La Primavera by Sandro Botticelli is a striking example of the themes of the Italian Renaissance. Botticelli was born in Florence, Italy as Alessandro di Mariano di Vanni Filipepi, apprenticing under the artist Fra Filippo Lippi, who was an early Renaissance artist (ArtInContext.org). While the meaning of this piece continues to be debated, one can still pick out the main themes. For example, “primavera” means “spring” in Italian. This painting is believed to be commissioned by Lorenzo di Pierfrancesco de Medici as a wedding gift to his wife Semiramide Appiani given “reportedly in 1482” (ArtInContext.org). Its dimensions are “207 x 319 centimeters” and it is “tempera paint on wood” (ArtInContext.org). Knowing about its commissioning highlights the presentation of love, fertility, and marriage in the piece.
As a former Latin student, I love allusions to Classical history in art. La Primavera is a piece that satisfies my passion for the Classics while also presenting a wonderful visual. One major characteristic of the Italian Renaissance is a return to the Classical period of Ancient Greek and Roman mythology (SmartHistory.org). This piece in particular examines many mythical figures associated with love. At the center of the celebration, stands Venus. Venus is the Roman goddess of beauty and love, and she takes on a more maternal role than her Greek counterpart Aphrodite. One lens that displays her as being maternal is her role in the epic the Aeneid by Virgil; it follows Aeneas after the Trojan war. In the story, Aeneas is said to be the son of Venus, who intervenes to help him throughout his trials (Virgil). Venus is a well-examined figure by Botticelli as he also painted the famous Birth of Venus. Above flies her son Cupid, another Roman god associated with love. In myth, Cupid is depicted as a youth with wings, only maturing in the presence of the god of passion, the Greek counterpart is Anteros, like “Anti-Eros” (Guerber 109).
One detail about Classical myth is that it is forever intertwined, made evident by melding of myths. Ancient Rome possessed a tendency to assimilate the cultures around it (Lawall 312-315). There is a mixing of Greek and Roman figures in this piece, which is not uncommon. Displayed to the right of Venus is Zephyrus, the Greek god of the West wind, his wife Flora, and her former self. Before she became Flora, she was Chloris. Zephyrus assaulted her when she was Chloris. Then, he tried to make it up to her by marrying her and making her the goddess of flowers (ItalianRenaissance.org). This section of the painting displays a reference to the past that could be tied to the present: an unwilling bride. To the left of Venus are the three graces from Greek myth associated with “beauty, fertility, charm, nature and human creativity” (TheDigitalArtWorld.com). And in the far left of the painting is Mercury. Mercury is the Roman counterpart to Hermes; however, he had greater involvement in trade and commerce in Ancient Rome than Hermes did in Ancient Greece (ItalianRenaissance.org). I think his major involvement in trade and economy makes him a figure that can represent prosperity and abundance here.
Another characteristic of the Italian Renaissance is Humanism, which focuses on human beings and their importance (SmartHistory.org). All of the mythological figures present in some way lean into fertility, marriage, love, and abundance. The scene in the painting and its nature as a wedding gift is important. It mirrors the situation of a spring wedding, giving the married couple an allegory for their successful marriage through divinity. This is humanist because it places divine figures in a human container. I think the painting displays humanism in this way because it represents people in the divine. More than just that, its emphasis on beauty and grace is humanistic as well.
The orange grove is another important symbol. While fruitful trees can be associated with fertility and abundance, the oranges are also about the Medici family. The family maintained an orange grove on their estate (HistoryLink101.com). The nature of this marriage was a political one, and the fruitful orange trees can be associated with the hopes of it being a prosperous one. Another significant feature of the oranges is the color itself. As a piece that references ancient myths and traditions, one Ancient Roman marriage tradition was the flammeum. The flammeum was an orange veil worn by the bride (Lawall 285). I think the color orange in the painting is another present association with marriage. In addition to the abundant orange trees, there are flowers scattered throughout the ground. In association with a springtime wedding, and Flora’s power over flowers themselves, this is another heavy association with the mythical figures presented.
This is a beautiful painting wrought with blessings for a happy marriage. It is an impactful representation of the chosen characters, and I am always excited by the inclusion of Hellenistic mythological references. However, it is also a painting that fills me with annoyance. After my own time studying Ancient Greece and Rome for the academic team I was on, I have grown weary of the representation of Roman myth. While Roman myth and Greek myth are forever intertwined, that does not change the major cultural differences and roles they had. I have had so many experiences of trying to explain the cultural differences to people only invested in Greek mythology that I grow wary of anyone who would mix them. I am tired of the conversation that Rome is a mere reflection of Ancient Greece; both of their civilizations are guilty of the very culture-devouring of which people seem to only accuse Ancient Rome.
Bibliography
Guerber, H., 2018. Classical Mythology. Fall River Press, p.(106-130).
Historylink101.com. 2022. Primavera by Sandro Botticelli, https://www.historylink101.com/art/Sandro_Botticelli/pages/09_Primavera_jpg.htm.
Hunt, J., 2022. Humanism in renaissance Italy – Smarthistory, https://smarthistory.org/humanism-renaissance-italy/.
Italianrenaissance.org. 2022. Botticelli’s Primavera – ItalianRenaissance.org, http://www.italianrenaissance.org/a-closer-look-botticellis-primavera/.
Lawall, G., 2009. Ecce Romani II. United States: Pearson Prentice Hall, p.(283-321).
Meyer, I., et. al., 2022. "La Primavera" by Sandro Botticelli - A "Primavera" Painting Analysis, Artincontext.org, https://artincontext.org/la-primavera-by-sandro-botticelli/.
Virgil and Mandelbaum, A., 2003. The Aeneid of Virgil. New York, New York: Bantam Dell.
Wow! You really brought the painting to life with the backstories of its subjects. Art takes on so many more dimensions when you can see past the elegance and the obvious talent of the artist themself, to the meaning they were trying to convey, why they chose to include what they included. Before I read your analysis, this was just a random assortment of strangers, vibing, but now I can appreciate what role each plays in the overall purpose. I especially enjoyed the detail about the orange trees and their connection to the Medici family.
ReplyDeleteHello Alyssa! What a great insight to some history of Greek and Roman mythology, I enjoyed reading about all this. Botticelli is such an amazing artist and never ceases to amaze me. I liked your viewpoint of why this painting is humanist because it places divine figures in a human container. I appreciate all your historical knowledge on this piece and within the Greek and Roman mythology, it allowed me to appreciate this painting more. Great post!
ReplyDeleteThank you, Drew! I'm glad you found it informative. I think there's so much beauty present in Botticelli's work. I love when things are viewed through the lens of myth because myth is also a lens through which people see themselves.
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