, with a wrestling Hercules or a flying angel, and only once, in Botticelli's ""St. Sebastian"", achieve a satisfactory nude in repose. Rainer Maria Rilke's poem ""Sankt Sebastian"" (in ""Neue Gedichte"", 1907) seems to have a close correspondence in description and mood to Botticelli's painting, as Rilke's translator J.B. Leishman and Jane Davidson Reid have observed. St. Sebastian (Botticelli) St. Sebastian is a painting of the eponymous Christian saint by the Italian Renaissance painter Sandro Botticelli,"
"It is believed that also on this occasion, either Lorenzo il Magnifico or Lorenzo di Pierfrancesco himself, commissioned Botticelli's ""Allegory of Spring"" to celebrate the wedding - with Mercury representing Lorenzo di Pierfrancesco and Semiramide represented by the central Grace (or possibly Flora). Lorenzo di Pierfrancesco is believed to have later commissioned Botticelli's ""The Birth of Venus"", one of the most famous paintings of the Renaissance. Lorenzo di Pierfranceso was the proprietor of the Villa del Trebbio, inherited from his grandfather Lorenzo the Elder, and Villa di Castello, acquired in 1477 on the instructions of Lorenzo il Magnifico. In 1483,"
"to be used as a symbol showing hostelries along the route and later as a sign of hospitality, food and lodging elsewhere. Roman myth has it that Venus, the goddess of love, was born in the sea and emerged accompanied by fish and dolphins, with Botticelli depicting her as arriving in a scallop shell. The Romans revered her and erected shrines in her honour in their gardens, praying to her to provide water and verdant growth. From this, the scallop and other bivalve shells came to be used as a symbol for fertility. Its depiction is used in architecture, furniture"
"Virgin and Child with an Angel (Botticelli) Virgin and Child with an Angel also known as Our Lady of the Eucharist (Italian: ""Madonna dell'Eucarestia"") is a tempera on wood panel painting by Sandro Botticelli made c.1470. It is now held by the Isabella Stewart Gardner Museum in Boston, Massachusetts, acquired from Prince Chigi in 1899. The painting measures and one of a series of Madonna paintings by Botticelli from 1465 and 1470. It shows influences from Filippo Lippi's ""Virgin and Child and Angels"" of c.1465 held by the Uffizi. The Virgin Mary is shown in a three quarter view, with"
"Exemplary Women of Antiquity Exemplary Women of Antiquity is a set of paintings produced between 1495 and 1500 by Andrea Mantegna. They show the Carthaginian noblewoman Sophonisba poisoning herself to avoid being paraded in a Roman triumph, the Roman Vestal Virgin Tuccia proving her chastity by carrying water in a sieve, Judith with the head of Holofernes and Dido holding Sychaeus's funeral urn. Infrared reflectography has uncovered a signature on the back of ""Judith"" reading ""And.a Mantegnia. P[inxit]."" (Andrea Mantegna painted [it]). ""Sophonisba"" and ""Tuccia"" are egg-tempera on poplar panel, whilst ""Judith"" and ""Holofernes"" are glue-tempera on linen canvas. All"
"Holy Trinity (Botticelli) The Holy Trinity or Pala delle Convertite is an altarpiece by the Italian Renaissance painter Sandro Botticelli, dating to c. 1491–1493. It is housed in Courtauld Institute Galleries of London. It was originally commissioned by the ""Arte dei Medici e degli Speziali"" (guild of the Doctors and Pharmacists) for the church of Santa Elisabetta delle Convertite in Florence, a church/monastery housing former prostitutes or fallen women, who had converted from the licentious life to one of honesty, and whose patron saint was Mary Magdalene The picture shows the Trinity (Jesus Crucified, God and the Holy Spirit's Dove)"
"Venus Anadyomene (Titian) Venus Anadyomene (Greek -Venus rising from the sea), is a c. 1520 oil painting by Titian, depicting Venus rising from the sea and wringing her hair, after her birth fully-grown. Venus, said to have been born from a shell, is identified by the shell at bottom left. It is smaller than usual in the birth of Venus scenes, such as Botticelli's, and is just intended to identify the subject rather than be a boat-like vessel for Venus, as in Sandro Botticelli's ""The Birth of Venus"" and other depictions. The voluptuousness of the Venus presented, and her sideways"
"the Montreal Museum of Fine Arts in Canada. Exemplary Women of Antiquity Exemplary Women of Antiquity is a set of paintings produced between 1495 and 1500 by Andrea Mantegna. They show the Carthaginian noblewoman Sophonisba poisoning herself to avoid being paraded in a Roman triumph, the Roman Vestal Virgin Tuccia proving her chastity by carrying water in a sieve, Judith with the head of Holofernes and Dido holding Sychaeus's funeral urn. Infrared reflectography has uncovered a signature on the back of ""Judith"" reading ""And.a Mantegnia. P[inxit]."" (Andrea Mantegna painted [it]). ""Sophonisba"" and ""Tuccia"" are egg-tempera on poplar panel, whilst ""Judith"""
"Madonna del Padiglione (Botticelli) The Madonna and Child with Three Angels (also known as ""Madonna del Padiglione"") is a painting by the Italian Renaissance master Sandro Botticelli, executed in 1493. It is housed in the Pinacoteca Ambrosiana of Milan. The Virgin Mary is portrayed holding a book to her breast and gesturing to the Child, the latter being supported by an angel. The Italian name (""padiglione"" meaning ""pavilion"") derives from the rich baldachin over the scene. There is an open book on a small prie-dieu between the Virgin and Child. Angels are pulling back the drapery of the pavilion. Together,"
