Resembling other artists during the Early Renaissance, Sandro Botticelli’s ability to portray classical art depicting humanistic features within his work created a name for himself in one of his iconic pieces in Florence, Italy; Primavera. However, there are features found within that set him apart from those during this time. While many during this time implemented a linear perspective creating a vanishing point, Botticelli focused more on his subjects and their humanistic qualities.
Botticelli’s Primavera, portrays an idealism of springtime, within an arch of foliage we find Venus, goddess of love as the focal point highlighting her importance. Her stance places most her weight on her right side and the bend of her left knee allowing the material of her dress to show the physical representation of a womanly feature. Notice also while everyone else in on the same level Venus is raised above to further enhance her significance.
Above Venus we find a plump Cupid with child-like features blindfolded, an illustration of love is blind, pointing his arrow at the Three Graces dancing who have created their own group linking one to the other. The lines are seen through a transparent draping drawing attention to their nude forms in a modest manner. One of the women are turned looking over to the messenger of gods standing off to the side with his staff …show more content…
At first Chloris looks startled, her flowing locks look as one would expect to see when surrounded by wind. The texture and depth shown in her hair further stress the realism found within his painting. An interesting aspect is both Flora and Venus are the only two to look out at the audience creating a connection devoid of emotion a relation to the classical style with beauty and