Le tableau de la naissance de Vénus aurait été commandé par Laurent, à l’occasion des noces de Lorenzo avec Sémiramide d’Appiano le 24 août 1482 et de son installation dans un palais de Florence. It has been described as "one of the most written about, and most controversial paintings in the world",[1] and also "one of the most popular paintings in Western art". Such puns for the Medici, and in Venus and Mars the Vespucci, run through all Botticelli's mythological paintings. The costumes of the figures are versions of the dress of contemporary Florence, though the sort of "quasi-theatrical costumes designed for masquerades of the sort that Vasari wrote were invented by Lorenzo de' Medici for civic festivals and tournaments. [62] Summarizing the many interpretations of the painting, Leopold Ettlinger includes "descending to the ludricous – a Wagnerian pantomime enacted in memory of the murdered Giuliano de' Medici and his beloved Simonetta Vespucci with the Germanic Norns disguised as the Mediterranean Graces. [8] On the left of the painting the Three Graces, a group of three females also in diaphanous white, join hands in a dance. Cette reproduction d’art est proposée en open-édition chez Muzéo. Halftone reproduction. Le Printemps, Botticelli, Galerie des Offices, Florence, 1478 C’est dans ce contexte que les thèmes mythologiques font leur retour dans la production artistique. Elle se trouvait dans une salle au rez-de-chaussée nommée la « casa vecchia  » avec une autre œuvre de l'artiste, Pallas et le centaure. Le printemps est la saison la plus attendue. That is the mystery of genius. Désignation épreuve photomécanique Matériaux et techniques similigravure , papier H. 83,0 ; L. 12,9 cm. Après les courtes journées et les longues nuits d’hiver, nous surveillons attentivement les petits signes – une pousse verte sortant du nez sous la neige, la minute de plus d’une journée froide – que la saison de la renaissance est en route. Notons qu'il n'est que de sept ans l'aîné de Leonard de Vinci. Flora's smile was very unusual in painting at this date. The bottom of the painting was probably at about the viewer's eye-level, so rather higher than it is hung today. Vénus qui, au lieu de glorifier la nature charnelle de l'amour païen, célèbre ici l'idéal humaniste de l'amour spirituel. Le Printemps de Sandre, Botticelli, conservé aux Offices, est considéré depuis sa redécouverte au XIXe siècle comme un des jalons de l'histoire de l'art. Le Printemps (Primavera en italien) est un grand tableau mural de Sandro Botticelli, peint vers 1477, période Première Renaissance. [23] According to Claudian, no clouds were allowed there. Before the inventory was known it was usually believed that both paintings were made for the villa, probably soon after it was acquired in 1477, either commissioned by Lorenzo di Pierfrancesco or perhaps given to him by his older cousin and guardian Lorenzo de' Medici. The movement of the composition is from right to left, so following that direction the standard identification of the figures is: at far right "Zephyrus, the biting wind of March, kidnaps and possesses the nymph Chloris, whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is scattering roses on the ground. AVERTISSEMENT L’ESSAI qu’on va lire met les célèbres peintures mythologiques de Sandro Botticelli, La Naissance de Vénus et Le Printemps, en regard des représentations qui leur répondent dans la théorie de l’art et dans la poésie du temps. p4 3. Les femmes mangeant les arbres pour être plus pures, pivot de la composition, dégagent une expression candide et apaisée et ont toutes des caractères physiques longilignes similaires, une chevelure avec des mèches bien mises en valeur par des traits sombres, un visage de forme ovale allongé avec une bouche finement charnue, le nez droit et les yeux en amande exaltant leur fragilité. Le chemin de l’âme et son perfectionnement, c’est celui qui passe de l’… The woman in the flowered dress may be called Primavera (a personification of Spring), with Flora the figure pursued by Zephyrus. Simonetta was the aunt of Lorenzo's bride Semirande. Coming ashore in a shell she had clothed her nakedness in myrtle, and so the plant became sacred to her. On a beaucoup dit que la majorité des peintres du Moyen-âge, de la Renaissance et jusqu'à nos jours, construisaient leurs tableaux sur la base du nombre d'or, je ne pense pas que ce soit le cas pour le Printemps de Botticelli. Dans la clé orphique (5), le Printemps de Botticelli représente le parcours de l’âme vers le divin. It was originally planned for May. At the extreme left Mercury, clothed in red with