Sandro Botticelli slander description of the painting. Last years of life and death
Turning back, all in tears, she looked furtively at the approaching Truth with an extremely ashamed look. (Lucian, De calumnia, 5.) The scene is depicted against the backdrop of architecture with views of the sea through the openings. Midas sits on the throne, Ignorance and Distrust whisper to him, and Slander with a torch drags a young man to the throne. Cunning and Deception magnify her, in front of her is Envy in dark rags. Behind - Repentance, in the form of an old woman, the latter - naked and beautiful Truth.Sandro completed his first project already in 1470, and his work was intended for the courtroom. Botticelli's business went as well as possible, and soon he became a sought-after master, the fame of which gradually began to reach the royal palace. Botticelli created his first own masterpiece in 1475. They became the painting, called "The Adoration of the Magi". The customer was a fairly wealthy and influential banker with connections with the then rulers of the city, with whom he introduced a talented guy.
Sandro Botticelli , (Italian Sandro Botticelli, real name - Alessandro di Mariano Filipepi Alessandro di Mariano Filipepi; 1445 - May 17, 1510) - Italian painter of the Tuscan school. Representative of the Early Renaissance. He was close to the Medici court and the humanistic circles of Florence. Works on religious and mythological themes ("Spring", circa 1477-1478; "The Birth of Venus", circa 1483-1484) are marked by spiritualized poetry, the play of linear rhythms, and subtle coloring. Under the influence of the social upheavals of the 1490s, Botticelli's art becomes intensely dramatic ("Slander", after 1495).
In the middle of the 19th century, the work of Sandro Botticelli was rethought and highly appreciated by the British Pre-Raphaelites. who revered the fragile linearity and spring freshness of his mature canvases as the highest point in the development of world art. The work of Sandro Botticelli is filled with features of sophistication and aristocratic sophistication, the paintings are extremely emotional, permeated
Botticelli, Sandro (Filipepi, Alessandro di Mariano)
Around 1464, Sandro entered the workshop of the famous artist Fra Filippo Lippi on the recommendation of his neighbor, the head of the Vespucci family. Botticelli remained there until the beginning of 1467. There is evidence that in the spring of 1467 he began to visit the workshop of Andrea Verrocchio. and from 1469 he worked independently, initially at home, and then in a rented workshop. By 1470, the first work undoubtedly belonging to Botticelli, “The Allegory of Power” (Florence, Uffizi), belongs.The allegory on the theme of "Slander" by the Greek artist Apelles (4th century BC) was known to Renaissance humanists from the description of Lucian; the painting itself, like other works by Apelles, has not survived. Artists were inspired by the idea (often in line with the general movement to revive classical antiquity) to recreate a painting according to the description left.
They whisper devilish advice in his ear.
"Slander is coming. She is depicted as a beautiful woman, she is beside herself with passion, ready to burst into madness and anger.
personifies Envy, which can lead Slander or stand in beggarly clothes before a judge. The two female figures accompanying Slander are Cunning and Deceit. The latter, who may have a mask as an attribute, weaves flowers into Slander's hair to make her more attractive to the judge.
to the last of the figures - Truth, standing naked and pointing to the sky. But the last two figures have come, it seems, too late to save Innocence.
14 characters encrypted in "Venus" by Botticelli
Ores were responsible for the order in nature and patronized different times of the year. Tallo "followed" the spring and therefore was considered a companion of Venus. 8 VASILEK - a symbol of fertility, as it grows among ripened bread. 9 IVY - this plant, "hugging" tree trunks, symbolizes affection and fidelity. 10 MYRTH - a plant dedicated to Venus (according to the story of the ancient Roman poet Ovid, when the goddess of love set foot on the land of Cyprus, she covered her nakedness with myrtle) and therefore was considered another symbol of fertility. 11 SCARLET ROBE - a symbol of the divine power that beauty has over the world. 12 DAISY - a symbol of innocence and purity. 13 ANemone - a symbol of tragic love, the cup of which Venus will have to drink on earth.Description of the painting by Sandro Botticelli “Slander”
King Midas listens to any Slander, because he controls the thoughts of King Malice. Slander's hair has been captured by two characters and they are trying to braid her braids.These two characters are Envy and Lies. Outwardly beautiful, but insidious, they want to use symbols of beauty: white ribbons and roses to identify themselves with purity. In the meantime, Slander seized a stranglehold on the deceived, naked in order to be understood, and begging for mercy, the Victim in the form of a young man.
Several instructive stories and winged stories are associated with the name of Apelles. Latin expressions. Pliny the Elder tells (“Natural History”, XXXV, xxxvi, 84 - 85): “He exhibited completed works on the balcony for viewing by passers-by, and he himself, hiding behind the picture, listened to the noted shortcomings, considering the people a more attentive judge than he. And they say that when some shoemaker, who reproached him for having made fewer loops on the inside of one sandal, and the next day, the same shoemaker, proud of the correction made thanks to his remark yesterday, began to scoff at the shin, he looked out indignantly and shouted that the shoemaker should not judge higher than sandals - and this also became a proverb.
, Florence
"Slander"(Italian: Calunnia) is a painting by the famous Italian Renaissance artist Sandro Botticelli, painted by him in 1495.
"Slander" was originally written for Sandro's friend Antonio Segni. The plot of the picture comes from the treatise of Lucian, called "On slander". The treatise describes a painting by the ancient Greek painter Apelles. Its plot is simple and allegorical: King Midas sitting on the throne is whispered into his donkey ears by two figures - allegorical images of Ignorance and Suspicion. slander - beautiful girl with the guise of innocence - and its instigator Envy is dragged to the king of the accused. Near the Slander of her companion - Cunning and Deception, supporting her and exalting. In the distance, the artist depicts the figures of Repentance - an old woman dressed in mourning clothes, and naked Truth, looking up.
Fragments of the painting
Sandro Botticelli 023.jpg
King-judge Midas as an allegory of Stupidity, surrounded by similar Suspicion and Ignorance
Sandro Botticelli 022.jpg
Slander, hair-pulling Innocence, accompanied by her companions - Cunning and Lies
Sandro Botticelli 024.jpg
Truth, which personifies purity with its nakedness, and Repentance, which, with its inquiring and malicious look, is rather Envy
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Literature
- George Vasari. Vite de "più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino a" tempi nostri, 1568.
- G. Cornini, Botticelli, in Art e Dossier, n. 49, settembre 1990, pp. 3-47.
- F. Strano, Botticelli, in Gedea Le Muse, VI, Novara, Ist. Geographico De Agostini, 2004.
- Sandro Botticelli e la cultura della cerchia medicea, Storia dell'arte italiana, II, diretta da Carlo Bertelli, Giuliano Briganti e Antonio Giuliano, Milano, Electa, 1990, pp. 292-299.
- Ilaria Taddei, Botticelli, Firenze, Ministero per i Beni e le Attività culturali, 2001.
- bruno santi, Botticelli, in I protagonisti dell'arte italiana, Scala Group, Firenze 2001. ISBN 8881170914
Links
- Wikimedia Commons Logo Wikimedia Commons has media related to "Slander"
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Excerpt characterizing Slander (painting by Botticelli)
You brought me back, God? the warrior asked enthusiastically.- Who are you, human? And why are you calling me Lord? the old man was surprised.
