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Die Geburt der Venus Sandro Botticelli Gemälde verkaufen

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Die Geburt der Venus Sandro Botticelli Ölgemälde

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Gemälde reproduktionen über „Die Geburt der Venus Sandro Botticelli“

Year: c. 1486
Type: tempera on canvas
Dimensions: 172.5 cm × 278.9 cm (67.9 in × 109.6 in)
Location: Uffizi, Florence

Die Geburt der Venus (Italian: Nascita di Venere) is a 1486 painting by Sandro Botticelli. Botticelli was commissioned to paint the work by the Medici family of Florence, specifically Lorenzo di Pierfrancesco de' Medici under the influence of his cousin Lorenzo de' Medici, close friend to Botticelli. It depicts the goddess Venus, having emerged from the sea as an adult woman, arriving at the sea-shore (which is related to the Venus Anadyomene motif). The painting is on display at the Uffizi Gallery in Florence, Italy.

Venus is the symbol of beauty and origin of life in mythology. The design of plot and figure in The Birth of Venus are based on a poetry. The poetry describes a plot that Venus was born in the Aegean Sea, and then Aeolus blew her to the quiet and secluded coast; Spring was greeting her holding a knitted embroidered finery made from twinkling stars, behind her was boundless blue sky and sea; Venus stood on the shell which symbled her birthplace appearing melancholy and feeble, it seemed that she had no passion towards Spring and the world. The mental state of Die Geburt der Venus is a portrayal of Botticelli’s attitudes towards reality.

There is another implication in Die Geburt der Venus that: beauty is eternal without birth and death. Botticelli used the image of Venus to explain such aesthetic concept because she was born a beauty and would keep the beauty and youth perpetually with no experience of childhood or senility.

Botticelli's art was never fully committed to naturalism; in comparison to his contemporary Domenico Ghirlandaio, Botticelli seldom gave weight and volume to his figures and rarely used a deep perspectival space. In the Birth of Venus, Venus' body is anatomically improbable, with elongated neck and torso. Her pose is impossible: although she stands in a classical contrapposto stance, her weight is shifted too far over the left leg for the pose to be held. Moreover, her positioning on the edge of the scallop shell (which cannot be identified as real), would certainly cause it to tip over. The bodies and poses of the winds to the left are even harder to figure out. The background is summary, and the figures cast no shadows. It is clear that this is a fantasy image.

 

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