Botticelli inferno

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botticelli inferno

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Botticelli Inferno Video

FLORENCIA (El Infierno de Botticelli) 1 - Documentales

Botticelli Inferno Dialog der Meisterwerke im Städel Museum

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Botticelli Inferno Video

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Here, Botticelli introduces some important innovations for the first time: the front view of the scene , with the holy figures in the center, surrounded by the other characters up to that time, the three kings were always placed to the right or left of the scene ; the holy family is located under a partly destroyed hut, with other semi-destroyed buildings in the background.

In addition, Botticelli includes in the painting the portraits of Cosimo de Medici, his sons Piero and Giovanni, and his grandsons Lorenzo the Magnificent and Giuliano.

The chapel is now destroyed and the painting is on display at the Uffizi. His most famous works by far are, of course, the Primavera and the Birth of Venus.

The Primavera or Allegory of Spring was commissioned by Lorenzo di Pierfrancesco de 'Medici cousin to Lorenzo the Magnificent and the subject of the painting is not fully clear: there are mythological characters implying various neo-platonic academy theories, and probably also some references to the client and his marriage The Birth of Venus is not mentioned in the Medici inventories of , and , but, thanks to Giorgio Vasari, we know that the work was definitely in the Villa di Castello in , where Vasari was able to admire it, along with the Primavera.

Also in the Uffizi, you can compare these mythological works for the Medici with two other types of paintings — portraits, and paintings of the Madonna.

See, for example, the delicate Madonna of the Pomegranite or the Madonna del Magnificat Particularly riveting is the expression of the Young Man with a Medal , a tempera on panel painting showing a man displaying a portrait medal.

The identity of the sitter has been subject of much speculation: he appears to have Medici facial traits but art historians cannot seem to agree.

Botticelli is buried at the church of Ognissanti, where there is conserved a small fresco of Saint Augustine in his study.

Download the infographic Botticelli in Tuscany. Discover now Where to go What to do Get planning. Discover now.

Discover more. Where to go. Prato Grosseto Lucca Arezzo Massa. Main attractions. Pisa's Medieval Walls.

Mascagni Terrace. The Guinigi Tower. Massa Cathedral. The Medici Villa in Poggio a Caiano. San Francesco Basilica in Arezzo.

Santa Maria della Scala. Cascate del Mulino hot springs in Saturnia. Piazza Duomo in Pistoia. Coast The best of land and sea.

Mountains The peak of excitement. Countryside Hills to explore. Only four pages are completely color. In , the main part of the handwriting was added to the collection of Kupferstichkabinett Berlin Print and Painting Museum with the purchase of 85 of Botticelli's drawings by director Friedrich Lippmann.

Lippmann moved quickly and quietly. When the sale was announced, it caused a great sadness in the British press and the Parliament.

Shortly after the sale, it appeared that the other eight drawings of the same article were in the Vatican Library.

The map of Hell is in the Vatican collection. Arthipo offers you only artistic prints, the printed works are similar to the original works, and the paintings are carefully prepared by considering the aesthetic criteria, then they are examined from as artistic by professional painters.

Each page of Divine Comedy was about 47 cm wide and 32 cm high. Since the text of each canteen was written on a single page and the accompanying image was on a separate page, arranging the two pages in a horizontal format would be impractical due to the width of about 94 centimeters.

This will require the reader to rotate his or her heads from left to right when working to link the text columns on the left to the image on the right.

A vertical arrangement that stacks the drawing page at the top of the text page is a more efficient way of merging the pair of text illustrations.

This would make it easier to read the text and draw each canteen easier and more efficient. It is one of the famous paintings of his artist.

It reflects the perspective of the artist in terms of technique used. The same color and formality are encountered in different works.

The subject was first described as Primavera by the art historian Giorgio Vasari who saw it at Villa Castello , just outside Florence, by Although the two are now known not to be a pair, the painting is inevitably discussed with Botticelli's other very large mythological painting, The Birth of Venus , also in the Uffizi.

They are among the most famous paintings in the world, and icons of the Italian Renaissance ; of the two, the Birth is even better known than the Primavera.

The history of the painting is not certainly known; it may have been commissioned by one of the Medici family , but the certainty of its commission is unknown.

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 a poem by Poliziano , the Medici house poet who may have helped Botticelli devise the composition.

Since the painting has been part of the collection of the Uffizi Gallery in Florence , Italy. The painting features six female figures and two male, along with a cupid, in an orange grove.

The movement of the composition is from right to left, so following that direction the standard identification of the figures is: at far right " Zephyrus , the biting wind of March, kidnaps and possesses the nymph Chloris , whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is scattering roses on the ground.

In the centre but not exactly so and somewhat set back from the other figures stands Venus, a red-draped woman in blue.

Like the flower-gatherer, she returns the viewer's gaze. The trees behind her form a broken arch to draw the eye.

In the air above her a blindfolded Cupid aims his bow to the left. At the extreme left Mercury , clothed in red with a sword and a helmet, raises his caduceus or wooden rod towards some wispy gray clouds.

The interactions between the figures are enigmatic. Zephyrus and Chloris are looking at each other. Flora and Venus look out at the viewer, the Cupid is blindfolded, and Mercury has turned his back on the others, and looks up at the clouds.

The central Grace looks towards him, while the other two seem to look at each other. Flora's smile was very unusual in painting at this date.

The pastoral scenery is elaborate. There are identified plant species depicted in the painting, with about different flowers, [11] of which at least can be specifically identified.

These tapestries had not caught up by the s with the artistic developments of the Italian Renaissance, and the composition of the painting has aspects that belong to this still Gothic style.

The figures are spread in a rough line across the front of the picture space, "set side by side like pearls on a string".

The feet of Venus are considerably higher than those of the others, showing she is behind them, but she is at the same scale, if not larger, than the other figures.

Overlapping of other figures by Mercury's sword and Chloris' hands shows that they stand slightly in front of the left Grace and Flora respectively, which might not be obvious otherwise, for example from their feet.

It has been argued that the flowers do not grow smaller to the rear of the picture space, certainly a feature of the millefleur tapestries.

The costumes of the figures are versions of the dress of contemporary Florence, though the sort of "quasi-theatrical costumes designed for masquerades of the sort that Vasari wrote were invented by Lorenzo de' Medici for civic festivals and tournaments.

Various interpretations of the figures have been set forth, [17] but it is generally agreed that at least at one level the painting is "an elaborate mythological allegory of the burgeoning fertility of the world.

Poliziano is usually thought to have been involved in this, [18] though Marsilio Ficino , another member of Lorenzo de' Medici's circle and a key figure in Renaissance Neoplatonism , has also often been mentioned.

One aspect of the painting is a depiction of the progress of the season of spring, reading from right to left.

The wind of early Spring blows on the land and brings forth growth and flowers, presided over by Venus, goddess of April, with at the left Mercury, the god of the month of May in an early Roman calendar, chasing away the last clouds before summer.

A passage in Virgil 's Aeneid describes him clearing the skies with his caduceus. Venus presides over the garden — an orange grove a Medici symbol.

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