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Botticelli’s Allegory Of Spring Essay, Research Paper
Botticelli?s Allegory of Spring
The renaissance was a time of wonderful art, though one artist in particular stood out, that was
Sandro Botticelli. This man created some of the most renowned pieces of art in European
history; one great painting was Allegory of Spring. This mythological artwork was an amazing
change from the normalcy of past times. Botticelli?s Allegory of Spring, painted in 1482, is one
of the most remarkable and astounding pieces of renaissance art with the wondrous symbols,
style, story of the piece and also the intriguing history of Botticelli himself.
Botticelli is considered one of the greatest artists of the Renaissance; one of his finest works was
Allegory of Spring. Botticelli, originally named Alessandro di Mariano Filiapepi, was born in
Florence, Italy in 1445. He was nicknamed ?Botticelli?; meaning little barrel, this name was
originally bestowed upon his older brother but for some reason passed on to and adopted by his
little brother (4:68). He was first an apprentice to a goldsmith, though at about age thirteen or
fourteen he stopped training and traded to painting. He was an apprentice to Filippo Lippi. This
man?s style formed many of Botticelli?s early works. Botticelli also worked with painter and
engraver Antonio del Pollaiuolo. Botticelli had his own workshop by 1470; there he spent most
of his life working for many great families in Florence at the time, especially the Medici family.
As one of the artist in the court of Lorenzo de? Medici, he was immensely influenced by its
Christian Neoplatonism (5:7). With this in mind he tried to reconcile classical and Christian
views. Though working for himself a lot he was also commissioned by many others. He joined
Perugino, Ghirlandaio, and Rosselli from 1481 for one year to paint frescos for the Sistine
Chapel. Botticelli worked with some consequential artist of the Florentine Renaissance, which
would shape and change his style of painting.
Botticelli?s works are seen as a landmark of high renaissance. He created some of the greatest
works of this time. His early pieces were mostly of the virgin and child (1:78). He first made a
name for himself when in 1470 he was public commissioned to paint Fortitude, which would be
hung in the Trade law court in Florence. One of his first real milestones was the creation of the
Adoration of the Magi, which he painted around 1473-1475. This painting veered away from
some of his earlier more morbid content. This was one of the first pieces commissioned by the
Medici family, who in this case gave many guidelines for the young Botticelli to follow.
Botticelli would go on to paint Portrait of an unknown man with a medallion of Cosimo the
Elder, in the same time period (5:42). Then he would create one of the most well known
Allegory of Spring, quite different subject matter from times before with the conceptions of
mythological characters and a defined plot. Then in 1481 he went to Rome to work on frescos of
the Sistine Chapel ordered by Pope Sixtus IV. After this he went on to create the sister painting
to Allegory of Spring, Birth of Venus. Botticelli continued to create heroic works of art
portraying many different stories and characters. He painted an array of religious artwork as well
as portraits and mythological pieces. He was a well-rounded painter who will influence the art
world for centuries after his death in 1510.
Botticelli?s style of painting was a combination of the influences of his teacher, but the time and
his own creative energy help determine much of his work. Botticelli was an apprentice to Lippi
who had a huge influence and him defined many of his early works. Lippi taught Botticelli the
concept of drawing outlines, this was to create the effect of transparency, and to give the painting
a certain fluidity and harmony (2:69). A viewer can see this in many of Botticelli?s work
including Allegory of Spring. Botticelli was also influenced by the Pollaiolo brother whom he
also works with. These men taught him emotive force and also the usage of color. An obvious
idea, which can be viewed in many of Botticelli?s allegorical paintings, including Allegory of
Spring, is the greater amount of luminosity, as well as a softer look of pride (2:70). Botticelli
wanted to accentuate the elegance of the pose and the decoration of the characters also. This
artist held a great adhesion to the neo-platonic style of Marsilio Ficino and Agnolo Poliziano.
Not only was Botticelli influenced by certain people of this time he was also influenced by the
early Greek and Roman culture, especially the ancient mythology. This is the basis of the work
Allegory of Spring. The entire story line, characters, and style were partially picked up by these
people. This was a concept new and different at this time, Botticelli did not only use it in this one
painting it was also widely present in the equally as famous Birth of Venus. Venus, the Roman
goddess of love and beauty, is featured in both of these painting, representing the likeliness of
beauty and love as well as ancient Roman culture and religion to Botticelli.
The concept of Roman and Greek mythology entwined with some of Botticelli?s Christian ideas
creates what many scholars call Christian Neoplatonism. This would have a huge impact on the
style that Botticelli designed for this work. Neoplatonism is the backbone in this work by one of
the most thought provoking painters of the Renaissance. Botticelli?s notion of replacing the
normal Christian-Hierarchy-Portrait painting was remarkable (3:1). This concept of Christian
Neoplatonism was new and conventional; Neoplatonism is the collective designation for the
philosophical and religious doctrines of the classical pagan philosophy. These theories of
knowledge are mainly based on the ideas on explanations of Plato. Neoplatonism seeks to locate
the One, or God in Christian Neoplatonism, in the finite world and human experience. This was
and is a complex and confusing way of thinking however it was this that Botticelli based many,
including Allegory of Spring, on. This concept really came into play during the third century of
Rome. It is partly based on the Greek mythological logic and religion with many newer Christian
aspects added upon it. This is an ever-changing subject with many different sects of views and
new ideas forming all the time (3:2).
