La Primavera was created for the cousin of Lorenzo the Magnificent, Lorenzo di Pierfrancesco de’ Medici. It could be seen as some sort token of appreciate for being forced into marriage. The original date of this painting is uncertain but has been narrowed down to between 1477 and 1482. It is documented that this painting was hung in the bedroom of the bride Semiramide Appiani. By understand the background of this painting it opens the door for ample interpretation which is pretty beautiful. Almost every figure in the painting represents those who were involved in orchestrating the marriage between Semiramide and Lorenzo. Mercury, son of Jupiter and the nymph Maia, is depicted banishing the winds of winter for the arrival of spring. Lorenzo
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Flora, goddess of flowers and blossoms, springtime and fertility, also becomes Zephyr’s wife strikingly similar to Semiramide who was forced into marriage. The transformation of Chloris to Flora by Zephyr represents the forced marriage between Lorenzo and Semiramide. The reason for their marriage was strictly to increase political power of the Medici. Botticelli uses many symbols and visual language to communicate to the viewer. For instance, the blossoming flowers and ripe oranges represent a hope for fertility of the bride. The roses being spread by Flora are an indication of the offspring she is expected to bear. An important message of this painting was to show that procreation was the purpose of sex and marriage. The orange tree is actually represents a major aspect of the Medici family. The oranges, Mala Medica or Palla Medicee, were accepted as a symbol of the Medici family. This was because of an orange grove that the Medici believed was a sign of their family’s fate. Botticelli uses juxtaposition with Flora and the orange tree to show the importance of fertility and the fate of the Medici …show more content…
His radical beliefs swept through Florence and affected many people. He advocated for a reformation of the Church and blamed the Pope, Alexander Borgia, for misery in Florence at the time. Making a strong claim that apocalyptic times were approaching, he gained both followers and critics. As his word spread and he gained more supporters they took on the name piagnoni or weepers. They were labeled weepers because of how they cried aloud for repentance of their sins. The Weepers believed Savonarola as a prophet because of the far-fetched predictions he made that came true. Using aggressive petrifying sermons Savonarola effectively criticized and terrified the majority of Florence. He delivered compelling apocalyptic messages in hugely popular sermons both at San Marco and Santa Reparata. One of his major critics was of the work of Botticelli specifically the Three Graces. The lustfully dressed women were considered more indecent than completely nude figures. Savonarola warned that Florence will have to pay for its promiscuous art and other moral discrepancies. Savonarola saw himself as the “useless” servant of Christ to emphasize that he had no special powers. He emphasized that only God has knowledge of the future and it was described to Savonarola personally. The Bonfire of Vanities were one of the best demonstrations of Savonarola’s preaching. He believed that the people of Florence were too
Flora, goddess of flowers and blossoms, springtime and fertility, also becomes Zephyr’s wife strikingly similar to Semiramide who was forced into marriage. The transformation of Chloris to Flora by Zephyr represents the forced marriage between Lorenzo and Semiramide. The reason for their marriage was strictly to increase political power of the Medici. Botticelli uses many symbols and visual language to communicate to the viewer. For instance, the blossoming flowers and ripe oranges represent a hope for fertility of the bride. The roses being spread by Flora are an indication of the offspring she is expected to bear. An important message of this painting was to show that procreation was the purpose of sex and marriage. The orange tree is actually represents a major aspect of the Medici family. The oranges, Mala Medica or Palla Medicee, were accepted as a symbol of the Medici family. This was because of an orange grove that the Medici believed was a sign of their family’s fate. Botticelli uses juxtaposition with Flora and the orange tree to show the importance of fertility and the fate of the Medici …show more content…
His radical beliefs swept through Florence and affected many people. He advocated for a reformation of the Church and blamed the Pope, Alexander Borgia, for misery in Florence at the time. Making a strong claim that apocalyptic times were approaching, he gained both followers and critics. As his word spread and he gained more supporters they took on the name piagnoni or weepers. They were labeled weepers because of how they cried aloud for repentance of their sins. The Weepers believed Savonarola as a prophet because of the far-fetched predictions he made that came true. Using aggressive petrifying sermons Savonarola effectively criticized and terrified the majority of Florence. He delivered compelling apocalyptic messages in hugely popular sermons both at San Marco and Santa Reparata. One of his major critics was of the work of Botticelli specifically the Three Graces. The lustfully dressed women were considered more indecent than completely nude figures. Savonarola warned that Florence will have to pay for its promiscuous art and other moral discrepancies. Savonarola saw himself as the “useless” servant of Christ to emphasize that he had no special powers. He emphasized that only God has knowledge of the future and it was described to Savonarola personally. The Bonfire of Vanities were one of the best demonstrations of Savonarola’s preaching. He believed that the people of Florence were too