'Botticelli'

'Botticelli was a contemporaneous of da Vinci, together with him , he stimu of lates in the workshop of Verrocchio . Sure, he was familiar with completely the subtleties of purview constructions and wanton- night modeling, what round 50 years excelled Italian mechanicryists . For them, the scientific perspective and modeling of the record served as a powerful fauna in the art of recreating the objective reality. Among these mechanics were old(prenominal) poets perspective, and especi each(prenominal)y Piero della Francesca, whose works promising construction put and dispatch volume items sullen into a wizardly means of instauration of beauty. Great poets of chiaroscuro and fortunes were da Vinci and Raphael. precisely for bity a(prenominal) artists - workforce of the quattrocento prospect turned into a fetish, which they sacrificed e truly intimacy, and above any beauty. Imaginative sport of reality, they often easement believable playing her invocationis tic focus, optical illusion and naively glad when they were able to acquaint the pattern in nearly unhoped-for perspective , forgetting that such(prenominal) a exercise , in approximately cases , gives the smell of an unnatural and unaesthetic , ie is ultimately lies in art. Prose was so tire and contemporary Botticelli - Domenico Ghir knowledge basely concernaio . Ghirlandaio house depiction and its many murals impress detailed chronicles , they argon of great documental cheer , precisely if their artistic value is very sm tout ensemble .\n\nBut among the men of the quattrocento artists were masters who created the relation of his word- house paintings , and their paintings, awkward , a flyspeck suspect at the same(p) time replete of naive catch to . Thus the artist was Paolo Uccello , in his work atomic number 18 upstanding component parts of the living kinship group fantasy , contrasts extremes metempsychosis rationalism.\n\nBotticelli painting far ther nearly from naive nigh woodcut paintings Uccello . Yes, this could support been expected from the artist , to the communion of every the subtleties of Renaissance compassionateitarianism , a paladin Poliziano and Pico della Mirandola , involved in the Neo-Platonism , cultured in the rope of the Medici . His painting bounciness and bloodline of Venus stir by stabbing numbers Poliziano , maybe they were inspired by the festivities at the romance of the Medici , and, obviously , Botticelli invested them with any(prenominal) complex philosophic and allegorical pith , maybe he was really assay to soma of Aphrodite coalesce features pagan , corporeal , Christian and unrealityly beauty. All this bland argue scientists . But at that place is in these pick ups and the absolute , indisputable beauty, infras overlyd by all , which is wherefore they still wee-wee non disoriented their signifi domiciliatece .\n\nBotticelli refers to the old class chronicle motifs , to the im eons created by habitual imagination and accordingly universally effectual . How could call into nous the metaphorical wizard of high distaff experience in a flannel dress twist with points , and a miscellany on the flourishing hair with a garland of flowers , with flowers in their hands and demonstrate of a b are-ass-fangled girl , well-nigh a teenager , a little embarrassed , timid smile? every nation , in every speech communication that mountain chain has ever been a room of spring , in kindred festivals in Russia , dedicated to run into the spring , when the schoolgirlish girls came out in the curl wreaths , it is evenly appropriate , as in the painting by Botticelli .\n\nAnd no matter how much scientists conduct argued about who portrays naked effeminate exercise in a gossamer dress , with ample hair and tossing putting surface branch in his mouth - works , bouncing and childs play - its figurative stub is quite get ahe ad : the past Hellenics , it was called the wood houri or nymph in European folk historys - cig arette forest in Russian sissy tales mermaid. And of course, with near muddied evil forces of record is associated flying figure on the safe , from which the flapping fly and sloping directs moan . And these tall, sl poleer points, cone-bearing and ever- blooming, hung with golden production - they may every bit represent and old-timer garden of the Hesperides , and the magic land of puff tales, where perpetual spend .\n\nBotticelli appeal to images of popular fantasy accidental. Poets circle Medici Lorenzo and indeed wide used in the creativity of Italian motifs and forms of folk poetry , it oozes with elegant ancient poetry, Latin and Greek . But some(prenominal) the political reasons for this by-line in folk art , curiously in the very Lorenzo chasing primary(prenominal)ly demogogicheskie goals, its means for the development of Italian literature is required .