Who else could do something like this? the man whispered. - And you live almost as if in the sky ... So you are God.
– I am not God, I am his descendant... Good is true... Come, if you have come, to our monastery. With a pure heart and a pure thought, you came to sling life ... So they returned you. Rejoice.
- Who brought me back, Starche?
“They, the radiant ones, are the “feet of the Lord,” pointing to the marvelous flowers, the Elder shook his head.
Since then, the legend of the Flowers of the Lord has gone on. They say they always grow near the mansions of God to show the way to those who come...
Thinking, I did not notice that I was looking around ... and literally immediately woke up! .. My amazing miracle flowers grew only around a narrow, dark gap that gaped in the rock, like an almost invisible, "natural" entrance!!! Suddenly aggravated flair, led me exactly there ...
No one was in sight, no one came out. Feeling uncomfortable, coming uninvited, I nevertheless decided to try and went to the gap. Again, nothing happened... There was no special protection or any other surprises. Everything remained majestic and calm, as from the beginning of time ... And who was there to defend against? Only from the same gifted as the owners themselves were?.. I suddenly shuddered - but could another such “Karaffa” appear, which would be gifted to some extent, and just as easy to “find” them ?! ..
I cautiously entered the cave. But nothing unusual happened here either, except that the air became somehow very soft and “joyful” - it smelled of spring and herbs, as if I was in a lush forest glade, and not inside a bare stone rock ... Having walked a few meters, I I suddenly realized that it was getting brighter, although, it would seem, it should have been the other way around. The light streamed from somewhere above, spraying down here in a very soft "sunset" lighting. A strange, soothing melody sounded quietly and unobtrusively in my head - I had never heard anything like it before ... An unusual combination of sounds made the world around me light and joyful. And safe...
Updated on 09/30/2014 By Admin
If you listen to the statements of George Vasari, then the culprit of the painting, written by Sandro Botticelli, was his friend Antonio Senji, who advised to recreate the lost images.
The plot of the work was the lost work of the Greek artist Apeles. This work cannot be hung just on the wall. She needs to be admired like a jewel.
In the original, Apeles, who was a court painter, is accused of treason. Allegedly, he betrayed the Egyptian king Ptolemy IV. After his memory of the terrible dungeons of the prison, in order to somehow restore himself from injustice, the Greek artist painted a picture of Slander. And Botticelli created a remake of this painting.
The picture shows a throne with King Midas sitting with donkey ears, which Apollo endowed him with because of the unfair announcement of the winner. In fact, he won the competition, the king awarded the victory to another. Here he is offended.
On either side of the king are the images of Suspicion and Ignorance. They whisper something in the ears of the king, and he listens to them attentively, with eyes closed. And at the same time he asks for help from an ugly man in a black robe named Malice, who extended his left hand to the king.
Anger drags Slander to the king. King Midas listens to any Slander, because he controls the thoughts of King Malice. Slander's hair has been captured by two characters and they are trying to braid her braids. These two characters are Envy and Lies. Outwardly beautiful, but insidious, they want to use symbols of beauty: white ribbons and roses to identify themselves with purity.
In the meantime, Slander seized a stranglehold on the deceived, naked in order to be understood, and begging for mercy, the Victim in the form of a young man. But all in vain. On the left, the artist depicted a naked figure named Truth, the recognition of which is given only to Repentance, an old woman - a mourner.
In fact, this picture has remained a mystery for many generations. No one knows the true reason for writing this picture by the master.
description-kartin.com
1494-1495 years. Uffizi Gallery, Florence.
Italian art of the 15th century. Renaissance.
Painting by artist Sandro Botticelli "Slander". The size of the master's work is 62 x 91 cm, wood, tempera. During the period when the Florentines were under the hypnotic influence of Savonarola's sermons, did Botticelli devote himself only to religious painting? The facts speak otherwise. Botticelli kept strong ties with his patron Lorenzo di Pierfrancesco, decorated his villas, wrote "some things" for him. (It was widely known about his closeness to the patron; for example, in 1496 Michelangelo gave Pierfrancesco a letter through Sandro). The artist maintained relations with a number of other adherents of the medical culture. By the mid-1490s, the ancient images were not completely rejected by him, although the mindset and artistic language of the master had changed. Religious and secular trends continued to coexist in the painting of the artist Sandro Botticelli.
The painting was painted for Antonio Segni, an erudite and friend of Botticelli. Its plot goes back to Lucian's treatise "On slander", where, in particular, a painting by the ancient Greek artist Apelles is described; the plot is also set out in Alberti's "Three Books on Painting", which advises artists to find themes from poets and orators, especially ancient ones. One of the first Renaissance masters embodied this "story" of Botticelli. Its plot is like this. King Midas, seated on the throne, is whispered into his donkey ears by two insidious figures - Ignorance and Suspicion. And Slander - a beautiful girl with a guise of innocence - and her instigator Envy are dragged to the king by the hair of the accused. Next to Slander are her constant companions - Cunning and Deceit, who support her and exalt her: one showers flowers, the other weaves a pearl thread into her hair. In the distance, two more figures appear - Repentance, an old woman, "dressed in funeral clothes", and naked Truth, looking upward and gesturing her hand. In combination with the piling up of figures on the right side of the composition, these characters seem especially lonely.
Botticelli permeates the image with a nervous, as if "speaking" pulse. The line, which has lost its former airiness, develops impetuously and energetically, marking significant intervals in the construction. The images of mythological characters in the artist's painting bear the imprints of their vicious or virtuous nature. The allegory of the innocently slandered has an eternal meaning, but it is also associated with Florence at the end of the 15th century, a time of suspicion, denunciations and cruelty in the name of “truth”. However, Botticelli interprets the actual ancient story. The scene takes place against the background of fantastic architecture shining with marble. It is decorated with statues and bas-reliefs, which in their "liveness" are ready to leave the wall. In the depiction of characters, he uses motifs from his early, “pagan” painting, but the forms have now become dry and almost lifeless. One feels the approach of a crisis - a rejection of the beauty of the worldly, to which the artist will soon come.
All the characters in the picture are expressive. The artist conveyed in each of them the essence of different moral qualities. King Midas, whom we see on the throne, is a bad judge: according to an ancient myth, he preferred the play of the latter in the musical competition between Apollo and Pan, for which, as an ignoramus, Apollo rewarded him with donkey ears. So in "Slander", listening to the slander of Ignorance and Suspicion, two women with evil faces and artificial snake-like antics, he extends a weak, uncertain gesture towards the accused. The figures of Truth and Repentance are turned to the mind of the viewer. In their interpretation, the artist uses the language of eloquence, rhetoric. They are called to convey the idea of the value of Truth, which is often neglected in the world. The artist populated the throne room of King Midas with many figures and scenes (sculptures in niches and bas-reliefs) from both pagan and Christian culture. This is a kind of museum of stories on moral topics - from the myth of Prometheus to the Old Testament prophets and saints. Botticelli enthusiastically indulges in the interpretation of these motifs, which constituted the repertoire of Renaissance art. Sculptural figures and scenes are given lifelikeness, as if they are able to lead a separate existence in an imaginary space.
