details of renaissance paintings sandro botticelli birth of venus 1482
The subject matter for this painting is the biblical scene in which the angel Gabriel announces to the Virgin Mary that she would miraculously conceive and give birth to the son of God, Jesus. The commission source of this painting is unclear, however this scene was very popular in artworks and was depicted many times in Florentine art. Warhol’s adaptation is quite unique. In his screenprint, we only see the hands of the angel and the Virgin. Their hands, gestural and symbolic, truly represent the significance of the scene. By cropping the image thus, Warhol takes viewers to the most climactic point in this image.
Andy Warhol, Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus, 1482),1984 Screenprint on Arches Aquarelle (Cold Pressed) Paper, (F&S.II.317)
Botticelli and Warhol’s Art Works of Venus Sandro Botticelli created the beautiful, captivating, and norm breaking Birth of Venus. It depicts the story of the goddess Venus, having emerged from the sea as a full grown woman arriving at the shore. Painted in 1486, and with the medium of tempera on canvas, The Birth of Venus hangs in the Uffizi gallery in Florence Italy. This renaissance painting is huge and is 67.9 inches tall by 109.6 inches wide. Andy Warhol’s screen print Venus was done is
Birth of venus Birth of Venus View Full Essay ART 111 Kayce Anderson Writing Assignment #8 The work that I have chosen from Chapter 19 is Thomas Cole’s The Oxbow (Connecticut River near Northampton) (1836) on page 462. Principles of Design: • The focal point of the painting is the sun-drenched valley and river. The emphasis comes from the diagonal of the tree to the left that directs the view of the scene down the valley toward the farmland. • Vertical balance can be seen with the
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Silkscreen in colours, 1984, signed in pencil and numbered 21/70, printed by Rupert Jasen Smith, New York, published by Editions Schellmann & Klüser, Munich/New York. L. 63,5 x 94 cm. S. 81,2 x 111,8 cm.
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Sandro Botticelli, Birth of Venus, c. 1484-86, tempera on canvas
On shore, a figure who has been identified as Pomona, or as the goddess of Spring, waits for Venus with mantle in hand. The mantle billows in the wind from Zephyrus’ mouth.
Sandro Botticelli (1445-1510) was an Italian Early Renaissance painter. He is best known today for his iconic painting “The Birth of Venus.” He was popular enough during his lifetime that he was chosen as part of the team of artists who created the first paintings in the Sistine Chapel.
Botticelli focused most of his career on religious and mythologic content, but he also produced many portraits. Most of them are various members of the Medici family. Since the commissions often went to Botticelli’s workshop, it is impossible to know for sure which artists worked on which portrait. However, the identification of similar elements is used to try and identify authentic Botticelli work.
A large sacra conversazione altarpiece of about 1470–72 is in the Uffizi. It is not in good condition, but shows Botticelli had mastered the posing of a group of eight figures “with a skillful semblance of easy naturalness in a closed architectural setting”.  One work that can be firmly dated is the narrow Saint Sebastian made for a pier in Santa Maria Maggiore and dedicated in January 1474; it is now in Berlin.  This was painted at the same time as the Pollaiuolo brothers’ much larger altarpiece of the same saint, a showpiece of anatomical poses, with the saint shown in great pain.  Though very similar in pose, no doubt after Botticelli had seen the other painting, Botticelli’s Sebastian seems calm and poised, following the legend that the arrows did not kill Sebastian, whose wounds were miraculously healed. The almost nude body is very carefully drawn; usually Botticelli was not greatly concerned with anatomical precision, and he painted relatively few nudes, though some are among his most famous works. The delicate winter landscape, reflecting the traditional date of the saint’s martyrdom and feast-day in January, is also one of Botticelli’s more impressive efforts. 
From around 1461 or 1462 Botticelli was apprenticed to Fra Filippo Lippi, one of the top Florentine painters of the day, and one often patronized by the Medicis. He was rather conservative in many respects, but gave Botticelli a solid training in the Florentine style and technique of the day, in panel painting, fresco, and drawing. Botticelli’s paintings avoided technical short-cuts throughout his life, and when well treated they have survived in good condition for their age. Elements in style and compositions that are reminiscent of Lippi also continue to appear throughout his career.  For this period Lippi was in fact based in Prato, just outside Florence, painting what is now Prato Cathedral, and it is there that Botticelli was trained. He had probably left Lippi by April 1467, when the master went to work in Spoleto.