a sword and a helmet, raises his caduceus or wooden rod towards some wispy gray clouds. In this the wood nymph Chloris recounts how her naked charms attracted the first wind of Spring, Zephyr. [30] Chastity looks towards Mercury, and some interpretations, especially those identifying the figures as modelled on actual individuals, see this couple as one to match Chloris and Zephyrus on the other side of the painting. Ce sont des fleurs qui sortent de la bouche de Flore, qui se trouve être la nymphe des fleurs (Chloris) des Grecs, lorsque Zéphyr, dieu du vent, lui souffle dessus, causant un trouble visible dans l'expression du visage, trouble qui va lui révéler sa féminité. [5] As depictions of subjects from classical mythology on a very large scale, they were virtually unprecedented in Western art since classical antiquity.[6]. [9], The interactions between the figures are enigmatic. La Naissance de Vénus Sandro Botticelli 1483-1485. The figures are spread in a rough line across the front of the picture space, "set side by side like pearls on a string". Le printemps Le printemps, réalisé en 1480 par le peintre Sandro Botticelli, est une grande spaliera, un type de tableau de grandes dimensions, associé à des meubles dont la … Lightbown, 126–140; Ettlingers, 122–124; Dempsey, Wind, 116–117. Various interpretations of the figures have been set forth,[17] but it is generally agreed that at least at one level the painting is "an elaborate mythological allegory of the burgeoning fertility of the world. Les toiles de Mars et Vénus et de la Naissance de Vénus furent-… The history of the painting is not certainly known; it may have been commissioned by one of the Medici family, but the certainty of its commission is unknown. Le nom du tableau provient de l'inventaire général de Giorgio Vasari effectué en 1550 : il l'identifia à une célébration de l'arrivée du printemps. [42] In Ovid's work the reader is told 'till then the earth had been but of one colour'. They stayed in Castello until 1815, when they were transferred to the Uffizi. [66] The work has darkened considerably over the course of time.[44]. Cupid's arrow is aimed at the middle Grace — Chastity, according to Wind — and the impact of love on chastity, leading to a marriage, features in many interpretations. Ces deux personnages mythologiques sont déjà présents lors de La Naissance de Vénus, où l'on peut apercevoir l'enlèvement de Chloris par Zéphyr qui la viole, puis la prend pour épouse et lui offre l'empire des fleurs. Cette œuvre peinte pour Laurent, fils de Pierre-François de Médicis, peut-être la dernière œuvre de la trilogie dont les deux premiers éléments étaient le Printemps et la Naissance de Vénus. Botticelli sera l'interprète privilégié de cette tendance pour la puissante famille Médicis. From antique sarcophagi, from a few gems and reliefs, and perhaps some fragments of Aretine ware; from those drawings of classical remains by contemporary artists which were circulated in the Florentine workshops, like the architects' pattern-books of the 18th century; from such scanty and mediocre material, Botticelli has created one of the most personal evocations of physical beauty in the whole of art, the Three Graces of the Primavera. [27] From the left they are identified by Edgar Wind as Voluptas, Castitas, and Pulchritudo (Pleasure, Chastity and Beauty),[28] though other names are found in mythology, and it is noticeable that many writers, including Lightbown and the Ettlingers, refrain from naming Botticelli's Graces at all. The wind of early Spring blows on the land and brings forth growth and flowers, presided over by Venus, goddess of April, with at the left Mercury, the god of the month of May in an early Roman calendar, chasing away the last clouds before summer. Ses parents ont alors respectivement cinquante ans pour son père et quarante pour sa mère ce qui, selon les dires des médecins de l'époque, expliquerait sa constitution fra… Ettlingers, 118–119 gives a spirited quick summary. La composition privilégie les lignes sinueuses et une chromatique toute en fraîcheur, avec un rendu minutieux des détails. A passage in Virgil's Aeneid describes him clearing the skies with his caduceus. Après avoir réalisé un apprentissage d’orfèvrerie, le jeune Botticelli rentre en formation dans l’atelier du peintre Filippo Lippi. [13] It is now known that in the setting for which the painting was designed the bottom was about at eye level, or slightly above it, partly explaining "the gently rising plane" on which the figures stand. Botticelli ne connaît pas l'épanouissement heureux de Raphaël, l'insatisfaction