G.S. dunaev
"Sandro Botticelli"
Slander by Sandro Botticelli
62 x 91 cm
Uffizi Gallery, Florence
This description was used by Botticelli when creating his "remake". Let's comment on its plot. On the throne sits King Midas, who received his donkey ears in revenge from Apollo for awarding the victory in the musical competition to Pan, and not to him. Standing nearby Suspicion and Ignorance whisper something to the king. He seeks support from Malice (a man in rags), leading Slander by the hand, with which Envy and Lie are braided. Slander drags its victim by the hair - slandered, naked, begging for mercy. On the left is a naked figure of Truth.
She points her hand to the sky, but only Repentance can recognize the Truth. Botticelli's allegory can be considered only partially successful, since the figures personifying vices (with the exception of Malice) look no less beautiful than Truth. Miniature bas-reliefs are dedicated to mythological and biblical scenes, as if they have nothing to do with the main plot of the picture. In the interpretation of its meaning, art historians are divided - some believe that its creation was provoked by slander, from which the artist himself suffered; others see here a hidden allegory for Savonarola's trial.
Repentance is depicted as a bent old woman, resembling a mourner.
Falsehood and Envy braid the braids of Slander.
An ugly man with an outstretched hand commands the thoughts of the king. This figure symbolizes Evil.
King Midas, endowed with donkey ears by Apollo, is ready to listen to any slander.
www.botticeli.ru
Sandro Botticelli. ‘Slander’ of Apelles
Sandro Botticelli. "The 'Slander' of Apelles". About 1494.
Wood, tempera, 62 x 91. Florence. Uffizi Gallery.
The idea that owned Botticelli when he set about this work was very unusual: to recreate a lost painting by the famous ancient artist Apelles, known from a description compiled by the Roman satirist of the 2nd century Lucian. Thus, a conversation about this work by Botticelli must begin with a story about Apelles.
The ancient Greek artist Apelles lived in the second half of the 4th century BC. e .. About the place of his birth, ancient authors have different information. The largest Greek lexicon, the Judgment Dictionary, says that he was from Colophon. According to Strabo ("Geography", XIV, i, 25) and some other authors, Apelles was born in Ephesus. Pliny the Elder ("Natural History", XXXV, xxxvi, 79) speaks of "Apelles from Kos", but this should be understood not as an indication of the artist's birthplace, but as the place where his famous paintings were located and where he is believed to died. Apelles was the court painter of Alexander the Great, for whom he created a number of works.
It is known that Alexander only trusted him to write himself. The artist was patronized by King Ptolemy I Soter, with whom he had a quarrel at some point, which will be discussed below. The glory of Apelles is based on his paintings such as "Aphrodite Anadyomene", a portrait of Alexander in the image of Zeus, "Allegory of Slander".
Several instructive stories and winged Latin expressions are associated with the name of Apelles. Pliny the Elder tells (“Natural History”, XXXV, xxxvi, 84 - 85): “He exhibited completed works on the balcony for viewing by passers-by, and he himself, hiding behind the picture, listened to the noted shortcomings, considering the people a more attentive judge than he. And they say that when some shoemaker, who reproached him for having made fewer loops on the inside of one sandal, and the next day, the same shoemaker, proud of the correction made thanks to his remark yesterday, began to scoff at the shin, he looked out indignantly and shouted that the shoemaker should not judge higher than sandals - and this also became a proverb. In Latin it sounds like this: Ne sutor supra crepidam [ Shoemaker, (judge) no higher than a boot]. This story became the basis of the epigram Pushkin on N. I. Nadezhdin, after he spoke negatively about Pushkin's Poltava.
A shoemaker once looked for a picture
And he pointed out the error in the shoes;
Taking up the brush at once, the artist corrected himself.
Here, akimbo, the shoemaker continued:
“I think the face is a little crooked.
Isn't this chest too naked?
Here Apelles interrupted impatiently:
“Judge, my friend, no more than a boot!”
Apelles, according to the testimony of the same Pliny the Elder, “used to, no matter how busy he was, not to miss a single day without practicing his art, drawing at least one line; this was the basis for the saying" ("Natural Science", XXXV, xxxvi, 84). In Latin it sounds like: Nulla dies sine linea [Not a day without a line], which we better know as: Not a day without a line.
Apelles did not sign his paintings, but, having finished them, he drew a line (hence the expression - to draw a line, that is, to complete some business). This feature, a seemingly elementary thing, was carried out by him with such skill that it acquired an independent artistic significance. On this account, another story is known, it is told by the same Pliny (“Natural History”, XXXV, xxxvi, 81 - 83): Apelles somehow visited his friend Protogenes, also an artist, and, not forcing him, left a sign about himself, drawing on the board his own, so to speak, "branded" very thin line. When his friend returned and saw this line, he immediately understood that Apelles had come to him. Then he drew an even thinner line along the top of this line. The next day, Apelles, visiting his friend again and again not finding him, "and ashamed of his defeat, divided the lines with a third paint, leaving no more room for subtlety." Protogen pleaded defeated. Russian literature here again gives us an allusion to Apelles - a story "Apelles line" Boris Pasternak(one of his first short stories (1915 - 1917), in which the variant of this particular story serves as an epigraph).
None of Apelles' paintings have survived. Perhaps it was precisely this circumstance that made it possible to make an almost mythical figure out of him, his name became a household name, symbolizing the highest perfection in the art of painting. Many great masters were called Apelles by their contemporaries, for example, Dürer. It has been argued that Raphael depicted himself as Apelles in the Vatican fresco "The School of Athens".
We know about the paintings of Apelles only from their descriptions by ancient authors. Pliny the Elder, claims, for example, that Apelles wrote his Aphrodite from the famous model Campaspe (in the Russian translation we quote - Manaspa), the concubine of Alexander the Great, who, as a token of his admiration for Apelles's painting, gave way to the artist Campaspe herself.
Ovid in The Science of Love (III, 401-402) exclaims:
If Apelles had not exposed his Venus to people -
Everything would be hidden in the foamy depths of the sea
(Translated by M. Gasparov)
Some idea of \u200b\u200b"Aphrodite Anadyomene" (that is, "Aphrodite, born from foam"; by the way, the name of the goddess comes from aphros, which in Greek means "foam"; another translation option: "coming out, emerging, emerging from the sea") can be get, if we admit that one of the surviving frescoes of Pompeii reproduces the Apelles painting on this subject.
The description of the painting by Apelles prompted Botticelli to create his own Venus (“The Birth of Venus”, 1477-1478. Florence. Uffizi Gallery). It is noteworthy that Apelles' description of "Aphrodite Anadyomene" says nothing about her birth from a sea shell. The question remains open, what is the priority of such an interpretation - is it a Pompeian fresco or an even earlier image? And was Botticelli the author of this invention in the Renaissance, or did he have information about the antique prototype?
* * *
We have come to our main topic - the painting by Botticelli, which, according to the artist, was conceived as a reconstruction of another masterpiece of Apelles - the allegorical painting "Slander". Since the original of Apelles has not survived, Botticelli used the description of the Apelles painting left by the Greek satirist Lucian (Lucian, De calumnia, 5.)
