Botticelli's Neoplatonic Images (PDF)
(Sprache: Englisch)
This is a revised edition of the author's 1985 study, now out of print, which has been republished in response to the great interest of its subject matter, Botticelli, and of its critical approach, a humanistic analysis of the cultural contexts of...
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This is a revised edition of the author's 1985 study, now out of print, which has been republished in response to the great interest of its subject matter, Botticelli, and of its critical approach, a humanistic analysis of the cultural contexts of Renaissance painting. Among the aspects discussed are the artist's evolution, Medici patronage, Neoplatonism, and ways of interpreting mythology, allegory, and iconography in art.
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INTRODUCTION (p. 1) Sovente in questo loco mi
diporto, Qui vengo a
soggiarnar tutta soletta:
Questo e de` miei pensieri
un dolce porto.
Poliziano
The Quattrocento, the years of the fifteenth century Italian Renaissance, was a remarkable period in art history, particularly in the city of Florence. Poetry, art, philosophy and speculation on the nature of things flowed together as if they were the gracefully arching waters of a fountain.
For the Florentine, the quest of the past and discoveries of the present were fused. Beauty kissed the soul of the individual, enlightenment touched the mind, and love of knowledge loosed the bonds of humankind. Most strikingly, the created intellectual life of the time came to be embodied in rebirth of the classical aesthetic.
For artists, especially those patronized by the Medici, Neoplatonic thought directly shaped the idea of beauty and gave rise to the notion that "art is not the representation of the beautiful for the good reason that the beautiful has no forms to be represented but only exists as the will to beauty."
The will to beautify was developed as part of the Quattrocento Neoplatonic thought and Medici humanistic poetry. And it was this creative environment that Sandro Botticelli searched for beauty and produced his great mythological paintings.
Florentine literati became keenly aware of the Greek culture, arabic science as well as humanism, through Byzantine scholars who were driven to Italy by the Turk`s conquest of Constantinople and by the collapse of the Byzantine Empire in 1453. From 1396, Florence was the leading Italian city to receive Greek scholars.
Manuel Chrysoloras taught Greek language and literature there, and Gemisthos Plethon so excited Cosimo de` Medici with the ideas and doctrines of Plato that the latter attempted to found a Platonic Academy in 1438.
This study aims to bring a sense of awareness and appreciation of Botticelli`s secular art
... mehr
through his mythological paintings which represent the cultural environment created by the Florentine court of the grandson of Cosimo de` Medici, Lorenzo the Magnificent. Botticelli`s mythological paintings are singled out because they also represent the quest of Italian Renaissance artists and humanists to assimilate the classical culture.
The immigration of Byzantine translations of Greek manuscripts by Quattrocento philosophers (Marsilio Ficino and Giovanni Pico della Mirandola), and the establishment of the Platonic Academy gave birth to a new social and intellectual climate in Florence, and Botticelli painted his mythological paintingsThe Allegory of Spring or Primavera, Minerva and the Centaur, Mars and Venus and The Birth of Venus during this glorious period.
Unfortunately, unlike Leon Battista Alberti, Leonardo da Vinci and others, Botticelli left no written word expressing his thoughts about his paintings. What knowledge of Botticelli`s intentions we possess has come from such sources as the works of the poet Poliziano, the philosopher Ficino, the chronicles of the Medici and the Lives of Vasari.
From the discourses and instructions of the Medici literati, Botticelli "imbibed ideas that do much to explain the mixture of scholarship and legend present in his paintings."
Botticelli`s contributions to Renaissance aesthetics and poetic values stem from his resurrection of the ancient concept of ut pictura poesis wherein poetry, philosophy and music are expressed in painting and from his evocation of the will to beauty in his mythological paintings.
The immigration of Byzantine translations of Greek manuscripts by Quattrocento philosophers (Marsilio Ficino and Giovanni Pico della Mirandola), and the establishment of the Platonic Academy gave birth to a new social and intellectual climate in Florence, and Botticelli painted his mythological paintingsThe Allegory of Spring or Primavera, Minerva and the Centaur, Mars and Venus and The Birth of Venus during this glorious period.
Unfortunately, unlike Leon Battista Alberti, Leonardo da Vinci and others, Botticelli left no written word expressing his thoughts about his paintings. What knowledge of Botticelli`s intentions we possess has come from such sources as the works of the poet Poliziano, the philosopher Ficino, the chronicles of the Medici and the Lives of Vasari.
From the discourses and instructions of the Medici literati, Botticelli "imbibed ideas that do much to explain the mixture of scholarship and legend present in his paintings."
Botticelli`s contributions to Renaissance aesthetics and poetic values stem from his resurrection of the ancient concept of ut pictura poesis wherein poetry, philosophy and music are expressed in painting and from his evocation of the will to beauty in his mythological paintings.
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Bibliographische Angaben
- Autor: Liana De Girolami Cheney
- 1993, 1. Auflage, 215 Seiten, Englisch
- Verlag: Digitalia
- ISBN-10: 1882528034
- ISBN-13: 9781882528035
- Erscheinungsdatum: 01.01.1993
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