tourmentée de Léonard, les angoisses ou les triomphes According to Hesiod, Venus had been born of the sea after the semen of Uranus had fallen upon the waters. [60], Another older theory, assuming an early date, suggests the older Lorenzo commissioned the portrait to celebrate the birth of his nephew Giulio di Giuliano de' Medici (who later became Pope), but changed his mind after the assassination of Giulo's father, his brother Giuliano in 1478, having it instead completed as a wedding gift for Lorenzo di Pierfrancesco. Le Printemps (Primavera en italien) est une peinture allégorique de Sandro Botticelli, exécutée en tempera sur panneau de bois en 1482, période de la Première Renaissance. [58], Most scholars now connect the painting to the marriage of Lorenzo di Pierfrancesco de' Medici. Cette lumière produit un effet de profondeur entre les arbres de l'arrière-plan. Celle qui est aujourdhu… Les œuvres du Printemps réalisé entre 1478 et 1482 et de Pallas et le centaure (1482-1483) furent commandées à Botticelli par Laurent le magnifique pour orner la chambre d’un cousin de Laurent, Lorenzo di Pier Francesco (1463-1503). Zéphyr, le ténébreux, s’introduit dans le jardin du monde et y fait entrer l’âme/Chloris, l’étoile céleste, tout en semblant la retenir, comme l’amour passionnel ralentit l’avancée vers le monde céleste. Vasari's "recollection that the picture 'signifies spring' (, The Story of Nastagio Degli Onesti, part one, Venus and the Three Graces Presenting Gifts to a Young Woman, A Young Man Being Introduced to the Seven Liberal Arts, Madonna of the Rosegarden (Madonna del Roseto), Madonna of the Magnificat (Madonna del Magnificat), Madonna of the Pomegranate (Madonna della Melagrana), Madonna Adoring the Child with Five Angels, Virgin and Child with the Infant St. John the Baptist, The Virgin and Child with Three Angels (Madonna del Padiglione), Portrait of a Man with a Medal of Cosimo the Elder, Portrait of a Young Man holding a Medallion, https://en.wikipedia.org/w/index.php?title=Primavera_(Botticelli)&oldid=1000193342, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 14 January 2021, at 01:44. [59] Recent datings tend to prefer the early 1480s, after Botticelli's return from Rome, suggesting it was directly commissioned in connection with this wedding, a view supported by many. [4], Although the two are now known not to be a pair, the painting is inevitably discussed with Botticelli's other very large mythological painting, The Birth of Venus, also in the Uffizi. Si on n’éprouve pas la nécessité de s’arrêter devant le Printemps de Botticelli, un Poussin, ou devant la brioche de Chardin, c’est vraiment qu’on n’a rien vu. Le tableau fut caché au Castello di Montegufoni pendant l'occupation allemande et restitué aux Uffizi (Galerie des Offices) après la Seconde Guerre mondiale. La peinture présente neuf personnages au premier plan: deux hommes, six femmes, dont une est située légèrement en arrière par rapport aux autres et un cupidon volant. Les œuvres exploitant ces thèmes sont exposées dans les villas à l’antique que se font … Sa quête esthétique, traduite par la création d’un type féminin idéal, est marquée par l’influence du néoplatonisme et de l’humanisme. Cette œuvre d'art fut trouvée dans la villa médicéenne di Castello de son commanditaire Lorenzo di … [10], The pastoral scenery is elaborate. In the centre (but not exactly so) and somewhat set back from the other figures stands Venus, a red-draped woman in blue. From Chloris' name the colour may be guessed to have been green – the Greek word for green is khloros, the root of words like chlorophyll – and may be why Botticeli painted Zephyr in shades of bluish-green. Sandro Botticelli (1445–1510), auteur de l’une des œuvres les plus célèbres de l’histoire, la Naissance de Vénus, est un peintre majeur de la Renaissance florentine et le protégé de la famille Médicis. Au premier plan, on retrouve des personnages à peau clair mis en valeur par un arrière-plan plus sombre. [29] The Neoplatonic philosophers saw Venus as ruling over both earthly and divine love and argued that she was the classical equivalent of the Virgin Mary; this is alluded to by the way she is framed in an altar-like setting that is similar to contemporary images of the Virgin Mary. Zephyr pursued her and as she was ravished, flowers sprang from her mouth and she became transformed into Flora, goddess of flowers. "[7] Chloris the nymph overlaps Flora, the goddess she transforms into. Fils d'un florentin nommé Mariano Flilipepi, il grandit dans une famille bourgeoise. [64] Since 1919, it has hung in the Uffizi Gallery in