But first, about what happened at Apelles with King Ptolemy. The following story is associated with Ptolemy I Soter, an outstanding commander and bodyguard of Alexander the Great, who after the death of Alexander (323 BC) became the ruler of Egypt, and from 305 declared himself king. Apelles was held in high esteem by Ptolemy until he was slandered by his rival, the artist Antiphilus, who hated Apelles. He stated that the artist was involved in Theodotus' conspiracy in Tire against Ptolemy. As a result, the king believed the slanderer and accused Apelles of betrayal. Subsequently, one of the friends of Apelles managed to convince the king of the unrighteousness of his sentence, after which the king, repentant, returned his favor to the artist and generously rewarded him. This story was the impetus for Apelles to create the painting "Slander".
During the Renaissance, when interest in ancient sources grew unusually, the works of Lucian were translated into Italian language. In fragments and retellings, they ended up in the works of Italian humanists.
From around the 1460s Italian painting a style began to dominate, called klassischer Idealstil (ideal classical [antique] style), when, as the largest art critic Erwin Panofsky states, not only well-known themes were rethought all'antica (in the antique style), but unknown or forgotten plots in the Middle Ages ( for example, Ovid's Fasts) were illustrated de novo (in a new way). Classical paintings were "reconstructed" on the basis of descriptions of antique originals. Artists indulged in free variations, most often they were ponderous allegories, with which enterprising Italians tried to interest northern travelers as examples of "ancient art".
As for the story of Lucian about the painting by Apelles, it is cited in his Treatise on Painting (c. 1453) by Leon Battista Alberti. His translation reads as follows:
“This picture depicted a man with huge ears, and next to him on both sides were two women; one of them was called Ignorance, the other Suspicion. Slander was approaching from the side. It looked very beautiful woman, but from the face it is already very insidious; in right hand she held a lighted torch, and another dragged a young man by the hair, who raised his hands high to heaven. There was also a pale man, ugly, covered with mud, with an unkind expression on his face, which could be compared with a man who was emaciated and exhausted by long hardships on the battlefield. He led Slander and was called Envy. There were two other women, companions of Slander, who straightened her clothes and clothes, and of whom one was called Cunning, and the other Lie. Behind them came Repentance, a woman dressed in funeral clothes that she tore herself, and behind her followed a girl, shy and chaste, named Truth. If we like this story in retelling, then just think how charming and charming it was, written by the hand of Apelles!
The question whether Apelles actually painted a picture on this subject, strictly speaking, remains open. Doubt is very a large number of allegorical figures in Lucian's story: Truth, Repentance, Deceit, Slander, Falsehood, Envy, Ignorance, Suspicion and, finally, a judge in the form of a king with donkey ears, which clearly alludes to Midas. Therefore, this figure can be considered an allegory - Stupidity. Such widespread use of allegorical figures personifying abstract ideas (as opposed to images of gods) was extremely rare before the start of the Christian era. The presence of such allegories is much more characteristic of Christian subjects, such as, for example, in Botticelli's Mystical Nativity, where three angels on the roof of a hut, dressed in white, red and green, personify Grace, Truth and Justice.
Literary descriptions like Lucian's (and he compiled a whole cycle of them, and it was assumed that they characterize various very specific works), were certainly not intended as examples of art criticism. These were, first of all, literary exercises in rhetoric, mandatory in the curriculum of the future writer. Similar cycles of so-called descriptions were created by other Greek authors, for example, both Philostratus, the Elder and the Younger, who were approximately contemporaries of Lucian. And not one of their essays was definitely correlated with any known work of art. However, the classical description or ekphrasis (ekphrasis), which was revived by humanists as early as the 14th century, became popular from the beginning of the 16th century among artists who were looking for ancient subjects.
Alberti advised painters who wanted to paint a picture on a secular (then it was equivalent to antique) subject to turn to humanists. And then they were offered as a model the plot of Apelles' painting "Slander". It should be noted that Alberti's presentation of history differs both from the Greek original and from the translation from Lucian made by Guarino Guarini back in 1408.
In a small-sized work, Botticelli, with the subtlety of a miniaturist, creates his own version of the legendary painting by the famous ancient artist.
Before characterizing each of the allegories, let's pay attention to one detail that escaped the attention of everyone who wrote about this painting by Botticelli. Lucian's description says that Slander holds a lighted torch in his right hand, and drags an innocent youth with his left hand. In Botticelli, on the contrary, Slander has a torch in his left hand, and the figure of a young man in his right. If we assume that the picture of Apelles had a similar composition, then it should have been deployed in a mirror, and all the action should have been directed in the opposite direction. From the point of view of logic and stage action - and Botticelli's painting is nothing more than a theatrical mise-en-scène - Lucian's description makes more sense, since it speaks of Truth as the last allegory that has appeared, while Botticelli, if his picture is read as a text - from left to right The truth comes first. James Hall, author of the classic Dictionary of Plots and Symbols in Art, points this out in passing: "The last two figures (Remorse and Truth) seem to have come too late to save Innocence."
So, wanting to explain each figure in the Botticelli painting, we must move our eyes from right to left.
[Stupidity]. On the right, on a dais, the king sits on a throne (we identify him this way by the crown on his head). He has donkey ears, which at first makes you think of the famous mythological character - King Midas. According to the myth of Apollo's musical contest with Pan, Midas favored Pan; for this stupid decision of his, he was endowed with donkey ears. In literature, there is often a statement that Botticelli in this picture depicts the king and is Midas. Yes, indeed, his appearance is like that. But, since the picture of Botticelli, recreating, we repeat, the picture of Apelles, conceived as an allegorical illustration of an episode from real life ancient artist, the foolish king must be "read", firstly, among other allegorical figures in the picture, that is, as an allegory of Stupidity, and secondly, as the Egyptian king Ptolemy, who believed - out of stupidity - slander. By the way, in the ancient stories about the mythological Midas, there is no such story with Slander at all. Suspicion and Ignorance. They surrounded the king-judge from both sides and whisper their slanders directly into his donkey ears. They are similar to each other as sisters and features of their faces, and behavior, and their clothes.
Envy. It was out of envy that Apelles was slandered by his rival, also an artist, Antiphilus. Envy is here in a dark tattered cloak with a hood, like a monastic cassock. Her appearance corresponds to the above description of Lucian. Botticelli makes it look like Remorse. The natural consequence of envy is slander, and therefore here too Envy leads Slander to the king. Outstretched to the king, the straight hand of Envy looks like a sword, ready to hit the king in the head.
Slander. She appears, as in the description of Lucian, in the form of a young woman. Botticelli faced the difficult task of writing a very beautiful woman (moreover, we are talking about a beautiful face), but at the same time it should express all her insidiousness.
Deceit and Lies. Just as in the case of the king, Foolishness is accompanied by two vices - Suspicion and Ignorance, so slander is accompanied by its two companions - Cunning and Falsehood. They decorate Slander to make her libel sound more attractive. They weave white ribbons and flowers into Slander's hair, craftily using symbols of purity to make Slander more convincing.
