Who painted 'The Birth of Venus' and 'Primavera'?
"assumed that Vonnegut wrote the book. This problem was solved by the book being reprinted under Farmer's by-line. A common element to this novel is the origin of many of the characters' and locations' names. Farmer ""put in a lot of references to literature and fictional authors... Most of the alien names in Venus were formed by transposing the letters of English or non-English words."" The title and paperback cover art are a reference to an Italian Renaissance tempera painting by Sandro Botticelli, ""The Birth of Venus"", which depicts the birth of the goddess Venus as her rising from the"
"Primavera (painting) Primavera (, meaning ""Spring""), is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli made in the late 1470s or early 1480s (datings vary). It has been described as ""one of the most written about, and most controversial paintings in the world"", and also ""one of the most popular paintings in Western art"". The painting depicts a group of figures from classical mythology in a garden, but no story has been found that brings this particular group together. Most critics agree that the painting is an allegory based on the lush growth of"
"The Birth of Venus (Cabanel) The Birth of Venus (French: ""Naissance de Venus"") is a painting by the French artist Alexandre Cabanel. It was painted in 1863, and is now in the Musée d'Orsay in Paris. A second and smaller version (85 x 135.9 cm) from ca. 1864 is in Dahesh Museum of Art. A third (106 x 182.6 cm) version dates from 1875; it is in the Metropolitan Museum of Art in New York City. Shown to great success at the Paris Salon of 1863, ""The Birth of Venus"" was immediately purchased by Napoleon III for his own personal"
"apparently not spending his spare time in Rome drawing antiquities, as many artists of his day were very keen to do, he does seem to have painted there an ""Adoration of the Magi"", now in the National Gallery of Art in Washington. In 1482 he returned to Florence, and apart from his lost frescos for the Medici villa at Spedalletto a year or so later, no further trips away from home are recorded. He had perhaps been away from July 1481 to, at the latest, May 1482. The masterpieces ""Primavera"" (c. 1482) and ""The Birth of Venus"" (c. 1485) are"
"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,"
"liberal teaching"". Alexandre Cabanel. ""Birth of Venus"". http://library.artstor.org/library/secure/ViewImages?id=%2FThWdC8hIywtPygxFTx5TnQkVn0reA%3D%3D. Alexandre Cabanel, French, 1823-1889. ""The Birth of Venus"". http://library.artstor.org/library/secure/ViewImages?id=%2FDFMaiMuOztdLS04ejp4QXsvXQ%3D%3D. Cabanal, Alexandre, French, 1824-1889. ""The Birth of Venus"". http://library.artstor.org/library/secure/ViewImages?id=8DlKaFsnKjQ6. The Birth of Venus (Cabanel) The Birth of Venus (French: ""Naissance de Venus"") is a painting by the French artist Alexandre Cabanel. It was painted in 1863, and is now in the Musée d'Orsay in Paris. A second and smaller version (85 x 135.9 cm) from ca. 1864 is in Dahesh Museum of Art. A third (106 x 182.6 cm) version dates from 1875; it is in the Metropolitan Museum of Art in New"
"known than the ""Primavera"". As depictions of subjects from classical mythology on a very large scale they were virtually unprecedented in Western art since classical antiquity. It used to be thought that they were both commissioned by the same member of the Medici family, but this is now uncertain. The history of the painting is not certainly known, though it seems to have been commissioned by one of the Medici family. It draws from a number of classical and Renaissance literary sources, including the works of the Ancient Roman poet Ovid and, less certainly, Lucretius, and may also allude to"
"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"
"http://www.museodelprado.es Venus, Adonis and Cupid Venus, Adonis and Cupid is a painting created c. 1595 by Annibale Carracci. The painting is in the Museo del Prado, Madrid. Annibale Carracci was one of the most well known Italian Baroque painters of the seventeenth century. The Carracci brothers established an academy of art called Accademia degli Incamminati, which pioneered the development of Bolognese Painting. Annibale Carracci and Caravaggio were among the most influential artists of this century, who through their unique artistic styles led to the transition from Mannerist to Baroque. Annibale was born in Bologna in 1560 and died in Rome"
"Cagliari. He also painted a portrait of the Archbishop of Fermo, Alessandro Borgia; and portraits of San Giuseppe da Copertino and of Alanus de Solminiac used by engravers. Pietro Angeletti Pietro Angeletti (active, 1758-1786) was an Italian painter in a Neoclassical style. Born and died in Rome, he was a professor of painting at the Accademia di San Luca. He painted the ""Reconciliation of Venus and Minerva"" for the ceiling of a room in Villa Borghese that houses the Bernini sculpture of ""Apollo and Daphne"". For his work, he was paid 350 scudi. He painted two oval canvases depicting the"
"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 the finest portrait painters of his age, executed two cycles of frescoes for Medici associates in two of Florence's larger churches, the Sassetti Chapel at Santa Trinita and the Tornabuoni Chapel at Santa Maria Novella. In these cycles of the ""Life of St Francis"" and the ""Life of"
"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"