Florence. For some years until 1919 they were kept in the Galleria dell'Accademia, another government museum in Florence. There are 500 identified plant species depicted in the painting, with about 190 different flowers,[11] of which at least 130 can be specifically identified. They are among the most famous paintings in the world, and icons of the Italian Renaissance; of the two, the Birth is even better known than the Primavera. Le Printemps (Primavera en italien) est une peinture allégorique de Sandro Botticelli, exécutée en tempera sur panneau de bois entre 1478 et 1482, période de la Première Renaissance. The Three Graces are sisters, and traditionally accompany Venus. In a different interpretation the earthy carnal love represented by Zephyrus to the right is renounced by the central figure of the Graces, who has turned her back to the scene, unconcerned by the threat represented to her by Cupid. Le Printemps, détail de Zéphyr et de la nymphe Chloris (Florence, Offices) Le Printemps, détail de Mercure et des Grâces (Florence, Offices) Pallas et le Centaure, 1482, Sandro Botticelli (Florence, Offices). Description. en 1905. Le printemps de Botticelli: N° Y & T : Analyse personnelle du Printemps de Botticelli. The trees behind her form a broken arch to draw the eye. Pour les Alchimistes, le printemps est l’époque de l’année la plus favorable pour commencer le Grand Œuvre : la transmutation du plomb en or spirituel. In the air above her a blindfolded Cupid aims his bow to the left. Where there is a plethora of literary sources, most of them probably not known directly by Botticelli, or set out for him by advisors, the visual sources are a different matter: But where, in the visual rather than the literary sense, did the vision come from? La composition de l'œuvre est constituée d'un premier plan, avec des figures en clair aux silhouettes longilignes mises en valeur par un arrière-plan plus sombre. Mercury was the god of medicine and "doctors", medici in Italian. [1] The overall appearance, and size, of the painting is similar to that of the millefleur ("thousand flower") Flemish tapestries that were popular decorations for palaces at the time. Pour cette toile on est également en présence dune remarquable variété dinterprétations thématiques. (Kenneth Clark)[51], The origin of the painting is unclear. [57], In the first edition of his Life of Botticelli, published in 1550, Giorgio Vasari said that he had seen this painting, and the Birth of Venus, hanging in the Medici country Villa di Castello. Sandro Botticelli /Le Printemps Pour la Renaissance, une femme amoureuse et mariée incarne la déesse de l'Amour et du mariage. Le Printemps Sandro Botticelli 1478-1482. similigravure. It is also the Garden of the Hesperides of classical myth, from which the golden apples used in the Judgement of Paris came; the Hellenistic Greeks had decided that these were citrus fruits, exotic to them. [25] Venus appears here in her character as a goddess of marriage, clothed and with her hair modestly covered, as married women were expected to appear in public.[26]. The subject was first described as Primavera by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, by 1550. [47], Another inspiration for the painting seems to have been the poem by Lucretius "De rerum natura", which includes the lines, "Spring-time and Venus come, and Venus' boy, / The winged harbinger, steps on before, / And hard on Zephyr's foot-prints Mother Flora, / Sprinkling the ways before them, filleth all / With colors and with odors excellent."[48][49][50]. They were the cousins of Lorenzo de' Medici ("Lorenzo il Magnifico"), who was effectively the ruler of Florence, and after their father's early death had been his wards. [31], The basic identification of the figures is now widely agreed,[32] but in the past other names have sometimes been used for the females on the right, who are two stages of the same person in the usual interpretation. [44] As Poliziano's poem, "Rusticus", was published in 1483 and the painting is generally held to have been completed by around 1482,[1][45] some scholars have argued that the influence was reversed,[46] bearing in mind that Poliziano is generally thought to have helped with devising the allegory in the painting. Expliquez en quoi le portrait constitue … Rather oddly, Vasari says both paintings contained female nudes, which is not strictly the case here. Overlapping of other figures by Mercury's sword and Chloris' hands shows that they stand slightly in front of the left Grace and Flora respectively, which might not be obvious otherwise, for example from their feet. It