[Innocence]. Again, due to the autobiographical nature of the Apelles picture, which Botticelli “reconstructs”, Apelles himself should be seen in the young man who is dragged by the hair to the king of Slander (not as a portrait, but as a character). The artist is not guilty before the king, so his image in this context is read as an allegory of Innocence. She (he) has nothing to hide, her (his) figure, like the figure of Truth, is naked (only in a loincloth).
Repentance. This is a female figure dressed in a tattered monastic cassock. According to the description, she tore apart her clothes. Botticelli deviated from this description: in the picture this figure stands motionless and only looks at the Truth. Her inquiringly malicious look does not fit well with the idea of repentance; rather, this figure is closer to Envy.
Truth. Lucian likens Pravda to a bashful and chaste girl. Botticelli, on the other hand, depicts Truth as a naked female figure in a pose, which in iconography is associated with the ancient goddess Venus - Venus Pudica (Venus the Chaste). A naked female figure was the personification of purity (cf. the expression “pure (naked) truth”). Here Truth points with its finger to heaven as the only source of supreme justice.
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Sandro Botticelli Botticelli, Alessandro (1445-1510)
About the painter, his life and work
The Renaissance painter Alessandro Botticelli was born in 1445. His father in Florence was engaged in dressing animal skins. There were four children in the family, and Alessandro was the weakest in health of all. The real name of the boy was Filipepi, and the nickname "Botticelli" passed to him from his older brother, who was teased so much for his thickness and slowness. In Italian, it means "barrel". The boy liked to draw pictures, his father noticed this, first he gave his son to study with the jeweler Antonio (in 1460), and two years later, young Filipepi learned the wisdom of drawing from the painter Lippi. And from 1469, Alessandro, already at home, began to paint.
In the same year, his father died, and the following year, Sandro opened his art workshop at home. Soon orders began to arrive from the Florentine rich. And basically it was necessary to paint church churches. There were also private orders. Art was appreciated by Lorenzo Medici, the Florentine ruler. The poetic painting of Botticelli, the subtlety of style and the expressiveness of the canvases were liked by everyone who ordered paintings. Having acquired the individuality of style in the manner of creating paintings, Sandro exquisitely conveyed the transparency of colors, the quivering lines and a certain musicality in his artistic creations. This is especially evident in the painting "Spring". Since 1480, the workshop of Sandro Botticelli has become widely known throughout Italy. The Medici family often visited her. And so the artist was invited to Rome in 1481 to paint the Sistine Chapel. Botticelli created three frescoes in it, and returned to his native Florence. And Lorenzo Medici immediately ordered wall paintings for his villa.
Since 1489, mystical notes appeared in the artist's work. This can be seen in the painting "Annunciation". On it is an angel with wings in a translucent robe, flying to the Mother of God, as if not seeing him. Above the angel are rays of light, while Mary bowed before him with her eyes closed, as if blinded.
In 1492, Lorenzo Medici, who patronized the painter, dies, the style of writing Botticelli's paintings changes. Pessimism begins to appear in his paintings, the colors are already more saturated and there is no plasticity. In "Abandoned" the hopelessness of further life is shown - a barefoot woman weeps bitterly at the closed gate of a stone wall, covering her face with her palms. In the Lamentation of Christ, the dead body of the Savior is held in the arms of a woman, he has just been taken down from the cross. Inconsolable grief emanates from this artistic canvas. The mood of Sandro Botticelli was the same. Although he got rich by working creatively, this did not please him. Since 1500, he began to paint pictures much less often, and after a couple of years he completely abandoned this occupation. In 1504, Michelangelo carved a statue of his David. Botticelli, along with Leonardo da Vinci, was invited to the commission to choose the location of the marble giant.
Sandro died in 1510 at the age of 65. He left many students, and the painter's paintings have become very valuable over time, and only rise in price from year to year.
From one self-portrait of the artist in 1475, a young man with reddish hair is looking at us. Botticelli for another 30 years. A hooked nose and a gaze, a half-turned head, a simple cloth cape on the shoulder - in this form he appears before us, that Renaissance painter. Art is eternal, life is not.
COMMENTS: 23 Write
BOTTICELLI
Moonlight for Botticelli's paints
He gave his strength, yet - the dawn:
If scarlet-green, it's easier to reach the goal
It will lead, it is not more difficult.
Perspective - how arbitrary it is! -
Botticelli will prove to us.
Contours, branching very unevenly
Forms multiply, listening to the heavens.
There is a crystal of mystical properties -
The facets of each reconciliation will explain
Something from the grammar of the device
Peace. Light rejoices and flies.
If life is wingless - then the grave,
If the thought is winged, then success.
There is only one serious force in the world:
Dante understood this better than anyone.
The downpour is part of the universal mass,
Equally your day, your night,
Your joys and stresses
The downpour twists the strings
From branches and from foliage.
Music his drawing
You won't see it right away.
The rain will end. shines
Sheds blue light,
Having sounded, heavenly viola.
And at home, hiding the honey of lives
Included in the mass of peace.
Don't interpret directly
You dreamed dreams.
Worth everyday life and pain.
And then it sounds great
Every earthly role.
The man at the fence
I remember the old cottage.
Probably need to open the code
All segments of life.
And without this opening
There is a universal mass of light.
Feel such a hurry
The height of spiritual traits.
Wonderful. Many thanks to the site.
I simply have no words to express my admiration for viewing this exposition of Botticelli!
Thanks a lot! Every day I look forward to such miracles, and here you are. Quit work anyway
Botticelli's angels are unknown either before him or after. In order to portray that expression of the “face” that is here, one must experience, experience the same state oneself. An extremely rare condition for the Earth.
Unfortunately, the fragment is mirrored.
I think it's a mirror image. The archangel should bless Mary with his right hand.
From the proposals of the Evil (bearded.) Jesus (pot-bellied, red) eyes became crazy and needles grew on his back, like a porcupine. Hmm.
And they say there are no miracles!
Thanks to those who gave us a wonderful website.
What luxurious hair. What a sophisticated hairstyle.
Very touching and beautiful. It seems to me that one central part of the picture is already magnificent
You are mortal as long as you count
himself only as flesh, an earthly being.
But, recognizing the Spirit, you gain
Eternal life, becoming an OTHER being.
the fresco is located in the church of Ognissanti / all saints / whose parishioners were the family of the master and he himself is buried here.
The original is in Warsaw, at the National Museum, and looks different.
Most recently, I have already said everything about the actions of the site administration.
Everything is so typical for our country. But hunchbacks cannot be made handsome.
About this picture, instead of me, Jesus Christ spoke best of all. But this Cup did not pass him. In a sense, a typical situation.
I think only about the imminent vacation away from Moscow. The aggressiveness of the site administration surprises me.
The site blocked the ability to edit. This is something new, I do not remember such a disgrace.
Worship of the Christ Child is Worship of Christ Christ. Blockers even understand this? But, generally speaking, the site violates its own rules of work in it.
This is a different piece, just like the Warsaw tondo. Andrey
Sandro Botticelli (1445-1510) is one of the most prominent Florentine artists who worked during the Early Renaissance. The nickname Botticelli, which translated into Russian means a barrel, originally belonged to the older brother of the artist Giovanni, who had a large physique. The real name of the painter is Alessandro Filipepi.
