Style
Botticelli's art was never fully committed to naturalism; in comparison to his contemporary Domenico Ghirlandaio, Botticelli seldom gave weight and volume to his figures and rarely used a deep perspectival space. In the Birth of Venus, Venus' body is anatomically improbable, with elongated neck and torso. Her pose is impossible: although she stands in a classical contrapposto stance, her weight is shifted too far over the left leg for the pose to be held. Moreover, her positioning on the edge of the shell (which cannot be identified as real), would certainly cause it to tip over. The bodies and poses of the winds to the left are even harder to figure out. The background is summary, and the figures cast no shadows. It is clear that this is a fantasy image.
Venus is an Italian Renaissance ideal: blonde, pale-skinned, voluptuous. Botticelli has picked out highlights in her hair with gold leaf and has emphasized the femininity of her body (long neck, curviness). The brilliant light and soothing colors, the luxurious garden, the gorgeous draperies of the nymph, and the roses floating around the beautiful nude all suggest that the painting is meant to bring pleasure to the viewer.
Read more about this topic: The Birth Of Venus (Botticelli)
Famous quotes containing the word style:
“Style is the man himself.
[Le style c’est l’homme même.]”
—Leclerc, George-Louis Buffon, Comte De (1707–1788)
“Hemingway was a prisoner of his style. No one can talk like the characters in Hemingway except the characters in Hemingway. His style in the wildest sense finally killed him.”
—William Burroughs (b. 1914)
“The flattering, if arbitrary, label, First Lady of the Theatre, takes its toll. The demands are great, not only in energy but eventually in dramatic focus. It is difficult, if not impossible, for a star to occupy an inch of space without bursting seams, cramping everyone else’s style and unbalancing a play. No matter how self-effacing a famous player may be, he makes an entrance as a casual neighbor and the audience interest shifts to the house next door.”
—Helen Hayes (1900–1993)