Botticelli (Eng)

7/29/2019 Botticelli (Eng)

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The dynamic concept of Sandro Botticelli

Paulo Martins Oliveira

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Following and deepening recent developments presented by Flemish painters, who were exploring the

potential of oil painting, several artists of the Italian Renaissance created complex works with multiple

layers of meaning.

One of the main experts in this protean method was Sandro Botticelli (ca.1445-1510), who super-

imposed images using compromise solutions, in order to encipher certain kinds of messages, such as

criticisms about the high clergy.

Besides his larger works (e.g. Primavera, The Birth of Venus, etc.), Botticelli also expressed that concept in

smaller pictures, and a good example can be seen in the Christ Praying in the Garden of Gethsemane(Gra-

nada, Spain).

Here, in a superficial layer, Jesus accepts His tragic destiny, symbolized by the chalice (Lk.22:42-43),

while the apostles are sleeping (from left to right: Peter, John and James).

However, in a second layer of meaning, the same figures assume different interpretations, forming an

underlying narrative.

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Sandro BotticelliChrist Praying in the Garden of Gethsemane


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Thus, on the left, Peter is at the door of the Jewish court, where he denied knowing Christ three

times (Mt.26:69-70).

A variant of this artifice was already materialized by the same Botticelli in The Birth of Christ(Florence),

in which Peter (in the role of Joseph

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) is also at the door of the inquisitorial court, represented by theabnormal saddle.

The saddle in The Birth of Christrepresents an entrance, like the one thatBotticelli depicted in theAnnunciation of San Marino della Scalla(Florence,detail on the right).

Other examples illustrating the guilty Peter (i.e. the papacy), by Botticelli, Signorelli and Bosch.

1 The relatively neutral figure of Joseph was often used to subtly introduce either symbolic self-portraits of painters,or censurable Peters (the papacy).

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Sandro BotticelliChrist Praying in the Garden of Gethsemane(det.)


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Continuing the analysis of the work today in Granada, next to Peter there is a healthy tree, which

symbolizes that Christs martyrdom has not yet really begun.

On the other side, unlike Peter, James the Greater has a positive connotation, and here he expresses the

grief of Mary Magdalene at the base of the cross. This trimmed tree also represents the torture and

the agony that Jesus had suffered in the meantime.

Once again, Sandro Botticelli created a symbolic link with other works, in this case by adapting the

picture usually known as Crucifixion with Penitent Magdalene and Angel(U. Harvard).

At the centre of the painting in Granada, John (Christs favourite apostle) plays the role of the dead

Jesus, while the plant immediately behind represents the Virgin Mary, creating the suggestion of a

Piet.

Behind all these figures, the fence marks the separation between the world of the living and the world

of the dead.

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det. (Granada) det. (U. Harvard)

det. (Granada)Sandro Botticelli

Lamentation over the dead Christ(det.)


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So, on the other side, the resurrected Messiah has already left the tomb and now returns the chalice,

after having fulfilled His duty.

Christs wrists form an Andrews cross (saltire), which became a symbol commonly used by several

artists to express criticisms regarding the Church of Peter (the Holy See).

On the other hand, by presenting Jesus on top of a hill (having nearby Peter, John and James), this

image also evokes the first transfiguration (Mk.9:2), as well as the final one, traditionally associated with

the ascension of Christ to His Father, after the resurrection.

As one can see, by superimposing narratives on the same image, Botticelli conceived a versatile piece of

art, which is a telling example of his dynamic ingenuity.

2012

akenpapers.bravesites.com

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det. (Granada)

Example of an ascension/transfigurationRembrandt

The Ascension of Christ

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