Sandro Botticelli Research Paper

Accounts of Renaissance literature usually begin with Petrarch (best known for the elegantly polished vernacular sonnet sequence of the Canzoniere and for the craze for book collecting that he initiated) and his friend and contemporary Boccaccio (author of the Decameron). Famous vernacular poets of the 15th century include the renaissance epic authors Luigi Pulci (author of Morgante), Matteo Maria Boiardo (Orlando Innamorato), and Ludovico Ariosto (Orlando Furioso). 15th century writers such as the poet Poliziano and the Platonist philosopher Marsilio Ficino made extensive translations from both Latin and Greek. In the early 16th century, Castiglione (The Book of the Courtier) laid out his vision of the ideal gentleman and lady, while Machiavelli cast a eye on "la verità effettuale della cosa"—the actual truth of things—in The Prince, composed, in humanistic style, chiefly of parallel ancient and modern examples of Virtù. Italian Renaissance painting exercised a dominant influence on European painting (see Western painting) for centuries afterwards, with artists such as Giotto di Bondone, Masaccio, Fra Angelico, Piero della Francesca, Domenico Ghirlandaio, Perugino, Michelangelo, Raphael, Botticelli, Leonardo da Vinci, and Titian.

The Renaissance paintings of the School of Athens by Raphael and the Last Supper by Leonardo Da Vinci show Renaissance interest in human social interaction. These paintings show the importance of social interaction through perspective, color, and formal organization. Raphael’s School of Athens presents the significance of the philosophical aspect of human social interaction during this art movement. On the other hand, Da Vinci’s the Last Supper shows the importance of the theological aspect of human interaction. Both paintings reveal Renaissance artist’s interest in human contact and behavior.

He merely brought a minor idea of Italian classicism and cultivated it into his own image of

Section One: Luis Alfredo Garavito, of Colombia, definitely earned his nickname “the Beast,” after he admitted to the slaughter of 140 young boys; however, there are many indications that the actual number of murders is closer to 300. From 1994-1999, Garavito indulged in a killing spree. He used food, cash, and gifts in order to lure his young victims to him, all of which were boys between the ages of eight and sixteen. In addition, he would occasionally dress as a monk or street vendor in order to create the illusion that the kids were in a safe environment, before persuading them to go on a walk.

This is a direct result of the patronage that largely took place during this time. Botticelli was directly influenced by those who commissioned him; humanist scholars and Medici. The family of Medici is known to go hand-in-hand with anomaly of the Italian Renaissance. Cosimo Medici was a famous patron of art, who, like his family, had a strong interest in art, literature, and mythology. Therefore, reflected his beliefs into the art he patroned.

Tischbein started his career by painting portaits at the Prussian court in Berlin (“Johann Heinrich Wilhelm Tischbein” npag). After 1777, Tischbein became very successful working there. Eventually, he became bored with painting portraits and “went to Munich, where he studied Dürer and the early German painters” (Murray 525). Following Johann’s move to Italy in 1779, he was named director of the art academy in Naples in 1789 (“Johann Heinrich Wilhelm Tischbein” npag). Tischbein started painting history pictures while in Rome for the second time (Murray 525).

Instead he copied paintings from several churches in Italy. Also, he meets various painters who influenced him to pursue his art education. His

Michelangelo had a gigantic influence on the renaissance. He was a master at both painting and sculpting, he also was an architect, engineer, and poet. During his day he was unbeatable in his painting and sculpting skills. He had many artist study under him and help him with painting the Sistine Chapel in Vatican, but none were on par with him.

Boccioni was a main contributor to the publication of “The Manifesto of Futurist Painters,” which was published in Marinetti’s magazine, called the Poesia(The Art Story). However, Boccioni was not finished creating manifestos of his own after this, he then, in the same year, published another manifesto known as, “Technical Manifesto of Futurist Painting.” Many sources note that Boccioni was one of the most influential futurism artists as well as becoming one of the first. “Boccioni proved to be Futurism 's most outspoken proponent and foremost theorist, not to mention primarily responsible for applying Marinetti 's example to the visual arts” (The Art Story). He was influenced by many artists such as Filippo Marinetti, Gino Severini, and Giacomo Balla however, Boccioni influenced many other important artists such as Mario Sironi, Antonio Sant’Elia, and Kazimir.

Botticelli is one of the painters of the Early Renaissance; the age between the 14th and the 17th centuries which is considered as the bridge between the Middle age and the modern history. His painting, including The Birth of Venus, are influenced by the cultural movement during that era and one must use Principle 6, the study of literature within the concept of culture, to understand it better. The term Renaissance means rebirth and it is used to mark an era of broad cultural achievement as a result of renewed interest in the classical art and ideas of the Ancient Greece and Rome. During this era, there are abundance of paintings painted that were influenced by the Greek and the Roman motives. The Renaissance had revived the ancient forms and contents by borrowing the subjects from the Greek and Roman mythology into their paintings.

Chapter3. Neoplatonic Ideas in Primavera and The Birth Of Venus There are a lot of interpretations and hypotheses about the subject-matter of Primavera and The Birth of Venus. The most preferred hypothesis is that both of the paintings are the reflection of the idea of Ficino, the leader of Florentine Neoplatonism movement. In Primavera and The Birth of Venus, many images of ancient goddesses are depicted. Botticelli 's usage of the ancient goddess figures are known as the feature of Italian Renaissance classic revival of art.

Venus and her shell are the focus of the painting, and her face is one of the most beautiful faces in art history. Botticelli was influenced by Masaccio. The romance in the art was given by Botticelli by painting the birth of Venus because she is the goddess of love and beauty. The artist shows us one of his famous mythological paintings by showing his passion, emotion, and imagination. - Botticelli influenced the birth of Venus through the medici family.

The 15th century in Florence, Italy was a time of great turmoil; the italian wars created great vulnerability within the people of Florence and some of the great pieces of art had different meanings and intentions than they had before. The great artist Sandro botticelli’s only painting that was signed and dated, was titled the Mystic Nativity. Through the religious iconography in the painting, a better understanding of the political turmoil at this time is realized. Originally a court painter for the Medici family, Botticelli came to be an ardent follower of the friar and preacher savonarola. Savonarola (something about being so hardcore and a dictator and extremist )

In Millet’s early career he had an art studio in Rome and later in Venice. He was good friends with impressionist artist,

Artists never produce art without relating it to their own culture. Sandro Botticelli is an Italian Renaissance fifteenth century painter, so in his painting the Primavera, he incorporates various ideologies from the fifteenth century Italian renaissance. Lilian Zirpolo, author of Botticelli’s Primavera: A Lesson for the Bride, describes the connections between the painting and these ideologies using a feminist approach. She acknowledges Neoplatonism and the Medici Circle, and uses it to describe the roles a woman was expected to play in both society and marriage. It has been theorized that the painting is supposed to represent the marriage between Lorenzo di Pierfrancesco de’ Medici and Semiramide d’Appiani, but Zirpolo’s essay focuses specifically on the brides moral lessons.