The planet Venus in last night’s sky. Botticelli’s Birth of Venus today at the Uffizi Gallery.
This work of art was like none other of its time. The first Renaissance painting to portray a nude woman in a non-Christian context–only Eve heretofore–The Birth of Venus was controversial from the start. Commissioned by Lorenzo di Medici, likely as a wedding present for a cousin (it would have hung over the marital bed), the painting barely escaped destruction at the hands of a zealous Dominican monk. During Carnivale of 1497, Girolamo Savonarola organized what came to be known as the bonfire of the vanities. He ordered a house to house search of costumes, masks, wigs, cosmetics, musical instruments, and other objects deemed ill-suited for the devout. Also caught up in the banning/burning were precious manuscripts and various works of art. The night before the beginning of Lent that year, the great pile of “vanities” was set afire. Botticelli himself, who had been captivated by Savonarola’s apocalyptic preaching, contributed some of his own work to the blaze.
But Venus survived.
To stand in front of this magnificent painting is to be overwhelmed by qualities that one does not encounter in most paintings in the Uffizi, or in Renaissance art generally, where subjects (and subject matter) are weighty and substantial and realistically rendered. (Notice the impossible postures/positions of Venus and the figures representing the Zephyr winds). The Birth of Venus is charming, graceful, lyrical, ethereal, delicate, and deeply sensuous. It celebrates human desire.
And to my untrained eye, it seems to be, ultimately, about beauty. It invites one to contemplate physical beauty, erotic beauty, not as voyeur, but in recognition of the truth that we are creatures who hunger for beauty, who are made from beauty and for beauty, and who must learn that all desire is a desire for beauty.
THE VENUS OF BOTTICELLI