"moral of the story of Aphrodite's birth is that sex can only be holy in the presence of semen, blood, and heat, which he regarded as all being necessary for procreation. Meanwhile, Isidore denigrated Aphrodite/Venus's son Eros/Cupid as a ""demon of fornication"" (""daemon fornicationis""). Aphrodite/Venus was best known to Western European scholars through her appearances in Virgil's ""Aeneid"" and Ovid's ""Metamorphoses"". Venus is mentioned in the Latin poem ""Pervigilium Veneris"" (""The Eve of Saint Venus""), written in the third or fourth century AD, and in Giovanni Boccaccio's ""Genealogia Deorum Gentilium"". Aphrodite is the central figure in Sandro Botticelli's painting ""Primavera"","
"Pardo Venus The Pardo Venus is a painting by the Venetian artist Titian, completed in 1551 and now in the Louvre Museum. It is also known as Jupiter and Antiope, since it seems to show the story of Jupiter and Antiope from Book VI of the ""Metamorphoses"" (lines 110-111). It is Titian's largest mythological painting, and was the first major mythological painting produced by the artist for Philip II of Spain. It was long kept in the Royal Palace of El Pardo near Madrid (not to be confused with the Prado, a purpose-built museum), hence its usual name; whether Venus"
"painting was restored. The work has darkened considerably over the course of time. Primavera (painting) Primavera (, meaning ""Spring""), is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli made in the late 1470s or early 1480s (datings vary). It has been described as ""one of the most written about, and most controversial paintings in the world"", and also ""one of the most popular paintings in Western art"". The painting depicts a group of figures from classical mythology in a garden, but no story has been found that brings this particular group together. Most critics"
"villa is today approached by an alley five hundred meters long shaded by trees, as it was in the time of Cosimo. During the life of Cosimo, the house was famous for its works of art, particularly the Botticelli ""Birth of Venus"" and ""Primavera"", which were located there before 1550, and later moved to the Uffizi. It also included a cycle of paintings by Pontormo made in the loggia between 1538 and 1543, depicting the ""Return of the Golden Age"", no longer existing. The house, in its present state, is remarkable mainly for its plainness. The facade has no decoration,"
"Roman equivalent of the Greek Chloris; in the ""Primavera"" Chloris is transformed into the figure of Flora next to her, following Ovid's ""Fasti"", but it is hard to see that such a transformation is envisaged here. However, the roses blown along with the two flying figures would be appropriate for Chloris. The subject is not strictly the ""Birth of Venus"", a title only given the painting in the nineteenth century (though given as the subject by Vasari), but the next scene in her story, where she arrives on land, blown by the wind. The land probably represents either Cythera or"
"Venus' contrapposto is more intense, and her hair is also longer and lighter than the nymph's, but she arranges it almost identically. To the upper-left of the painting, there is a shadow in the clouds. It appears to be the silhouette of the artist, with a head, shoulder, arm, and a raised fist that would seem to hold a paintbrush. 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"
"Venus, Adonis and Cupid Venus, Adonis and Cupid is a painting created c. 1595 by Annibale Carracci. The painting is in the Museo del Prado, Madrid. Annibale Carracci was one of the most well known Italian Baroque painters of the seventeenth century. The Carracci brothers established an academy of art called Accademia degli Incamminati, which pioneered the development of Bolognese Painting. Annibale Carracci and Caravaggio were among the most influential artists of this century, who through their unique artistic styles led to the transition from Mannerist to Baroque. Annibale was born in Bologna in 1560 and died in Rome in"
"Gerolamo Giovenone Gerolamo Giovenone (1486/1487 – 1555), also spelled ""Girolamo"", was an Italian painter of the early Renaissance period, active mainly in Milan. He was born in Vercelli. He was the teacher of the painter Gaudenzio Ferrari and possibly also taught il Sodoma. In Milan, he painted the ""Resurrection"" for the church of the Augustines. An altarpiece fragment depicting an ""Adoration of the Virgin and Child by Saints Nicola da Tolentino and Eusebius"" is displayed by the Museo Borgogna in Vercelli. A ""Virgin and Child with Saints"" is found at the National Gallery in London. Another of his pupils was"
"Francesco Maria Schiaffino and Agostino Carlini who was member of the Royal Academy. In Genoa on 14 February 1404, the famous humanist author, architect, poet and philosopher Leon Battista Alberti was born. From Genoa was also Simonetta Vespucci considered the most beautiful woman of her time, we find portrayed in ""The Birth of Venus"" and Allegory of Primavera by Sandro Botticelli and in ""Portrait of Simonetta Vespucci"" by Piero di Cosimo. Genoa is also famous for its numerous tapestries, which decorated the city's many salons. Whilst the patrician palaces and villas in the city were and still are austere and"
"Venus and the Three Graces Presenting Gifts to a Young Woman Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus (), is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483-1486. The painting and its companion piece, ""A Young Man Being Introduced to the Seven Liberal Arts"", originally decorated the walls of Villa Lemmi, a country villa near Florence owned by Giovanni Tornabuoni, uncle of Lorenzo de' Medici and head of the Roman branch of the Medici Bank. They were probably"
