Primavera (Allegory of Spring)
Botticelli
Circa 1482

Background of Sandro Botticelli (1445-1510) and his artwork
Alessandro de Mariano di Vanni Filipepi, also is known as Sandro Botticelli. He was born in 1445, Florence, Italy and he was one of the Italian painters during Early Renaissance. In 1460, he learned painting from the Renaissance painter, namely as Fra Filippo Lippi. Botticelli was a talented painter and he was able to open a workshop at the age of 15. “Birth of Venus” and “Primavera,” both of that were his earliest artwork. The “Birth of Venus,” is the first mythological painting created by Botticelli and it has display as the Goddess Venus that explains her birth. Moreover, the “Primavera” the largest mythological work and it has a humanistic nature and translating the life-renewing cultural to society. The inspiration of the “La Primavera,” is from the influence of Gothic realism by Botticelli's study of the antique. During the World War Two, “Primavera” was moved to Montegufoni Castle. It was returned to the Uffizi Gallery where it remains to the present day. The painting being restored in 1982 and had darkened with time's cruel passage.

Who is the target audience?
Primavera, known as “Allegory of Spring,” is the greatest works at the Uffizi Museum in Florence, Italy. The origin of the painting is unclear, but we can detect the Primavera’s target audience by knowing the history of painting. The powerful families such as Medici family gave the funding of Patrons to artist such as Botticelli to complete the masterpiece. In 1477, the painting was probably commissioned by Lorenzo di Pierfrancesco de’Medici, (second cousin of Lorenzo the Magnificent). The painting had been commemorate of the marriage of Lorenzo di Pierfrancesco de' Medici in May, 1482. The painting was found in an anteroom to Lorenzo di Pierfrancesco de' Medici’s bed-chamber. According to the inventory, there was another work name as “Virgin and Child” and "Pallas and the Centaur," by Botticelli, both of that were hung in the room.
The large scale of painting hung on the wall and it can elaborate the Medici family’s power, rich and status. The Lorenzo di Pierfrancesco de' Medici wanted the outside world to know the great status of her family. After their wedding, Lorenzo di Pierfrancesco de' Medici’s wife would seen the painting, so the demonstration of Cupid take his arrow and targeting the pure Three Graces which is the meaning in light of conjugal love.

What are the claims made in the images?
Primavera conveys a scene of mythological characters in orange grove and it is represents the arrival and celebration of Spring. The mythological character’s movements such like ballet and costumes are formed as elegant, rhythmic and harmonious. The overall claims of painting are illustrating the ideal of Neoplatonic philosophy and concept of the sublimation of material and spiritual love and when done in the right order will bring forth sensuality and fertility. In the painting, Botticelli was figured out the humanities of mythological figures have even been termed “Gothic” and progressive sublimation of sensual love in intellectual contemplation. For example, Venus is a reflection of the humanist interest in the classical world, Goddess of Love. Botticelli hopes that all the people have to appreciate to God that we have the harmonious environment and the humanities, such as love and spirit for human.

What shared history or cultural assumptions does the image make?
The connection between claim and evidence will assumptions the history and cultural behind the “Primavera.” People would make an immediate connection between the way to Renaissance Humanism and Neoplatonic ideals moving around the Medici court. The ideal of Neoplatonic philosophy and concept of the sublimation of spirit and love was influenced the Renaissance culture and Botticelli. The Florence's city palace was shown in Florentine’s mind while they look at the painting. It is because of the painting was created in the place of Florence’s city on 14th century.
The setting, a beautiful garden, would have been recognized by everyone at the time as a staging platform for love. Love Garden scenes in art had become a popular theme in 15th century art in Italy and Europe, with images of couples dallying in gardens rich with flowers. Prominent in the garden are trees bearing oranges. This is important to note. The orange would have been a symbol all Florentines would have recognized as referring to love, and to the month of May, when the wedding this picture commemorates was to occur. Every May in Florence a kind of fertility celebration would take place, the “Calendimaggio,” where young men would throw oranges at women they desired, and women would throw flowers at the men. The garden with flowers and orange trees, in Primavera’s scenery, would have immediately signaled to any Florentine observer the general meaning and purpose of this work. Scholarship in platonic matters and the poetry of Ovid would not have been required (Kettlewell, n.d.).

What is the supporting evidence?
“Primavera” is the painting that illustrating the ideal of Neoplatonic philosophy and concept of the humanistic nature. The painting was marked a crisis in the evolution of Italian Renaissance of the greatest art systems on 15th century. The painting also shows the ceremony of weddings which took place at the meaning in light of conjugal love and the mythology that marriage with produce fertility and sensuality. The painting was requested and commissioned by Lorenzo di Pierfrancesco de’Medici. After that, the painting be commemorate of the marriage of Lorenzo di Pierfrancesco de' Medici in May, 1482. The movement of mythological figures, the visual characteristic of myth, the colorful of spring garden and the skill of artworks was lightening up the humanistic of mythological characters. In this moment, the painting can impress the emotional of spiritual love to the Medici family and outside world.

Personal response to the artwork
“Primavera” attracted me in first sight because of the mythological figures, the spring garden and Botticelli’s style. During the 14th century, the Italian Renaissance was conservative and the painting was rejected by the church but Medici family began to have open minds. In addition, the painting was influenced the Medici family’s mind thinking and cultural. After I read and understood the story of the painting, I realize the whole story was about the sublimation of love and humanistic of mythological figures.
Moreover, Botticelli uses his drawing skill such as vivid detail in painting the characters clothing using light color and see-through silks demonstrates the life-like movement in the mythological pictures. I like Botticelli’s realistic style in this painting, as well as in his other paintings. Paintings that seem to tell a story through vivid details, expressions and settings draw my attention the most. After reading through the details of the painting, I like the meaning and message being brought behind all of the symbols in the story. Botticelli also draws over hundred types of identifiable plant in the painting, Botticelli attentive are so hidden and can’t easily realize by our naked eyes. In my opinion, this painting is impressive and awesome. I was amazed with Botticelli’s fantasies that flourished such touching and meaningful painting. The painting was so peaceful in the first glance, but when I look closer and clearer. The characters in the painting seems to be like a few different individuals combining in one painting and again giving me another feeling like they’re somehow related in different ways. While reading over the story of the painting, they are indeed individuals that relates. The characters by the name Venus, Chloris, Zephyr, Flora, Mercury and Cupid remind me it’s not an ordinary love god – human love. It reflects in my mind of the relation of our nature, back to the times where there’s no human. Our planet that grew plants that rely on the planets soil and resources to grow which is like a man needed the love of a woman to be complete.

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