:Let's discover art: The Birth of Venus (detail) Picture

Let's do some history of art ^_^ (of course this is not the original one, but I was sure that you would have look at this lika that more then seeing the true one)

The Birth of Venus (in Italian: Nascita di Venere) is a 1486 painting by Sandro Botticelli. It depicts the goddess Venus, having emerged from the sea as a fully grown woman, arriving at the sea-shore (which is related to the Venus Anadyomene motif). The painting is held in the Uffizi Gallery in Florence.
The iconography of Birth of Venus is very similar to a description of the event (or rather, a description of a sculpture of the event) in a poem by Angelo Poliziano, the Stanze per la giostra.[1] No single text provides the precise content of the painting, however, which has led scholars to propose many sources and interpretations.[2] Art historians who specialize in the Italian Renaissance have found a Neoplatonic interpretation, which was most clearly articulated by Ernst Gombrich, to be the most enduring way to understand the painting.

For Plato – and so for the members of the Florentine Platonic Academy – Venus had two aspects: she was an earthly goddess who aroused humans to physical love or she was a heavenly goddess who inspired intellectual love in them. Plato further argued that contemplation of physical beauty allowed the mind to better understand spiritual beauty. So, looking at Venus, the most beautiful of goddesses, might at first raise a physical response in viewers which then lifted their minds towards the Creator.[3] A Neoplatonic reading of Botticelli's Birth of Venus suggests that 15th-century viewers would have looked at the painting and felt their minds lifted to the realm of divine love.

More recently, questions have arisen about Neoplatonism as the dominant intellectual system of late 15th-century Florence,[4] and scholars have indicated that there might be other ways to interpret Botticelli's mythological paintings. In particular, both Primavera and Birth of Venus have been seen as wedding paintings that suggest appropriate behaviors for brides and grooms.[5]

Yet another interpretation of the Birth of Venus (whose title derives from Vasari but whose action perhaps better represents the Arrival of Venus) is provided here by its author, Charles R. Mack. This interpretation has not been adopted by Renaissance art historians in general,[6] and it remains problematic, since it depends on the painting being commissioned by the Medici, yet the work is not documented in Medici hands before 1550. Mack sees the painting as an allegory extolling the virtues of Lorenzo de' Medici.[7]
Botticelli's art was never fully committed to naturalism; in comparison to his contemporary Domenico Ghirlandaio, Botticelli seldom gave weight and volume to his figures and rarely used a deep perspectival space. In the Birth of Venus, Venus' body is anatomically improbable, with elongated neck and torso. Her pose is impossible: although she stands in a classical contrapposto stance, her weight is shifted too far over the left leg for the pose to be held. Moreover, her positioning on the edge of the shell (which cannot be identified as real), would certainly cause it to tip over. The bodies and poses of the winds to the left are even harder to figure out. The background is summary, and the figures cast no shadows. It is clear that this is a fantasy image.

Venus is an Italian Renaissance ideal: blonde, pale-skinned, voluptuous. Botticelli has picked out highlights in her hair with gold leaf and has emphasized the femininity of her body (long neck, curviness). The brilliant light and soothing colors, the luxurious garden, the gorgeous draperies of the nymph, and the roses floating around the beautiful nude all suggest that the painting is meant to bring pleasure to the viewer.

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