Sandro Botticelli (1484-86). Birth of Venus [tempera and gold on canvas]. Galleria degli Uffizi, Florence.

Along with the Bible and Gospels, classical mythology is a subject where my knowledge is not satisfactory. What I see is the moment of Venus’ birth, full-grown, as beautiful and precious as the pearl of a colossal clam. She is aware of her nakedness, about to be clothed by the attendant to her left, a nymph (ie, not mortal) I’m guessing. References to the sumptuous energy of youth, sexuality and nature are not subtle. Formally, tiny petal, leaf and wave forms create a unified and flowing pattern across the canvas. This is intermingled with meandering, spiraling lines of direction created by flesh edges, hair and billowing drapery. |

I would place this work on the tipping-point between naturalism and realism. A gentle, fragrant wind energizes the canvas; overall the composition is peaceful. Clearly Botticelli is telling a story through a captured moment based on a classical theme.

As with a majority of two-dimensional art, value does most of the work. Masses and figures seem to be drawn on, value-developed and the formatted with color after the value foundation had been laid. Shape is next in creating this works body; their free-flowing, fluid character make it easy to visualize a roman arch framing Venus’ form. The frame shape and orientation emphasize the repeating curves that organize the canvas.

Depth is in a condition of tension. Modelling is present (there are two light sources) but does not seem to contrast enough to be truly “plastic”. Fore- and background relationships are well-established but, taken individually, appear flattend and somewhat cartoonish. In the end, non-decorative space does apply. The illusionistic application of light creates a warm foreground that is uplifted from a dense, cool background.

The picture plane is horizontally organized into thirds. Each section is dominated by a single figurative block that create a closed global composition in how the terminal thirds direct attention to the central. The contrived modesty of Venus’ form is the clear center of interest. Feminine, natural shapes dominate. Equivalence in color temperature is present, but they tend to divide evenly in their placement on the foreground (warm, light) and background (cool, dense).

I do not believe Botticelli was layering Christian religious references with classical, in spite of Venus’ Eve-like qualities. A clear strength of this work is the peaceful energy that winds across the canvas through implied lines of force, pattern, fluid shape edges and emotional content. Formal organization is remarkable too in how it presents the story and requires little effort on the part of the observer to absorb the undeniable theme of beauty Botticelli has created.