draws from a number of classical and Renaissance literary sources, including the works of the Ancient Roman poet Ovid and, less certainly, Lucretius, and may also allude to a poem by Poliziano, the Medici house poet who may have helped Botticelli devise the composition. Mohamed is deeply shaken when his oldest son Malik returns home after a long journey with a mysterious new wife. Offices Florence Botticelli : Le Printemps Détrempe grasse sur bois (203 x 314 cm) 1481-1482 “Le Printemps” de Botticelli Le Printemps Le personnage central est Vénus dans son jardin sacré. Il s'agit d'un mélange de figures allégoriques à la fois profanes (renvoyant à la mythologie gréco-romaine) et sacrées (c’est-à-dire religieuses chrétiennes) sur un fond sombres d'orangers. Style : Botticelli n'a jamais utilisé la peinture à l'huile. [56], In the same room was Botticelli's Pallas and the Centaur, and also a large tondo with the Virgin and Child. « Le Printemps » de Sandro Botticelli : un doux parfum de Renaissance Par Inès Boittiaux • le 17 décembre 2020 Quotidiennement, durant deux mois, Beaux Arts vous partage un de ces 60 chefs-d’œuvre qu’il nous tarde de retrouver « en vrai », des peintures … "Le Printemps", tableau de Botticelli) Camera Work 1905. Le jardin représenté ici rappelle le jardin de Vénus que Sandro Botticelli rapporte à celui des Hespérides, filles d'Atlas qui, accompagnées d'un Dragon, gardent les pommes d'or dédiées à la déesse de la beauté.Cependant, les orangers fleuris qui semblent se refléter parmi les fleurs qui parsèment le sol nous indiquent que nous sommes au printemps et plus précisément au mois de mai. [2], The painting depicts a group of figures from classical mythology in a garden, but no story has been found that brings this particular group together. Inscriptions en bas de l'épreuve : Illustration to "On the elongation of form" Botticelli a participé à quelques-uns des plus grands proje… Like the flower-gatherer, she returns the viewer's gaze. Portrait de Dante Sandro Botticelli 1495. The painting features six female figures and two male, along with a cupid, in an orange grove. Paintings and furniture were often given as presents celebrating weddings. [52] In older theories, placing the painting in the 1470s, it was proposed that the model for Venus was Simonetta Vespucci, wife of Marco Vespucci and according to popular legend the mistress of Giuliano de' Medici (who is also sometimes said to have been the model for Mercury);[53] these identifications largely depend on an early date, in the 1470s, as both were dead by 1478. [24] Venus stands in front of the dark leaves of a myrtle bush. The marriage was on 19 July 1482, but had been postponed after the death of the elder Lorenzo's mother on 25 March. This was given the highest value of the three paintings, at 180 lire. "[16] The lack of an obvious narrative may relate to the world of pageants and tableaux vivants as well as typically static Gothic allegories. In classical art (but not literature) they are normally nude, and typically stand still as they hold hands, but the depiction here is very close to one adapting Seneca by Leon Battista Alberti in his De pictura (1435), which Botticelli certainly knew. The tondo is now unidentified, but is a type of painting especially associated with Botticelli. [33][34] One scholar suggested in 2011 that the central figure is not Venus at all, but Persephone. The central Grace looks towards him, while the other two seem to look at each other. Ils sont donc très importants dans l'allégorie du printemps car Zéphyr apporte le vent humide et chaud bénéfique à cette saison et Chloris devient Flore déesse des fleurs et fleurit la nature. "[2] It is thought that Botticelli had help devising the composition of the painting and whatever meanings it was intended to contain, as it appears that the painting reflects a deep knowledge of classical literature and philosophy that Botticelli is unlikely to have possessed. Ces deux personnages mythologiques sont déjà présents l… Le tableau représente une allégorie classique, l'action se déroulant de droite à gauche : la nymphe Chloris est saisie par Zéphyr et transformée en Flora, déesse du printemps. Il est imprégné de culture classique, mais aussi, comme beaucoup de peintres italiens, il est sensible à la peinture flamande. Flora, the goddess of flowers and the season of spring. Né en 1445 et mort en 1510 à Florence, Sandro Botticelli est l’une des figures emblématiques de la première renaissance italienne. Primavera (Italian pronunciation: [primaˈveːra], meaning "Spring"), is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli made in the late 1470s or early 1480s (datings vary). [19], One aspect of the painting is a depiction of the progress of the season of spring, reading from right to left. Le lieu de conservation de « Détail du Printemps ou La Primavera » est Galerie des Offices, Florence, Italie. Notre but est d’éclairer ainsi ce It has been argued that the flowers do not grow smaller to the rear of the picture space, certainly a feature of the millefleur tapestries.