Women painted by Botticelli, namely Zipporah, daughter of Jethro and then wife of Moses, are the inspiration for describing the face of Swann's obsessive love Odette in Proust. The Venus in Primavera is similar in type to Zipporah.
And Swann who is a ladies man typically goes for round and rosy cheeked women, not the Zipporah/ Venus archetype with its almost too thin face. It's an expression by Proust of the mystery of attraction.
What a delightful analysis of this beloved work of art by Botticelli. It's an intrguing and gorgeous painting and as noted, celebrating life and love. Thank you for describing its amazing complexities.
Well you've got Merc right. And he's looking towards the Sun. To his right, 3 phases of Venus, morning star, evening star and hidden. Center is Earth, Gaia, with the Putti as The Moon, shooting an arrow at young Venus, who is looking lovingly towards Merc. Then Mars, pregnant Jupiter, and icy Saturn last. It's a picture of the Solar System. It would likely have had the artist burnt at the stake, if discovered. I have an article here on SStack
Interesting to find out the dramatis personae. Something interesting I saw a while back was the halo/wings around the head of Venus. It really makes her stand out as the other figures almost merge into the forest at first glance.
This reminded me of George’s recent piece on Leonardo, where he discussed the Renaissance master’s close observation of nature and the sense of scientific discovery running through some of his works, including, I think, the grotto-like settings he showed as examples. Botticelli feels related, though different. In Primavera, the forest floor is not just scenery. It includes many actual flowers, carefully observed and woven into the painting, so nature becomes part of the meaning rather than just the setting.
How wonderful to get another look at Botticelli's Primavera! Thanks, George!
As with a written text, you accurately introduce the figures in on the canvas from left to right. However, by moving from right to left, the painting can convey a charming Springtime narrative. Going in that direction, we can see the Wind God Zephyr, in his chilly blue winter coat, catching up to the nymph Chloris and, marked by the vines issuing from her mouth, transforming her into Flora, the goddess of flowers and Springtime. Then in the center, augustly presiding over Primavera, the first season, is Venus, goddess of love, standing beneath Cupid, her son and ally in love, who we see carefully aiming his bow at one of the Three Graces, who herself has an eye on the God Mercury, who is using his magical staff to ease away the clouds of late springtime. Clearly, Love is in the air! Thereby, through this delightful cast of characters, Botticelli can be seen charmingly transporting a viewer from the chill of Winter all the way to the warm sunshine of Summer.
The sheer drapery does double work — signaling divine otherworldliness while serving the patron’s gaze. Perhaps not coincidentally, Met Gala designers have been mining exactly this visual vocabulary for decades. Botticelli got there first.
I’m so enjoying diving just a bit deeper into these works than I might otherwise — and all from my comfy recliner. Thank you. Now, for a tiny typo — “where we might wonder if we have declared its arrival to early”. Please change to “too early.”
Glad you're enjoying these works, Janet. And you'll have to excuse the occassional typo here. In writing and editing everything on my own, they unfortunately do slip in sometimes.
It’s next to impossible to edit our own work, I know. Surely there’s someone you can run it by? (Me? Gratis) Or, I shall treat it as my growing edge and strive to reconcile myself to the reality of an imperfect world. No guarantees though. Cheers.
No, I wouldn’t want to ask anyone - especially with the sheer amount of workload it all takes writing 5 of these essays each week. Plus have been doing this all completely solo for more than 3 years anyway.
So for now, I will just continue doing as best as I can with it all - and hope that the occassional typo or imperfection won’t ruin the overall experience.
Something I hadn’t noticed before in seeing these close ups is the open mouths. Not so much the nymph being harassed, her emotion is made clear by the shape made by her lips. But Mercury’s and Flora’s slightly parted lips are most interesting. Being sexy? About to say something? I don’t know when I have seen, from this era, mouths slightly opened in this alluring manner. It’s also much more evident in close up that the graces, or the three phases of Venus, don’t seem all that joyful in their mouths or overall expression. In fact they appear, to me, down right skeptical of the whole affair. Or perhaps just totally caught up in whatever serious business is floating about in their minds. Regardless, it’s all quite beautiful and intriguing. Thanks George.
Women painted by Botticelli, namely Zipporah, daughter of Jethro and then wife of Moses, are the inspiration for describing the face of Swann's obsessive love Odette in Proust. The Venus in Primavera is similar in type to Zipporah.
And Swann who is a ladies man typically goes for round and rosy cheeked women, not the Zipporah/ Venus archetype with its almost too thin face. It's an expression by Proust of the mystery of attraction.
