Botticelli, Birth of Venus

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Botticelli, Birth of Venus발음듣기

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[MUSIC PLAYING] [DR. STEPHEN ZUCKER] We're in the Uffizi, and we're looking at the Birth of Venus, by Botticelli.발음듣기

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This is, of course, one of the most iconic images in the history of Western Art.발음듣기

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[DR. BETH HARRIS] Venus is fabulously beautiful.발음듣기

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How could it be otherwise?발음듣기

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[DR. STEPHEN ZUCKER] So she stands, radically naked, in a Renaissance painting, not in a Christian context here.발음듣기

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[DR. BETH HARRIS] Until, really, this point in the Renaissance, the only time you would see a nude was Eve. But here.발음듣기

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[DR. STEPHEN ZUCKER] This is not Eve.발음듣기

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[DR. BETH HARRIS] No. Botticelli's portrayed the ancient goddess of love, Venus.발음듣기

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And he's portrayed her - actually, based her - on an ancient Roman sculpture of Venus.발음듣기

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[DR. STEPHEN ZUCKER] Which was, actually, a copy of an even earlier ancient Greek sculpture, which is known, sometimes, as the modest Venus.발음듣기

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And which was, actually, in the collection of the Medici.발음듣기

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We think that this painting might have actually been for one of the Medici court, perhaps even for a cousin of Lorenzo de Medici.발음듣기

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So Venus stands in the middle.발음듣기

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She's born of the sea and seems to be being pushed in by the winds, the zephyrs that are personified on the left.발음듣기

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She stands on a seashell, or almost stands on a seashell.발음듣기

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There's so much impossibility in this painting.발음듣기

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And when she gets to the shore, she'll be received by an attendant that's ready to wrap her nude body.발음듣기

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But we're, I think, delighted that she hasn't gotten there yet.발음듣기

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Because the body is just so beautiful.발음듣기

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It's so sensuous.발음듣기

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And it's an impossible kind of pose.발음듣기

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It's not really contrapposto.발음듣기

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You know, there's this extraordinary curve to the body that, I think, suggests that she's got a very flexible, kind of, skeletal structure.발음듣기

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[DR. BETH HARRIS] And even the zephyrs, who are those winds that blow her to shore, are intertwined in impossible ways.발음듣기

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And every figure here floats.발음듣기

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When we look at Renaissance paintings, we generally expect to see real naturalism.발음듣기

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You know, we expect to see features that have weight, with bodies that make sense, existing in a realistic space.발음듣기

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That's what we think of, when we think about the Renaissance.발음듣기

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But that's not what Botticelli gives us.발음듣기

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[DR. STEPHEN ZUCKER] Some art historians have suggested that Botticelli is looking back to ancient Greek painting.발음듣기

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And the only painting, really, that Botticelli would have had available to him, from the classical Greek tradition, would have been vase painting, where figures are often isolated against a ground.발음듣기

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This is really a frieze.발음듣기

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All the figures - and this is very much a Botticelli characteristic - are pushed forward and...발음듣기

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[DR. BETH HARRIS] Kind of occupying a single plane.발음듣기

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[DR. STEPHEN ZUCKER] That's right.발음듣기

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And they're sort of isolated, these three groupings.발음듣기

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And you can almost imagine them as line painting on a vase.발음듣기

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In fact, this painting is really linear.발음듣기

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And because of the patterning, because of the quality of the linear, it sort of defies space.발음듣기

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I mean, yes, we can look into the deep space.발음듣기

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But this is not a Masaccio.발음듣기

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The attempt, here, is to really de-emphasize deep space.발음듣기

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And to, instead, create a sense of pattern, create a sense of beauty.발음듣기

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This is a painting, presumably - and we're just guessing, we don't know - that is really about beauty, perhaps in a Neo-platonic sense, both beauty as physical, as sensual, as erotic, that leads one to its notion of divine beauty.발음듣기

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[DR. BETH HARRIS] Right.발음듣기

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There are two kinds of beauty.발음듣기

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And that, through a contemplation of physical beauty, we can arrive at divine beauty.발음듣기

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[DR. STEPHEN ZUCKER] Botticelli is creating a kind of beauty that is a result of, of course, the narrative.발음듣기

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It's a result of the elegance of the figure, herself.발음듣기

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But also, through the use of pattern, through a kind of purely decorative quality.발음듣기

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We can see that, especially, in the traces of gold that he's placed in her hair, in the trees to the right.발음듣기

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[DR. BETH HARRIS] There's a kind of sensuality here that's irresistible. Right?발음듣기

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The pink flowers fluttering between Venus and the zephyr.발음듣기

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The beautiful lines that create the waves, the lines from her hair, the fluttering drapery.발음듣기

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It's a beautiful world that we want to enter. [MUSIC PLAYING]발음듣기

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