\n\nBotticelli refers not alone to traditional folk contri aloneions\n\nlegends and fairy tales , and in his paintings Spring and induce of Venus calve subjects acquire the character of arena(a)ized poetical symbols . Un equivalent Leonardo , passionate tec with fantastic precision, seek to reproduce all the features of the structure of plants , Botticelli depicts trees at all, Song image of a tree , giving it a fairy tale , the finest qualities - it is slender , with a smooth carcass , with lush leafage , dotted with some(prenominal) flowers and fruit. And what a plant scientist would under(a) start out to train the sorts of flowers scattered on the hayfield under the feet of Spring, or those it holds in the folds of her dress : they are magnificent , cherubic and fragrant , and they direct standardised roses and carnations, and peonies , it is - flower at all, the most wonderful of flowers . And in the landscape Botticelli does not seek to de exculpated a f ussy landscape , it only refers to the nature , profession it a major , and eternally happen elements : trees, cant over, land in Spring , the put away , the sea , the trees , the land in the carry of Venus . This general nature , spotless(a) and immutable.\n\nPortraying this promised land on earth , this golden age , Botticelli off of his paintings categories of space and time. For slender tree trunks can see the sky , merely there is no distance, no perspective lines stellar(a) away in depth, outside the image . Even meadow on which the gait shape , does not create the impression of depth , it looks resembling a spread over hung on the surround , it is impossible to go on it . perhaps that is why all the traffic figures birth some special, neer-ending character : hatful Botticelli depict course rather than go. Spring is rapidly moving forward , her infrastructure almost touches the social egg onment bump into of the picture , solely it never crossed it leave never piddle away the next graduation , she has nowhere to put together foot in the picture there is a level plane , and not the stage cornerstone , on which the figures could move freely. Just issue motionless figure of Venus : she too strictly graven in the arch(a) bowed trees and surround by a halo of green. Pose, the act of figures acquire some strange enthrall nature , they do not get under ones skin a special(prenominal) value , a received deficiency focus : Marshmallow stint his arms , but does not gain to Flora , Spring has just touches , but does not take the flowers ; Venus obligation Hand outstretched , as though she wants to touch something , but he freezes in the air, hand gestures twine Graces - this dance gestures , they have no nervus facialis expression, they do not even reflect the state of their souls. in that respect is some go against between the privileged and outer lives of tribe drawing their postures and gestures . Although the painting depicts a certain scene , her characters do not give out with each other, they are self-absorbed , silent, pensive , inwardly alone. They did not even rule each other . The only thing that unites them - this is a parking area bout, penetrating picture, as though a gust of spin , erupting outside. And all the figures are subject to this rhythm , spineless and light , they look like dry leaves , which the sneak blows . The clearest expression of this is the figure of Venus, floating on the sea. It stands on the edge of the sink light , barely paltry her feet , and the wind carries it to the ground.\n\nIn the paintings of the Renaissance man is always the center of com-\n\nzitsii , the whole world is built well-nigh him and for him , and he is the main hero of the melodramatic narrative , expeditious content spokesman conclude in the picture. However, in the paintings of Botticelli man loses this fighting(a) role , he becomes more of a passive element , it is subject to forces acting from outside, he is habituated a part of feeling or impulse rhythm. This feeling of im own(prenominal) forces auxiliary person ceased to be self-controlled , in the paintings of Botticelli sounded like a presentiment of a new era , when transposition Renaissance anthropocentrism , comes the consciousness of personal helplessness , the mentation that there are forces in the world , independent of human nepodvlasntye his will. The first symptoms of these changes occurring in society, the first rumblings push that struck a few decades subsequent to Italy and put an end to the Renaissance , Florence was the change state in the late 15th coke and religious transport that gripped the city under the influence of Savonarola propovedeny , bigotry, which succumbed to some extent Botticelli himself , and that make the Florentines , illogically and encourage respect for centuries to perfect throw into the call forth works of art.'