That's really interesting. Thanks for sharing, David.
Thank you. I will remember Zephyrus whenever an unexpected Spring wind comes through and messes up my garden.
What a delightful analysis of this beloved work of art by Botticelli. It's an intrguing and gorgeous painting and as noted, celebrating life and love. Thank you for describing its amazing complexities.
Glad to know you enjoyed it, Janet.
Wonderful! And suggesting as many questions as answers. Great art is inexhaustible
Well you've got Merc right. And he's looking towards the Sun. To his right, 3 phases of Venus, morning star, evening star and hidden. Center is Earth, Gaia, with the Putti as The Moon, shooting an arrow at young Venus, who is looking lovingly towards Merc. Then Mars, pregnant Jupiter, and icy Saturn last. It's a picture of the Solar System. It would likely have had the artist burnt at the stake, if discovered. I have an article here on SStack
That is pretty compelling!
Fantastic overview of Primavera!
There is so much to see and appreciate in the magic and mystery of spring.
Interesting to find out the dramatis personae. Something interesting I saw a while back was the halo/wings around the head of Venus. It really makes her stand out as the other figures almost merge into the forest at first glance.
This sort of thing is one of the reasons that I subscribe to your Substack. Well done!
Thanks - that really means a lot!
Outstanding explanation. I would have never seen that much. Thank you for your observations.
Much appreciated, Barbara
This reminded me of George’s recent piece on Leonardo, where he discussed the Renaissance master’s close observation of nature and the sense of scientific discovery running through some of his works, including, I think, the grotto-like settings he showed as examples. Botticelli feels related, though different. In Primavera, the forest floor is not just scenery. It includes many actual flowers, carefully observed and woven into the painting, so nature becomes part of the meaning rather than just the setting.
How wonderful to get another look at Botticelli's Primavera! Thanks, George!
As with a written text, you accurately introduce the figures in on the canvas from left to right. However, by moving from right to left, the painting can convey a charming Springtime narrative. Going in that direction, we can see the Wind God Zephyr, in his chilly blue winter coat, catching up to the nymph Chloris and, marked by the vines issuing from her mouth, transforming her into Flora, the goddess of flowers and Springtime. Then in the center, augustly presiding over Primavera, the first season, is Venus, goddess of love, standing beneath Cupid, her son and ally in love, who we see carefully aiming his bow at one of the Three Graces, who herself has an eye on the God Mercury, who is using his magical staff to ease away the clouds of late springtime. Clearly, Love is in the air! Thereby, through this delightful cast of characters, Botticelli can be seen charmingly transporting a viewer from the chill of Winter all the way to the warm sunshine of Summer.
That's such a great way of interpreting it all! Thanks for sharing.
BRAVO !
The sheer drapery does double work — signaling divine otherworldliness while serving the patron’s gaze. Perhaps not coincidentally, Met Gala designers have been mining exactly this visual vocabulary for decades. Botticelli got there first.
Beautiful article 🥰
I’m so enjoying diving just a bit deeper into these works than I might otherwise — and all from my comfy recliner. Thank you. Now, for a tiny typo — “where we might wonder if we have declared its arrival to early”. Please change to “too early.”
Glad you're enjoying these works, Janet. And you'll have to excuse the occassional typo here. In writing and editing everything on my own, they unfortunately do slip in sometimes.
It’s next to impossible to edit our own work, I know. Surely there’s someone you can run it by? (Me? Gratis) Or, I shall treat it as my growing edge and strive to reconcile myself to the reality of an imperfect world. No guarantees though. Cheers.
No, I wouldn’t want to ask anyone - especially with the sheer amount of workload it all takes writing 5 of these essays each week. Plus have been doing this all completely solo for more than 3 years anyway.
So for now, I will just continue doing as best as I can with it all - and hope that the occassional typo or imperfection won’t ruin the overall experience.
Something I hadn’t noticed before in seeing these close ups is the open mouths. Not so much the nymph being harassed, her emotion is made clear by the shape made by her lips. But Mercury’s and Flora’s slightly parted lips are most interesting. Being sexy? About to say something? I don’t know when I have seen, from this era, mouths slightly opened in this alluring manner. It’s also much more evident in close up that the graces, or the three phases of Venus, don’t seem all that joyful in their mouths or overall expression. In fact they appear, to me, down right skeptical of the whole affair. Or perhaps just totally caught up in whatever serious business is floating about in their minds. Regardless, it’s all quite beautiful and intriguing. Thanks George.
That's a really interesting observation. And more proof that there really is always something new to notice in this work!