"or two earlier. <BR> Madonna and Child and Two Angels (Botticelli) The Madonna and Child with Two Angels is a painting by the Italian Renaissance master Sandro Botticelli, dating to c. 1468-1469. It is now in the Museo Nazionale di Capodimonte, in Naples. The work was once attributed to Filippino Lippi, master of Botticelli. The composition essentially derives from Botticelli's master (and Filippino Lippi's father) Filippo Lippi. The faces and other details suggest around the same period of the ""Fortitude"" and the other juvenile Madonnas of the Italian painter. The composition is similar to Verrocchio's ""Madonna of the Milk"", probably"
"which has been described as ""one of the most written about, and most controversial paintings in the world"", and ""one of the most popular paintings in Western art"". The story of Aphrodite's birth from the foam was a popular subject matter for painters during the Italian Renaissance, who were attempting to consciously reconstruct Apelles of Kos's lost masterpiece ""Aphrodite Anadyomene"" based on the literary ""ekphrasis"" of it preserved by Cicero and Pliny the Elder. Artists also drew inspiration from Ovid's description of the birth of Venus in his ""Metamorphoses"". Sandro Botticelli's ""The Birth of Venus"" ( 1485) was also partially"
"Madonna in Glory with Seraphim (Botticelli) Madonna in Glory with Seraphim is a painting by the Italian Renaissance painter Sandro Botticelli, executed c. 1469-1470. It is housed in Galleria degli Uffizi, Florence. Some panel paintings of the Madonna by Botticelli remain from the years around 1470 which are striking expressions of Botticelli's stylistic development. Two full figure pictures of the Madonna - the ""Madonna in Glory"" and the ""Madonna of the Rosegarden"" - are in the Uffizi. They represent monumental seated figures filling the entire picture. Mary is enthroned on clouds in a glory of seraphim. The Christ Child, with"
"Politian speaks of Zephyr causing flowers to bloom, and spreading their scent over the land, which probably explains the roses he blows along with him in the painting. Having a large standing female nude as the central focus was unprecedented in post-classical Western painting, and certainly drew on the classical sculptures which were coming to light in this period, especially in Rome, where Botticelli had spent 1481–82 working on the walls of the Sistine Chapel. The pose of Botticelli's ""Venus"" follows the Venus Pudica (""Venus of Modesty"") type from classical antiquity, where the hands are held to cover the breasts"
"Madonna of the Rose Garden (Botticelli) The Madonna of the Rose Garden is a tempera on panel painting (124x64 cm) made by Sandro Botticelli, whose date of between 1469 and 1470 makes it one of his earliest paintings. It is now in the Uffizi Gallery in Florence. The work was in the Chamber of Commerce of Florence which leads to the hypothesis that like Botticelli's earlier painting, the ""Madonna della loggia"", it had been commissioned either by the Wool Guild or the Tribunale della Mercanzia. Wilhelm von Bode was the first to date the work to the artist's juvenile phase,"
"Greek mythology in western art and literature With the rediscovery of classical antiquity in the Renaissance, the poetry of Ovid became a major influence on the imagination of poets and artists, and remained a fundamental influence on the diffusion and perception of Greek mythology through subsequent centuries. From the early years of the Renaissance, artists portrayed subjects from Greek mythology alongside more conventional Christian themes. Among the best-known subjects of Italian artists are Botticelli's ""Birth of Venus"" and ""Pallas and the Centaur"", the Ledas of Leonardo da Vinci and Michelangelo, and Raphael's ""Galatea"". Through the medium of Latin and the"
"Nativity of the Virgin (Pietro Lorenzetti) The Nativity of the Virgin is a painting by the Italian late medieval painter Pietro Lorenzetti, dating from around 1335-1342, now housed in the Museo dell'Opera del Duomo of Siena, Italy. The painting originally decorated the altar of St. Sabinus in the Cathedral of Siena, and had been commissioned as part of a cycle of four altarpieces dedicated to the city's patrons saints (St. Ansanus, St. Sabinus of Spoleto, St. Crescentius and St. Victor) during 1330-1350. These included the ""Annunciation with St. Margaret and St. Ansanus"" by Simone Martini and Lippo Memmi, the ""Presentation"
"carried out when he died 34 years later, in 1510. However, this had been Botticelli's parish church since he was baptized there, the church contained works by him, and he was buried with his family. Botticelli painted the standard carried by Giuliano at the joust in 1475, which carried an image of Pallas Athene that was very probably modeled on her; so he does seem to have painted her once at least, though that particular image is now lost. Botticelli's principal Medici patron, Giuliano's younger cousin Lorenzo di Pierfrancesco de' Medici, married Simonetta's niece Semiramide in 1482, and it is"
"Temptations of Christ (Botticelli) The Temptations of Christ is a fresco by the Italian Renaissance painter Sandro Botticelli, executed in 1480–1482 and located in the Sistine Chapel, Rome. On 27 October 1480 Botticelli, together with other Florentine painters, Domenico Ghirlandaio and Cosimo Rosselli, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the ""de facto"" ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, who was already there. The theme of the decoration"