- Introduction
The Italian Renaissance was, without a doubt, one of the formative periods in history for western society. The art that was created during this time period varied from region to region; the Italians were not unified under one country in the same way they are today during this time period. The Italian Renaissance itself did not even begin in Rome, which is where art in Italy was often centered; instead, the Italian Renaissance began in Tuscany in central Italy and spread northward (Hartt). Despite the lack of a central, guiding power in the Italian Renaissance, there are a number of stylistic themes the paintings of this era share. Botticelli’s La Primavera and della Francesca’s Flagellation of Christ may be extremely different paintings, but they share thematic, cultural, and stylistic similarities that define both pieces as important to the development of the Italian Renaissance.
- History and Background Information
The Italian Renaissance was the earliest iteration of the Renaissance in Europe; as a result, Italian Renaissance art, especially early Italian Renaissance art, shares a number of stylistic and thematic similarities with Byzantine art (Hartt). The Italian Renaissance began in Tuscany, Italy and quickly spread to the rest of the country, causing a spike in the production of literature and other arts, as well as a renewed interest in science and the scientific process as a whole (Hartt). The changes that occurred during the Italian Renaissance were very significant, but most of the changes were concentrated in the upper echelons of society; the average person rarely benefited from the changes that were occurring during the Italian Renaissance era (Hartt). For the artist, there was a reversion back to previous techniques and styles, particularly focusing on the rebirth of Hellenistic Greek art (Hartt).
- La Primavera and Botticelli
La Primavera is a painting done by the great Renaissance artist Botticelli (Hartt). It was commissioned by one of the members of the Medici family, the famous art patrons of Florence, Italy (Hartt). The painting was completed in approximately 1482, and was painted using tempera paint on a panel. It was painted and placed in the Villa Castello, where it was kept for many years (Hartt). Even during Botticelli’s day, the painting was recognized as one that deserved a treasured place (Hartt).
The painting itself is an allegory; its name is sometimes translated as An Allegory of Spring. It shows two male figures and six female figures in the main foreground of the piece, while one putti or cherub flies overhead (Michalski). Although meanings and interpretations are divided for the painting, it is readily accepted that La Primavera that contains a themes of naturalism and fertility (Michalski). These pagan themes-- often mixed with Christian themes-- would become popular in the art of the Italian Renaissance over time, particularly later in the 15th and 16th centuries (Michalski).
- Flagellation of Christ and della Francesca
Piero della Francesca began painting approximately a generation before Botticelli, and therefore had a different experience in the Italian Renaissance than the master Botticelli did. della Francesca was a painter during the Early Italian Renaissance, and focused his pursuits not only on art, but also on science and mathematics. The Flagellation of Christ is a piece that was completed by della Francesca in the time between 1455 and 1460. The piece contains humanistic themes and a keen sense of the geometry that della Francesca utilized so much in his life (Gombrich). Like La Primavera, this painting is done with tempera and oil on panel (Gombrich).
- Stylistic Analysis
When considering the stylistic similarities and differences between La Primavera and Flagellation of Christ, it is important to remember that della Francesca was a painter of the early Italian Renaissance, and many of his stylistic elements differ from those in Botticelli’s masterpiece as a result. Flagellation of Christ depicts the Romans whipping Christ during the Passion of the Christ; this appears on the left-hand side of the painting (Gombrich). On the right-hand side of the painting are three figures who seem entirely unconcerned with the whipping in the background (Gombrich). The striking thing about this painting is the geometric design and forced perspective in the depiction of the courtyard and the figures in the foreground; there are still elements of the strict Byzantine stance in the figures. They lack the dynamism that would come into vogue later in the Renaissance (Gombrich). Although there is realism in the piece, the focus seems to be on the perspectives that exist in the hall because of the tile and the angular nature of the architecture (Gombrich).