[15]. Primavera , is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli made in the late 1470s or early 1480s (datings vary). La confusion entre Vénus et la Vierge est troublante. Dates. Deimling, 45–46. But Mercury seems clearly to be looking above him, as he works on the clouds. [55] It hung over a large lettuccio, an elaborate piece of furniture including a raised base, a seat and a backboard, probably topped with a cornice. Vénus et Mars Sandro Botticelli 1483. Les hommes sont placés aux extrémités du tableau, délaissés, semblant uniquement encadrer les figures féminines. During the Italian campaign of World War Two, the picture was moved to Montegufoni Castle about ten miles south west of Florence to protect it from wartime bombing. "[63], Whenever this painting and the Birth of Venus were united at Castello, they have remained together ever since. Il y a plus de 500 espèces de plantes dans ce jardin. Botticelli: le printemps de TERRASSE Charles et d'autres livres, articles d'art et de collection similaires disponibles sur AbeBooks.fr. Le Printemps ou La Primavera de Sandro Botticelli Le Printemps ou La Primavera de Sandro Botticelli. [12], These tapestries had not caught up by the 1480s with the artistic developments of the Italian Renaissance, and the composition of the painting has aspects that belong to this still Gothic style. Sandro BOTTICELI – Le printemps. [65], It was returned to the Uffizi Gallery where it remains to the present day. Cette oeuvre est une peinture de la période de la renaissance appartenant au style renaissance italienne.. Cette œuvre d'art fut trouvée dans la villa médicéenne di Castello de son commanditaire Lorenzo di Pierfrancesco, un riche Toscan. Botticelli was away in Rome for many months in 1481/82, painting in the Sistine Chapel, and suggested dates are in recent years mostly later than this, but still sometimes before. [41] The group at the right of the painting was inspired by a description by the Roman poet Ovid of the arrival of Spring (Fasti, Book 5, 2 May). [54], The 1499 inventory records it hanging in the city palace of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano". [43], Other specific elements may have been derived from a poem by Poliziano. [39], Of the very many literary sources that may have fed into the painting,[40] the clearest was first noted in modern times by Aby Warburg in 1893, in his seminal dissertation on the painting. Thinking has been somewhat changed by the publication in 1975 of an inventory from 1499 of the collection of Lorenzo di Pierfrancesco de' Medici. Symbole de la Renaissance, ce tableau, plus que tout autre, il a cessé de connaître de nouvelles interprétations. In 1978, the painting was restored. L'art de Botticelli, étonnamment personnel, d'une subjectivité intense, est, en même temps, le plus profondément accordé au climat de ce « siècle d'or » florentin évoqué par Vasari au début de la biographie qu'il lui consacre. Botticelli a terminé « Le Printemps » en 1482 pour un parent de Laurent de Medicis. Cette célèbre œuvre d'art fut trouvée dans la villa médicéenne de son commanditaire, un riche toscanpas moins que le second cousin de Laurent le Magnifique (villa di Castello, acquise par lui en 1477).. [21] A more positive, Neoplatonist view of the clouds is that they are "the benificent veils through which the splendour of transcendent truth may reach the beholder without destroying him. A further inventory of 1503 records that the Primavera had a large white frame. Il faut savoir que l'artiste était aussi connu de son vivant pour peindre de tels motifs floraux sur les robes des riches madones de l'aristocratie florentine, ornementations particulièrement appréciées à l'occasion des fêtes. [36][37] Venus' hand gesture of welcome, probably directed to the viewer, is the same as that used by Mary to the Archangel Gabriel in contemporary paintings of the Annunciation. des œuvres de Botticelli et de Gozzoli, il est possible de décrire comment les artistes font l’éloge de leurs commanditaires. Le Printemps de Botticelli, ainsi que la Naissance de Vénus, est certainement l'œuvre la plus célèbre de la Galerie des Offices.