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  • La nascita di Venere
  • La nascita di Venere
  • The Birth of Venus
  • The Birth of Venus
La nascita di Venere

The Birth of Venus

The Birth of Venus, also well known as Botticelli's Venus, is a work created in 1482 on two canvases combined with the technique of tempera on linen. In the work there is no perspective, as to avoid creating a real world; in fact, Botticelli’s ideal stands in the perfection which is not present on earth.
€155.00
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P-094

Data sheet

Dimensions
cm. 60X100
1 - Characteristics and Properties
Fir wood frame with rounded edges of cm. 3.0 thickness
2 - Characteristics and Properties
Ready to hang
3 - Characteristics and Properties
Edges are finished on the sides
4 - Characteristics and Properties
Water and UV resistant canvas
Remarks
Imported product
The birth of Venus, also well known as Botticelli's Venus, is a work created in 1482 on two canvases combined with the technique of tempera on linen. In the work there is no perspective, as to avoid creating a real world; in fact, Botticelli’s ideal stands in the perfection which is not present on earth. To create this effect, he uses curved lines and cold colours as we can see in the sea; the artist uses the imprimitura technique (a first draft of blue chalk) to make the waves all the same and perfect. In the middle we see a large shell that brings Venus, goddess of beauty and love. She is pushed to shore by the breath of the winds Boreas and Zephyrus. On the right she is welcomed by a nymph with a flowered dress (it suggests the fertility of the goddess who, approaching, makes the earth bloom). The mantle hold by the nymph adapts itself, with folds, to the border of the shore. The earth is still barren, since the goddess has not yet arrived to fertilize nature. Sandro Botticelli is inspired by Angelo Poliziano’s sonnet dealing with "Venus in the nicchio". The goddess is inside a shell being born from the sea foam. She owns a special feature: the position and the body are unnatural and disproportionate, because it is to be seen from below.

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