Where della Francesca still has some of the static poses of the Byzantine era in his work, Botticelli seems to thrive on the movement of the figures in his paintings. The figures in the painting are in dynamic movement, with their limbs seemingly caught mid-expression (Hartt). The fabric is so sheer it is almost ephemeral, unlike the rich robes that are worn in the della Francesca painting Flagellation of Christ. The focus, for Botticelli, seems to be on the figures; they tell the story of the painting, and the artist has drawn them from all different angles (Hartt). The background seems almost flat; where della Francesca put careful detail into the perspective of the background, Botticelli has placed all his players in the same plane, as though they are merely characters on a stage (Hartt).
Botticelli shows many more elements of Hellenistic Greek art than della Francesca, but it is easy to see the stylistic beginnings of Botticelli’s work in della Francesca’s work. Although the thematic ideas are different, both paintings are used to tell a story-- to relay an allegory-- to the viewer (Gombrich). These stories may have been different, but the artists’ interactions with the viewer are very similar; they both draw the viewer in with a story he or she should recognize, and perplex them with mystery.
- Cultural Analysis
Both Botticelli and della Francesca belonged to a similar culture; they were artists who were alive during each others’ lifetimes. They both lived in Florence, Italy, and must have crossed paths; they were not, to say the least, unknown to each other. Despite these facts, it is easy to track the cultural development of the Italian Renaissance through the work of these two artists even in just a few years.
Flagellation of Christ contains three mysterious individuals in the foreground of the piece, ignoring the flagellation that is occurring behind them. Different experts have developed their own theories as to who these individuals are; some claim that these individuals are important political individuals and the painting is a political statement, while others claim they are merely a part of the contemporary reality of the piece itself (Gombrich). The existence of mysterious and ambiguous characters is not limited to della Francesca, however; the central figure of La Primavera is also the subject of many similar discussions (Hartt). Some suggest that she is Venus; some suggest that she is not only Venus, the goddess of love, but also a real-life member of one of the leading families in Florence (Hartt).
- Discussion and Conclusions
There are thematic differences between La Primavera and Flagellation of Christ. Where the former addresses more naturalistic themes, the latter is much more humanistic; the focus in the latter are the people, whereas the actions are the focus for the former. Botticelli wholeheartedly embraced the naturalistic history and tradition that the Hellenistic Greeks had so readily adopted, delving into allegorical paintings with the realistic and humanistic touch that greats like della Francesca had established. Although della Francesca was still bound to utilize Christian iconography to examine the human side of life, by the time Botticelli was painting La Primavera, the Italian Renaissance had witnessed a rebirth of many of the old themes and stories from Hellenistic Greece.
There is a type of curiousity present in both La Primavera and Flagellation of Christ. The artists appear to be interested in the emotions of their subjects-- this was a new and somewhat different tradition, as the Byzantine era had moved quickly and firmly away from the type of melodrama found in Hellenistic Greek art. Both Botticelli and della Francesca seemed to want to explore those human spaces, however, and investigate the new realism and idealism in painting that were being born.
References
Adams, Laurie. Italian Renaissance Art. Boulder, Colo.: Westview Press, 2001. Print.
Gombrich, E. H. 'Botticelli's Mythologies: A Study In The Neoplatonic Symbolism Of His Circle'.Journal of the Warburg and Courtauld Institutes 8 (1945): 7. Web.
Gombrich, E. H. 'The Repentance Of Judas In Piero Della Francesca's 'Flagellation Of Christ''. Journal of the Warburg and Courtauld Institutes 22.1/2 (1959): 172. Web.
Hartt, Frederick. History Of Italian Renaissance Art. New York: H.N. Abrams, 1969. Print.
Michalski, Sergiusz. 'Venus As Semiramis: A New Interpretation Of The Central Figure Of Botticelli's "Primavera"'. Artibus et Historiae 24.48 (2003): 213. Web.
Warwick, James F., and Frederick Hartt. 'History Of Italian Renaissance Art'. Art Education 23.4 (1970): 36. Web.