Childhood, youth and skill training
Botticelli was born in the family of a tanner. The first mention of him was discovered 13 years after the birth of the boy, in 1458. Young Botticelli was an extremely sickly child, but he made every effort to learn to read. Around the same period, Sandro began to earn extra money in the workshop of his other brother Antonio.
Botticelli's craft was not destined to be engaged, and he realized this after some time of work as an apprentice. In the early 60s of the 15th century, Sandro began studying with one of the greatest artists of that era, Fra Filippo Lippi. The style of the master affected the young Botticelli, which later manifested itself in the early works of the artist.
Already in 1467, the young Florentine artist opened a workshop, and among his first works are "Madonna with babies and two angels", "Madonna of the Eucharist" and some other paintings.
The beginning of an independent creative path
Sandro completed his first project already in 1470, and his work was intended for the courtroom. Botticelli's business went as well as possible, and soon he became a sought-after master, the fame of which gradually began to reach the royal palace.
Botticelli created his first own masterpiece in 1475. They became the painting, called "The Adoration of the Magi". The customer was a fairly wealthy and influential banker with connections with the then rulers of the city, with whom he introduced a talented guy. Since then, the creator was close to the ruling Medici family and carried out orders specifically for them. The main works of this period can be called the painting "Spring" and "The Birth of Venus".
Invitation to Rome and the peak of fame
Rumors about a young but very talented artist quickly spread all the way to Rome, where Pope Sixtus IV called him in the early 80s. Botticelli was commissioned, in collaboration with other famous personalities of his time, to carry out the design of the newly erected structure, known to this day - the Sistine Chapel. Sandro took part in the creation of several famous frescoes, including The Youth of Moses and The Temptation of Christ.
Already in next year Botticelli returned to his native Florence, the probable cause of which was the death of his father. Although at the same time he was literally overloaded with orders in his hometown.
In the mid-80s of the 15th century, Botticelli was at the peak of his fame: there were so many orders that the artist simply did not have time to paint all the pictures on his own. Most the work was carried out by the students of the outstanding creator, and Botticelli himself was engaged only in the creation of the most complex elements of the compositions. Among the most famous works of the artist, which were created by him in the 80s, are "Annunciation", "Venus and Mars" and "Madonna Magnificat".
Late creativity
Serious trials in life befell the creator in the 90s, when he lost his beloved brother, from whom he got such a funny nickname. A little later, the artist began to doubt whether all his activities were justified.
It all coincided with extremely important events that led to the overthrow of the Medici dynasty. Savonarola came to power, fiercely criticizing the wastefulness and venality of the former rulers. He was also dissatisfied with the papacy. The power of this ruler was provided by popular support, Botticelli also went over to his side, but Savonarola did not rule for long: just a few years later he was deposed from the throne and burned alive at the stake.
Sad events deeply hurt the painter. Many at that time said that Botticelli was one of the "converts", which could be judged from the latest works of the creator. It was this decade that became decisive in the life of the artist.
Last years of life and death
In the last 10-12 years of his life, the glory of the great painter began to gradually fade away, and Botticelli could only remember about his former popularity. Contemporaries who found him in the last years of his life wrote about him that he was completely poor, moved on crutches and no one cared about him in the slightest. Botticelli's last works, including the "Mystical Nativity" of 1500, were not popular, and no one turned to him about commissioning new paintings. Indicative was the case when the then queen, when choosing artists to fulfill her order, in every possible way rejected the proposals of Botticelli.
The once famous painter died in 1510, all alone and poor. He was buried in a cemetery near one of the Florentine churches. Together with the creator himself, the fame of him completely died, which was revived only in the final decades of the 19th century.
There are several paintings that people associate with the Renaissance. These paintings are world famous and have become real symbols of that time. To write most of the paintings, the artists invited people whose names have not reached us as sitters. They just looked like the characters the artist wanted, that's all. And therefore, no matter how much we are interested in their fate, now almost nothing is known about them.
Sandro Botticelli and his "Venus" by Simonetta Vespucci
An example of this is the famous painting by Michelangelo, which adorns the ceiling of the Sistine Chapel, "The Creation of Adam", or the creation of the same author - the statue of David. Now it is no longer known who served as a model for the creation of these works.
The same is with the famous painting by Leonardo da Vinci "Mona Lisa". Now there are many rumors that Lisa Gerardini was the type to write, but in this version there is more doubt than certainty. And the very mystery of the picture is more likely connected with the very personality of Leonard da Vinci than with his model.
However, against the backdrop of all this uncertainty, the history of the creation famous painting Sandro Botticelli "The Birth of Venus" and the model that served as the prototype of Venus is quite clear. She was Simonetta Vespucci, a recognized beauty of that era. Unfortunately, the picture was not painted from nature, because by this time Botticelli's muse was already dead.
Botticelli was born in Florence and all his life he was patronized by the most influential family in the city of that time - the Medici. Simonetta also lived in the same city, her maiden name was Cattaneo, she was the daughter of a Genoese nobleman. Simonetta, at the age of sixteen, married Marco Vespucci, who fell in love with her without memory and was well received by her parents.
All the men of the city went crazy with the beauty and kind nature of Simonetta, even the brothers Giuliano and Lorenzo Medici fell under her charm. As a model for the artist Sandro Botticelli, Simonetta was offered by the Vespucci family itself. For Botticelli, this was a fatal meeting, he fell in love with his model at first sight, she became his muse. At the same time, at the jousting tournament held in 1475, Giuliano de Medici performed with a flag, which also depicted a portrait of Simonetta by Botticelli's hand with an inscription on French meaning "Incomparable". After his victory in this tournament, Simonetta was declared the "Queen of Beauty", and the fame of her as the most beautiful woman in Florence spread throughout Europe.
And as mentioned above, unfortunately Simonetta died soon after, in 1476 at the age of only 23, presumably from tuberculosis. Botticelli could never forget her and lived alone all his life, he died in 1510.
Without a doubt, the artist respected Simonetta's marriage and did not show his love in any way, except for writing many paintings with her image. So on the famous canvas "Venus and Mars" he depicted heroes whose resemblance to Simonetta and the author himself in the role of Mars is not questioned by anyone.
And in 1485, Botticelli painted the famous painting “The Birth of Venus”, which he dedicated to the memory of his beloved, nine years after her death. Botticelli's love was so great that he asked to be buried in the tomb where Simonetta Vespucci was buried, "at the feet" of her burial.
It is known that Botticelli wrote more than 150 works, but most of them were destroyed by representatives catholic church who accused the work of paganism and secularism. The Birth of Venus was miraculously saved, rumored to have been protected by Lorenzo de' Medici in memory of his brother and love for Simonetta.
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The scene at Botticelli is placed in an architectural space that is quite consistent with the already mentioned klassischer Idealstil: this is not some specific ancient building, but a kind of stylization. The artist brilliantly managed to create an impression of monumentality and grandeur in a small space of the picture. The feeling of the solemnity of architecture is created by three coffered arches, through which a view of the bare distances and the sky opens; the absence of any buildings in the opening perspective just contributes to this feeling of ideality. The interior space is richly decorated with sculptures, very reminiscent, as art critics have repeatedly noted, of Donatello's sculptures.
