Primavera

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Primavera Analysis Beatriz Picaz Section D4 Charles Stapleton February 29th 2012

Botticelli’s Primavera is an interesting piece of art. Like many works of art from the Renaissance, it has many scholars still arguing about what the painter was thinking when he painted this, in order to give some meaning to the figures and objects of the painting. The excerpts that were given to us helped to explain the painting from the perspective of two different scholars, who used various sources to help decipher the painting. Both were very interesting interpretations, however I found Zollner’s argument, as opposed to Zirpolo’s, to be more convincing based on his attention to every character in the painting. In the first excerpt, taken from Frank Zollner’s Botticelli: Images of Love and Spring, he takes each character from the Primavera and gives them a background and a story, based on sources from different text fragments. According to Zollner, the figure on the very left is Mercury, the messenger of the gods who divides clouds and drives away wind with his wand, which is discussed in Virgi’s Aenid He characterizes the little flying boy as Amor (Eros in Greek mythology), the son of Mars and Venus. Venus, the goddess of love and beauty is the woman at the very center of the painting. She is accompanied by the Three Graces. He explains how these characters are often found together in other literary works, like in one of Horace’s popular verses. Moving to the right side of the painting, the woman decorated with flowers is characterized as Flora, with her pre-transformation form of Chloris clinging to her side. He assumes this, from the work of Ovid’s Fasti. Finally, the green figure at the far right is Zephyrus, the god of the west wind, which, according to Zollner, can be identified by the puffed out…...

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