February 19, 2020 | The Clarion
Arts & Life
Page 3
Chloe's Crash Course
'The Birth of Venus/ c. 1486
By Chloe McGee
Arts & Life Editor
Since its creation in 1486, Sandro
Botticelli’s “The Birth of Venus” has become
one of the most recognizable images of
Renaissance Art. Consciously or not, odds
are you’ve probably seen it.
For centuries, “The Birth of Venus” has
resonated with its audiences as a capstone
of feminine beauty, both physically and
spiritually. However, Botticelli’s piece
encompasses much more than its visual
aesthetics. “The Birth of Venus” is an image
that reflects the lasting modernity of classical
antiquity and humanity’s ever-changing
response to art.
In fact, Botticelli’s piece frequently appears
in contemporary media, which include
the work of famed pop culture artist Andy
Warhol.
“The Birth of Venus” is not only grand in a
cultural sense; its physical size is equally as
massive. The dimensions are approximately
5.7 ft X 9.0 ft, which allowed Botticelli to
paint with captivating detail and depict his
figures on a realistic scale.
The title is misleading as this painting is not
actually of the birth of Venus—Aphrodite in
Greek mythology—but rather the scene that
follows.
Botticelli illustrates the newly-bom Venus,
Roman goddess of love, as she emerges from
the ocean upon a giant scallop shell. Though
she is the focal point, Venus is not the only
character who appears in Botticelli’s narrative.
Zephyrus, god of the west wind, is present,
entangled with a young nymph who is widely
accepted to be Aura, the personification of a
light breeze. Together, the winged deities assist
Venus to shore by the force of their breaths.
Streams of wind are visible on the canvas,
giving the illusion of movement to the hair and
clothing of the figures on the right.
The final character in this scene is one of
the three Horae, goddesses of the seasons and
attendants to Venus. Her floral dress suggests
that she is the Hora of Spring. She appears
holding a cloak to cover Venus as she arrives.
Christian interpretation often considers
“The Birth of Venus,” especially in regards
to its nudity, as an homage to the biblical
account of Eve’s creation. Whereas others
speculate that Venus is a personification of
the Christian Church.
“The Birth of Venus” is an imaginative
image that shows little concern for realism.
Rejecting contemporary ideals, Botticelli
seldom gave volume and weight to his figures
and rarely used perspectival depth in his
landscapes. This is incredibly true for “The
Birth of Venus.”
Though Venus holds herself in a classical
contrapposto stance, her body is not
anatomically proportionate, and her weight
is too shifted to feasibly stand. Like Venus,
the other figures’ poses and proportions are
also unnatural, and none cast shadows upon
the flat background.
But where Botticelli lacks in realistic
quality, he makes up for in iconography, style
and ultimately, his masterpiece “The Birth
of Venus”— a piece that provoked enduring
curiosity and reflection, transcending both
time and culture.
Sandro Botticelli, “The Birth of Venus,” c. 1486, tempera on canvas.