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. The painting features six female figures and two male, along with a cupid, in an orange grove. Réalisé pour la Villa de Castello, à la demande de Lorenzo di Pierfranco, de la branche cadette des Médicis, le Printemps constitue le pendant de la Naissance de Vénus . La confusion entre Vénus et la Vierge est troublante. "[22], Venus presides over the garden – an orange grove (a Medici symbol). [38], Punning allusions to Medici names probably include the golden balls of the oranges, recalling those on the Medici coat of arms, the laurel trees at right, for either Lorenzo, and the flames on the costume of both Mercury (for whom they are a regular attribute) and Venus, which are also an attribute of Saint Laurence (Lorenzo in Italian). 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". 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. 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… But Mercury seems clearly to be looking above him, as he works on the clouds. Botticelli sera l'interprète privilégié de cette tendance pour la puissante famille Médicis. Notre but est d’éclairer ainsi ce Deimling, 45–46. That is the mystery of genius. 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. Sa quête esthétique, traduite par la création d’un type féminin idéal, est marquée par l’influence du néoplatonisme et de l’humanisme. Pour cette toile on est également en présence dune remarquable variété dinterprétations thématiques. Le chemin de l’âme et son perfectionnement, c’est celui qui passe de l’… [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. 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]. Sandro BOTTICELI – Le printemps. Le Printemps Sandro Botticelli 1478-1482. Le printemps de Botticelli: N° Y & T : Analyse personnelle du Printemps de Botticelli. 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. 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. 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. 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. Dates. Cette œuvre d'art fut trouvée dans la villa médicéenne di Castello de son commanditaire Lorenzo di Pierfrancesco, un riche Toscan. [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. 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. [8] On the left of the painting the Three Graces, a group of three females also in diaphanous white, join hands in a dance. Les hommes sont placés aux extrémités du tableau, délaissés, semblant uniquement encadrer les figures féminines. Botticelli ne connaît pas l'épanouissement heureux de Raphaël, l'insatisfaction tourmentée de Léonard, les angoisses ou les triomphes [14], The feet of Venus are considerably higher than those of the others, showing she is behind them, but she is at the same scale, if not larger, than the other figures. Il y a plus de 500 espèces de plantes dans ce jardin. 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. 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). Fils d'un florentin nommé Mariano Flilipepi, il grandit dans une famille bourgeoise. The tondo is now unidentified, but is a type of painting especially associated with Botticelli. C'est au milieu du XV siècle, en 1445, sous Laurent de Médicis le Vieux, dit le Magnifique, que naquit à Florence dans la paroisse d'Ognissanti un certain Sandro Di Mariano Filipepi, dit Botticelli. 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. [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. [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]. [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. Flora and Venus look out at the viewer, the Cupid is blindfolded, and Mercury has turned his back on the others, and looks up at the clouds. 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).. p4 3. In the air above her a blindfolded Cupid aims his bow to the left. Vénus qui, au lieu de glorifier la nature charnelle de l'amour païen, célèbre ici l'idéal humaniste de l'amour spirituel. In 1978, the painting was restored. 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. Simonetta was the aunt of Lorenzo's bride Semirande. Botticelli a participé à quelques-uns des plus grands proje… [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. [64] Since 1919, it has hung in the Uffizi Gallery in Florence. [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. Le tableau fut caché au Castello di Montegufoni pendant l'occupation allemande et restitué aux Uffizi (Galerie des Offices) après la Seconde Guerre mondiale. 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. 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. [43], Other specific elements may have been derived from a poem by Poliziano. [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. [5] As depictions of subjects from classical mythology on a very large scale, they were virtually unprecedented in Western art since classical antiquity.[6]. 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. The Three Graces are sisters, and traditionally accompany Venus. The figures are spread in a rough line across the front of the picture space, "set side by side like pearls on a string". [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. [65], It was returned to the Uffizi Gallery where it remains to the present day. [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. In the centre (but not exactly so) and somewhat set back from the other figures stands Venus, a red-draped woman in blue. 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. Ces deux personnages mythologiques sont déjà présents l… A passage in Virgil's Aeneid describes him clearing the skies with his caduceus. en 1905. 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. Le lieu de conservation de « Détail du Printemps ou La Primavera » est Galerie des Offices, Florence, Italie. 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. "[7] Chloris the nymph overlaps Flora, the goddess she transforms into. A further inventory of 1503 records that the Primavera had a large white frame. Cette célèbre œuvre d'art fut trouvée dans la villa médicéenne di Castello de son commanditaire, un riche Toscan [ 1 ] . Cette oeuvre est une peinture de la période de la renaissance appartenant au style renaissance italienne.. Mercury was the god of medicine and "doctors", medici in Italian. Lightbown, 126–140; Ettlingers, 122–124; Dempsey, Wind, 116–117. 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). In this the wood nymph Chloris recounts how her naked charms attracted the first wind of Spring, Zephyr. 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. [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. Le texte intégral de l'article est ici →, {{$parent.$parent.validationModel['duplicate']}}, dernière édition: 3 déc., 2019 par xennex, fr.wikipedia.org/wiki/Le_Printemps_(Botticelli), 1-{{getCurrentCount()}} sur {{getTotalCount()}}, https://fr.wikipedia.org/wiki/Le_Printemps_(Botticelli). Such puns for the Medici, and in Venus and Mars the Vespucci, run through all Botticelli's mythological paintings. [33][34] One scholar suggested in 2011 that the central figure is not Venus at all, but Persephone. [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.