Botticelli?s Allegory of Spring was painted in 1480 with tempura on canvas. This pre-Christian
piece was one of the largest panel paintings with mythological themes. This painting has been in
the Uffizi art museum in Florence, Italy since 1919 and was recently restored in 1982. Botticelli
painted this in honor of the marriage of Lorenzo Pierfranceso de? Media and Seriramide
Appiani. Most likely this painting was inspired by Ovid, Lucretius, and the great Roman poet
Horace. The picture combines the classical Roman pose of antique statues with the more recent
gothic ideas. This painting is overwhelmed with character and ancient mythology creating one of
the most prized paintings of the great Italian Renaissance. The inspiration for this painting could
have come from reading the Latin poets Ovid?s Fasti, but it is more likely that the inspiration
came from Verses for the Joust by Agnolo Poliziano. It was in this, which the writer describes a
meadow where grasses and plants grew, where the winds blew and where ?Happy Spring was
ever present?. This poem refers to the neoplatonic thoughts seen throughout the painting (5:7).
This is a very complex and intricate painting with an intensely interesting plot.
This painting is set in Venus? divine garden with a flower filled meadow and a shady grove in
the background. There are numerous slender trees and many mythological characters in the
scene. To the left end of the painting is Mercury, the son of Jupiter and the nymph Maia. Virgil?s
Aeneid could have inspired this young traveler with hat, sword and winged sandals. Mercury,
who is the herald of Jove, is portraying the dispersing of winter winds and the renewal of spring.
Just next to Mercury are the three graces dancing in a circle. One touches cupid above as one
turns towards Mercury. Notice the linearity of the outlines of one of the graces that creates a
feeling of spirituality with their features and shape (2:68). The cupid that is motioned to is Amor,
the god of passionate love. Amor, or Eros to the Greek, is the winged son of Mars and Venus.
This can be seen by the bow, which he carries and also the arrows, quiver and blindfold. Just
below Amor is the goddess of love and beauty, Venus. Venus extends her hand toward the three
graces to modulate their dance. On the far right is the icy blue god of the west winds, Zephyrus.
He embraces Chloris; he is transforming her from nymph into Flora the goddess of spring; Flora
is the figure between Chloris and Venus. This painting is Botticelli?s conception of spring in a
reverse pagan concept.
One of Botticelli?s greatest additions to the artwork he created was the amazing symbolism
within. The symbolic meaning to this painting is while spring awakens the world to the beauty,
Venus uses love to turn the human heart to truths divine (1:78). This painting is mostly based on
the beauty and renewal of life in spring, it also focus? on love. Venus, the center point of this
painting stirs the flowers to life with her warm winds. Venus is the symbol of spring this is seen
by the adornment of flowers by the graces. She, not only a symbol of spring, represents
civilization, governing the world and the actions of men. There are many interpretations of
Venus, another idea is the portrayal of spiritual love, with above her, a bandaged Cupid in the
process of shooting one of his arrows. Further to the left are the three graces, their fingers
entwined, their hair delicately waving and their transparent dresses, they are dancing
harmoniously, while Mercury dispels the clouds from the flower filled garden, with his
caduceus. This wooden stick with two snakes twisting around it, is a symbol of medicine (3:2).
Mercury himself is not merely a handsome youth but a revealer of the truth as he touches the
clouds to unveil the mysteries (1:78). The characters in this piece have a great depiction of the
thoughts of Botticelli.
The painting itself has many underlying meanings, also. For example, the blossoming gardens
represent the metaphor for the fertility of Flora. Chloris and Flora are the same people in this
painting though they are portraying the metamorphosis they she is going throw. The graces may
symbolize liberty. These additions to the painting that Botticelli made had a huge influence on
the way many people perceive him and his work. This painting?s theme is mainly based on the
vivid symbols and representations. Botticelli had a true gift of including and understanding all
aspect of artwork when creating this piece. In Birth of Venus much of the same symbolism
carries over to add interest and a personal touch to his work. Many of Botticelli?s successors owe
much to this man who paved a wonderful road to the use of symbolism.
The symbols, the story line, the style of this artwork all come together to form a harmonious
conception that the renewal of spring brings. Botticelli?s every brush stroke signifies the beauty
and mysteriousness of the mythological story depicted in this piece. Botticelli brings to life the
peacefulness and abundance of new life to Venus? garden. This painting is truly a highlight of
Renaissance culture and art at its peak, with the fluid brush strokes, the statuesque characters and
the true meaning of spring brought together.
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1. Canto, Lillio. The Renaissance, the Invention of Perspective. New York: Chelsea House
Publishing, 1994
2. Korn, Irene. Great Masterpieces of the World. New York: Robert M. Tod, 1997
3. Neoplatonism
www.connect.net/ron/neoplatonism.html
4. Setton, Kennith. The Renaissance, Maker of Modern Man. Washington DC: 1970
5. The Uffizi: The Official Guide. Florence, Italy: Giunti Gruppo Editorial, 1998
6. Zollner, Frank. Botticelli, Images of Love and Spring. Munich, Germany: Prestel-Verlag,
1998