The subject matter of Primavera (1477) by Sandro Botticelli (1445-1510) and the Realm of Flora (1631) by Nicholas Poussin (1593/94-1665) both contain elements from Ovid's Metamorphoses (1053) and Greek and Roman mythology. As Kloss discusses Poussin’s work he remarks: “Moreover, he has, like Botticelli, taken a page or several pages from Ovid's Metamorphoses. You recall that m the nymph Cloris was literally metamorphosing into Flora in Botticelli’s the personification of spring. In this picture by Poussin, Flora dances in the center and all the characters who complete the cast are drawn from Ovid and all will metamorphosis into flowers. Indeed, they all are, before our eyes” (L35, 10:45). Emotionally, both works illustrate figures expressing joyous sentiment upon the arrival of spring, despite the transformation of some into flowers.
…show more content…
Poussin interprets similar subject matter and “has taken the measured, mostly static composition of Botticelli and set it into motion” (L35, 10:38). Poussin’s interpretation of each of the character’s transformations clearly tells their myths symbolically. Poussin’s “story is completely artificial in a sense. It is drawn from these wonderful myths, but put together in a very programmatic way. In lesser hands, it could be one of the dullest paintings ever made. In Poussin's hands, it is utter poetry, cast as a dance, as a ballet” (L35, 14:26). Poussin’s style as described by Kloss “the color is wonderful. People sometimes mistakenly think that Poussin knew little about color because he's called a classicist and he certainly emphasized line; but he was influenced by Titian, and his color when he wishes it to can be extraordinarily poetic, as is his poetic interpretation of mythology and Antiquity” (L35
Poussin interprets similar subject matter and “has taken the measured, mostly static composition of Botticelli and set it into motion” (L35, 10:38). Poussin’s interpretation of each of the character’s transformations clearly tells their myths symbolically. Poussin’s “story is completely artificial in a sense. It is drawn from these wonderful myths, but put together in a very programmatic way. In lesser hands, it could be one of the dullest paintings ever made. In Poussin's hands, it is utter poetry, cast as a dance, as a ballet” (L35, 14:26). Poussin’s style as described by Kloss “the color is wonderful. People sometimes mistakenly think that Poussin knew little about color because he's called a classicist and he certainly emphasized line; but he was influenced by Titian, and his color when he wishes it to can be extraordinarily poetic, as is his poetic interpretation of mythology and Antiquity” (L35