Sandro Botticellis art infra the patronage of the Medici provides a rich example of a carrier bag in philosophical thought in mid- to late-15th century metempsychosis Florence. Through their rich bothegorical subject matter and conventionalized composition, his paintings reflect the Neoplatonists attempts to reconcile classical and Christian ideals. In the two paintings considered here, the Birth of Venus (1482) (fig. 1) and the Primavera (1482?) (fig. 2), Botticellis treatment of the women who are the rally figures, is especially indicative of this concern. This paper impart describe these paintings with a view to establishing their relationship to Neoplatonist thought. Art was seen as a two-dimensional where one could bring together philosophical and religious thought, by incorporating elements of both in one space. As well, it will strain on Botticellis use of the Venus figure in both paintings in comparison to previous depictions of women. More precisely, it will situate Botticellis paintings in their cultural context, and discuss what his choices may suggest about the patrons who licenced his work.
The shift back to classicism in art during the late 15th century was an exploit to incorporate mysticism and religious subjects into one, […] a point where all themes merges, […] the line into which all lines merge. This Neoplatonist mindset would allow for both infidel and religious imagery to coexist. The resurgence of Neoplatonism during the renaissance was spearheaded by Cosimo de Medici, who founded the Florentine academy in 1462. The Medicis played a big component in the adoption of Neoplatonist thought at the time by commissioning art that referred to this new ideology. This idea will be examined throughout the paper by providing examples of the use of art to sire Neoplatonist thought specifically in Botticellis works commissioned by the Medicis.
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