The selection of characters for sculptures and scenes in bas-reliefs requires a separate discussion, and their full description is not possible within the framework of this article. But at least a few images should be mentioned in order to clearly show how thoughtful and harmonious the whole concept of the picture is. The care with which they are all spelled out indicates that the artist gave great importance these "minor details".
So, the far right figure in the niche is a statue of Judith with the head of Holofernes. Judith was not chosen by Botticelli by chance: in the picture, personifying deceit, the character of the apocryphal Old Testament (Judith) is placed, who defeated the enemy (Holofernes) precisely through deception. Pretending that she left her fellow tribesmen and went over to the side of the Assyrian king Holofernes, Judith, at the moment when the king, after the feast to which she was invited, was drunk, cut off his head with a sword. On the bas-relief above the sculpture of Judith, there is a kind of visual commentary on this main figure - the scene when Judith and her maid hide the severed head of Holofernes in a bag. Images of Judith have been known since the Middle Ages. Then she personified virtue conquering vice. At the time of Botticelli, the interpretation of her act changed, and now it has become an allegory of the misfortune of a man who finds himself in the hands of a woman plotting deceit. Of course, it was precisely this meaning that Botticelli had in mind when choosing Judith as a decorative figure in the allegory of Slander. But that's not all. In the lower row of bas-reliefs we find an ancient parallel to this Old Testament heroine - the image of Pallas Athena with the head of Medusa.
Even this, of necessity, only one example of deciphering the content contained in the decor of the picture reveals how many additional semantic "overtones" are fraught with these seemingly minor details.
Vasari does not go into too much detail, but still mentions this picture: “The same size as the named board with the Magi (Adoration of the Magi.), The board of his own work, belonging to Messer Fabio Segni, a Florentine nobleman, which depicts the Slander of Apelles, is more beautiful which cannot be. Under this board, which he himself gave to Antonio Segni, his most bosom friend, we now read the following verses by the said Messer Fabio:
So that they could not offend the lords of the earth with slander,
This small board always serves as a memory.
Exactly the same brought Apelles to the ruler of Egypt -
The gift was worthy of the king, the gift was worthy of the king
(Translated by A. I. Venediktov)
The Dictionary of J. Hall provides information about those subjects that have become widespread in painting and have had more than one incarnation in fine arts. Since this story is included in the Dictionary, you can expect to see it in various artists. The way it is. Botticelli was the first and his painting became the most famous. But there were other artists who wrote on this subject.
Andrea Mantegna. Interest in "Slander" showed Andrea Mantegna. He made only a drawing, apparently intending to subsequently paint a picture. As is natural for a sketch, he signed each of the figures.
It is quite obvious that there is a deep relationship between the Botticelli painting and the Mantegna drawing. Subsequently, we will find such a relationship in both of these works with a drawing by Pieter Brueghel the Elder (see below). The action in Mantegna's drawing unfolds from left to right. This allowed the artist to adhere exactly to Lucian's description. The king has donkey ears, but Suspicion and Ignorance do not whisper anything in them, but appear simply as the retinue of the king. Slander cunningly and arrogantly appears before the king, holding in his right hand (as Lucian says) a lit torch. True, the extreme right figure appears here in clothes, she, just like in Botticelli, points her finger at the sky, although here her gesture is less pathetic.
Franciabidgio.(Francesco di Cristofano)(c. 1482-1525). His painting on this subject is in the Pitti Gallery.
Federico Zuccari(1543 - 1609). In London, in the royal castle of Hampton Court, a replica (more free than a copy, a reproduction of the original) is kept from a painting on the plot of Apelles's "Slander" by this master. The original, written in a satirical vein, at one time was the reason for the temporary expulsion of the artist from Rome.
Albrecht Durer. In 1521-1522, the artist made sketches for the paintings of the Nuremberg City Hall. Among the subjects that he selected for this work was the "Slander" of Apelles. The frescoes themselves were made by other artists. After almost a hundred years, they were restored and still adorn the Great Hall of the City Hall.
Pieter Brueghel the Elder. In 1959, the Colnaghi Gallery presented Pieter Brueghel the Elder's "Slander" of Apelles (1565) at Sotheby's. (The drawing was acquired by the British Museum).
This drawing is extremely interesting for at least two reasons. Firstly, he demonstrates an unconditional acquaintance with the first experience of illustrating this plot - a painting by Botticelli. Allegorical figures are almost all signed (in Latin) and their composition is similar to that of Botticelli. Secondly, the artist introduces his own, typically Brueghelian, features into the composition. For all the similarities with Botticelli, Brueghel's differences are also obvious. Brueghel's interpretation of the plot itself is less dramatic, the characters behave less aggressively. The king shows more dignity, he looks less like Midas (his ears are big, but not ass). A direct look at the drawing does not give grounds to consider the king here as an allegorical figure of Stupidity. Suspicion and Ignorance accompanying him, although they are located closest to him (as in Botticelli), but no longer whisper anything in his ear. The figure of Envy is clearly masculine (although the opposite is stated), and evokes images of the "Beggars' Kitchen", an engraving executed two years earlier (1563). If we are right and this figure is really male, then it may well be considered an indication of the real detractor of Apelles, and not just be an allegory. Slander - in contrast to Lucian and in accordance with Botticelli - holds a torch in his left hand, and with his right hand drags a boy by the hair, which should symbolize Innocence. But to see the slandered Apelles in the boy (which is reasonable for Botticelli) would be a big stretch in this case. Insidiousness and Falsehood in no way prettier here Slander, they are simply directed in a general impulse towards the king. The figure of Repentance, apparently, may well be the same as here. As for the figure on the far left in the figure, which, according to Lucian, should be Truth, the caption under the figure reads: "Caritas", which means Love or - in the light of Christian doctrine - Mercy. This is a significant difference from both Lucian and Botticelli.
Peter Paul Rubens. An engraving based on a drawing by Rubens with the plot “Slander” by Apelles is known.
Here Rubens departs very far from the interpretations of his predecessors. The whole scene acquires a phantasmagoric character, in particular, the figure of Envy. She appears as a half-man, half-snake. The figures of Slander and Innocence are also rethought. Moreover, the latter "absorbed" the features of past images of Truth: this is the only naked figure, she seems to be trying to avoid this judgment. Between Slander and Innocence, in the background is visible, if we apply the iconographic scheme discussed above, the figure of Lies. Caduceus in her hand makes you think of Hermes. One of the meanings of Hermes was to be the personification of eloquence, which is necessary for Slander to be believed. This is one possible explanation for his appearance in this interpretation of the plot. The caduceus of Hermes on the left corresponds to the spear in the hand of Pallas Athena on the right. It performs the function of Truth here - it stops the hand of an unrighteous judge (with donkey ears). It is extremely curious that this figure "migrated" to Rubens's engraving from ... Botticelli's paintings, where we have already seen it and talked about it.
One of the most interesting paintings of the great Florentine "Slander". Botticelli wanted to recreate the lost painting by the ancient artist Apelles, known from the description of Lucian.