"Venus and the Three Graces Presenting Gifts to a Young Woman Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus (), is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483-1486. The painting and its companion piece, ""A Young Man Being Introduced to the Seven Liberal Arts"", originally decorated the walls of Villa Lemmi, a country villa near Florence owned by Giovanni Tornabuoni, uncle of Lorenzo de' Medici and head of the Roman branch of the Medici Bank. They were probably"
"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"
"the Impressionists, especially Édouard Manet, although the refusal of the academic establishment to realize the importance of new ideas and sources of inspiration would eventually prove to be the undoing of the Academy. At the Salon of 1863, ""The Birth of Venus"" was one of a multitude of female nudes. Bathed in opalescent colors, the goddess Venus shyly looks to the viewer from beneath the crook of her elbow. Two years later, Manet presented his now renowned painting ""Olympia"" at the Salon as well. Today both hang in the Musee’d’ Orsay. Unlike Venus’s ethereal-like palette, Manet painted Olympia with pale,"
"Franchino Ferrari, born 1484 in Valduggia, and active in Vercelli. Gerolamo Giovenone Gerolamo Giovenone (1486/1487 – 1555), also spelled ""Girolamo"", was an Italian painter of the early Renaissance period, active mainly in Milan. He was born in Vercelli. He was the teacher of the painter Gaudenzio Ferrari and possibly also taught il Sodoma. In Milan, he painted the ""Resurrection"" for the church of the Augustines. An altarpiece fragment depicting an ""Adoration of the Virgin and Child by Saints Nicola da Tolentino and Eusebius"" is displayed by the Museo Borgogna in Vercelli. A ""Virgin and Child with Saints"" is found at"
"to Frédéric Reiset, curator of drawings at the Louvre Museum. It was exhibited at the 1855 Exposition Universelle in Paris, where it was seen by the poet Charles Baudelaire – he argued that the head was inspired by classical sculpture, the hands by Raphael, and the narrow torso by medieval sculpture. In 1879 this painting and the rest of the Reiset collection were bought by Henri d'Orléans, Duke of Aumale. It was closely followed by later treatments of the subject, such as Théodore Chassériau's ""Vénus marine"" and Bouguereau's 1879 ""The Birth of Venus"". of the painting from c.1825-1850 is in"
"The Birth of Venus (novel) The Birth of Venus: A Novel is a 2003 novel by Sarah Dunant, a bestselling British author. The story is set in the late 15th century in Florence, Italy. It was first published in London by Little, Brown in 2003 with the title The Birth of Venus: love and death in Florence. A young Florentine girl, Alessandra Cecchi, is drawn to a young painter commissioned to paint the family's chapel walls. The painter is brought to her home by her father, a rich textile merchant whose business would be negatively affected by the rise of"
"Nativity of the Virgin (Perugino) Nativity of the Virgin is a small tempera on panel painting by Perugino, dating to around 1472 and now in the Walker Art Gallery in Liverpool. It shows the nativity of Mary. The style of the house is heavily influenced by Andrea del Verrocchio It belongs to the painter's early period and the important commissions he gained during the short time he was active in Florence. Both it and ""Miracle of the Snow"" are usually identified as one of two surviving parts of the same predella, either from a lost altarpiece of the Virgin Mary"
"an ""enchantingly primitivistic pastoral"" where Botticelli's version is a ""solemnly classicizing allegory"". Literary sources Venus and Mars (Botticelli) Venus and Mars (or Mars and Venus) is a panel painting of about 1485 by the Italian Renaissance painter Sandro Botticelli. It shows the Roman gods Venus, goddess of love, and Mars, god of war, in an allegory of beauty and valour. The youthful and voluptuous couple recline in a forest setting, surrounded by playful baby satyrs. The painting was probably intended to commemorate a wedding, set into panelling or a piece of furniture to adorn the bedroom of the bride and"
"it can no longer be considered a true portrait."" Venus and Amor Venus and Amor (also known as Venus and Cupid) is a c. 1524 painting by the German painter and printmaker Hans Holbein the Younger, conserved in the Kunstmuseum Basel, Switzerland. Although the work is Holbein's earliest mythological painting, depicting the Roman goddess of love, Venus, with her son Amor (Cupid), the model is believed to be his friend Magdalena Offenburg. They are shown in front of a large hanging green curtain and behind a low parapet. Venus is depicted with an open gesture and sincere gaze. Cupid is"
"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. There is no record of the original commission, and the painting is first mentioned by Vasari, who saw it, together with the ""Primavera"", at Castello, some time before the first edition of his ""Lives"" in 1550, probably by 1530–40. In 1550 Vasari was himself painting in the villa, but he very possibly visited it before that. But in 1975 it emerged that, unlike the ""Primavera"", the ""Birth"" is not in the inventory, apparently complete, made"
"Venus and Adonis (Titian) A composition of Venus and Adonis by the Venetian Renaissance artist Titian has been painted a number of times, by Titian himself, by his studio assistants and by others. In all there are some thirty versions that may date from the 16th century, the nudity of Venus undoubtedly accounting for this popularity. It is unclear which of the surviving versions, if any, is the original or prime version, and a matter of debate how much involvement Titian himself had with surviving versions. There is a precise date for only one version, that in the Prado in"