Leon Batista Alberti’s “Treatise on Painting” cites Lucian’s story: “This picture depicted a man with huge ears, and next to him on both sides were two women; one of them was called Ignorance, the other Suspicion.
Slander was approaching from the side. It was a very beautiful woman in appearance, but from the face it was already very insidious; in her right hand she held a lit torch, and with the other she dragged a young man by the hair, who raised his hands high to heaven. There was also a pale man, ugly, covered with mud, with an unkind expression on his face, which could be compared with a man who was emaciated and exhausted by long hardships on the battlefield.
G. S. Dunaev Sandro Botticelli
According to George Vasari, Botticelli painted this painting for his friend, Antonio Senghi. He borrowed its plot from the Greek artist Apelles, who lived in the 5th century BC. The story of the original is as follows - a rival painter accused Apelles of betrayal committed against his patron, the Egyptian king Ptolemy IV Philopator.
Apelles decided to resist the slander artistic means, writing the picture "Slander".
Samara-both of Apelles has not been preserved, but its detailed description by Lucian (ts. 120 - c. 190) was well known. This description was used by Botticelli when creating his "remake".
Let's comment on its plot. On the throne sits King Midas, who received his donkey ears in revenge from Apollo for awarding the victory in the musical competition to Pan, and not to him. Standing nearby, Suspicion and Ignorance are whispering something to the king.
Apelles slander. Detail
Botticelli was born to Mariano di Giovanni Filipepi, a tanner, and his wife, Smeralda, in the Santa Maria Novella quarter of Florence. The nickname "Botticelli" (keg) passed to him from his older brother Giovanni, who was a fat man. Botticelli did not come to painting right away: at first he was a student of the goldsmith Antonio for two years.
In 1462 he began to study painting with Fra Filippo Lippi. where he stayed for five years. In connection with the departure of Lippi to Spoleto, he moved to the workshop of Andrea Verrocchio.
The first independent works of Botticelli - several images of the Madonnas - in the manner of execution demonstrate closeness to the works of Lippi and Masaccio, the most famous are:
"Madonna and Child, Two Angels and the Young John the Baptist"
(1465-1470), Madonna and Child with Two Angels (1468-1470), Madonna in the Rose Garden (circa 1470), Madonna of the Eucharist (circa 1470).
Sandro Botticelli
- 1.1 Origins and training
- 1.4 Talented portrait painter
- 1.3 Court of Lorenzo de' Medici
- 1.2 First works
- 1.6 "Spring" or "Primavera".
- 1.7 Death
- 1.5 "Wignanka" Botticelli
Brief description of the painting by Sandro Botticelli the birth of Venus and work on it
An open space, sea and sky appears before the audience, the artist depicted an early morning, when the darkness of the night had already dissipated and the world saw the beautiful Venus, which had just been born from sea foam.
Sandro Botticelli ; March 1, 1444 or 1445 - May 17, 1510) was an Italian painter of the Florentine school. Real name - Alessandro di Mariano di Vanni Filipepi (Alessandro di Mariano di Vanni Filipepi) Born in the family of a craftsman, his father processed leather. Botticelli - a nickname, one of Sandro's older brothers was very smooth, and his nickname was transferred to Sandro.
This goddess of Beauty stands on a sea shell, and the god of the winds Zephyr drives her along the waves and helps her swim to the shore.
The appearance of this goddess on earth is triumphant - roses fly to her feet, and the goddess Ora presents the young goddess of Beauty with a precious cloak to cover her. And the cloak is decorated with embroidered delicate flowers. The image of the heroine is presented by the painter with ideally beautiful features, in which perfection and harmony are striking. The face of the goddess, as if covered with a shadow of sadness, meekness, long strands of beautiful golden hair, which are developed by the wind, fall on her shoulders.
The picture has a clear and distinct composition.
Botticelli was born to Mariano di Giovanni Filipepi, a tanner, and his wife, Smeralda, in the Santa Maria Novella quarter of Florence.
The nickname "Botticelli" (keg) passed to him from his older brother Giovanni, who was a fat man.
From 1470 he had his own workshop near the Church of All Saints.
The painting "Allegory of Strength" (Fortitude), written in 1470, marks the acquisition of Botticelli's own style. In 1470-1472 he wrote a diptych about the history of Judith. "Return of Judith" and "Finding the Body of Holofernes".
At the feast in honor of the saint on January 20, 1474, the painting "Saint Sebastian" was placed with great solemnity on one of the pillars in the Florentine church of Santa Maria Maggiore.
which explains its elongated format. Around 1475, the painter painted the famous painting “The Adoration of the Magi” for the wealthy citizen Gaspare del Lama, on which, in addition to representatives of the Medici family, he also depicted himself.
Painting by Sandro Botticelli
Start creative way Italian Renaissance artist Sandro Botticelli.
Study in the workshop of Fra Filippo Lippi, the influence of Andrea Verrocchio and the first works. Subjects of the artist's paintings: "Spring", "The Birth of Venus", "Madonna with a Pomegranate". , subtlety and expressiveness of her style. Vigorous ocher shadows to convey skin color as a characteristic feature of the artist's style. Sensual beginning in three paintings depicting Venus, the glorification of purity and purity. Life path analysis and creative activity Sandro Botticelli is a famous Italian artist.
The composition and features of the painting "Sleeping Venus", which is associated both with the Christian theme of Baptism, and with the plot of the "Coronation of the Virgin". Florentine Neoplatonism. The work of Sandro Botticelli.
Description of the painting slander by sandro botticelli
Sandro Botticelli (Italian Sandro Botticelli. March 1, 1445 - May 17, 1510) - the nickname of the Florentine artist Alessandro di Mariano di Vanni Filipepi (Ital.
Alessandro di Mariano di Vanni Filipepi), who brought the art of the Quattrocento to the threshold of the High Renaissance.
A deeply religious man, Botticelli worked in all major churches in Florence and in the Sistine Chapel of the Vatican. however, he remained in the history of art primarily as the author of large-format poetic canvases on subjects inspired by classical antiquity - "Spring" and "The Birth of Venus".
For a long time, Botticelli was in the shadow of the giants of the Renaissance who worked after him, until he was rediscovered by the British Pre-Raphaelites in the middle of the 19th century. who revered the fragile linearity and spring freshness of his mature canvases as the highest point in the development of world art.
Botticelli Sandro (1445-1510)
Born in Florence in the family of a tanner. Initially, he was sent to study with a certain Botticelli, a goldsmith, from whom Alessandro Filipepi got his last name.
But the desire for painting forced him in 1459-65 to study with the famous Florentine artist Fra Philippe Lippi. Early works Botticelli ("The Adoration of the Magi", "Judith and Holofernes" and especially the Madonnas - "Madonna Corsini", "Madonna with a Rose", "Madonna with Two Angels") were written under the influence of the latter. Later, Botticelli joined the direction of A.
Verrocchio and A. Pollaiolo, as evidenced by his allegory "Strength" (c. 1469), made in a row of seven other paintings to decorate the backs of judges' chairs in the Tribunal of the Commercial Court, and the canvas "St.
