полный анализ картины Сандро Ботитичелли "Венера и Марс". вроди-бы и картина известная, а анализа негде не могу найти.

Загоняйте в переводчик Гугл. мне переводить просто лень)) )

Analysis: Botticelli’s “Venus and Mars”
As we continue our analysis of artworks, we have examined Botticelli’s enigmatic painting known as “Venus and Mars.” Sandro Botticelli, born in 1444 or 1445 with the name Allessandro Filipepi, was an artist in the Italian Renaissance producing paintings from about 1470 until his death in 1510. His knowledge of what is today called “the occult” is apparent throughout his many wonderful works.

Historians have noted that Botticelli’s paintings often reflect his examination of the roles of Western women—in contrast with the roles of men—throughout history and in the society of his day. This included showing females expressing attributes that were masculine, nontraditional, and contradictory to cultural values expressed in the hierarchical structure and behavioral norms of civilized states.

Such works include: “Return of Judith to Bethulia,” which depicts an imagined scene from the non-canonical/apocryphal Book of Judith. Judith, an Israelite, represented the same archetype as Joan of Arc (1412-1431) in France. Judith seduced and beheaded the commander of the Assyrian army in order to save her home town of Bethulia. The painting, which shows Judith holding her sword, proudly portrays the violent potential of females, the capacity for coldly calculating and carrying out bloody murder firsthand. His painting: “Discovery of the Body of Holofernes” helps one visualize not only the triumphant Judith but also the scene of the act. By drawing upon an apocryphal story, it would appear that Botticelli was subtly bringing to light (and perhaps protesting) the fact that the full nature of femininity was suppressed by the omission of such books from the Holy Bible.

In contrast with the readily acceptable idea of male domination, the female aspect of the human impulse/intention to dominate and control is displayed in Botticelli’s “Minerva and the Centaur.” As in the case of Judith, Minerva represents a feminine willingness to commit violence in order to eliminate threats to harmony and assure peace. This peacemaker aspect of the warrior is made clear by the presence of the olive branches. The olive branch was also a symbol associated with Minerva’s Greek counterpart.

PluribusOne™’s contribution to the study of Botticelli’s works is an analysis of his “Venus and Mars” (1483), an analysis that supersedes previous analyses by including the scene as one of those depicting a male-female role reversal, one in which the female, like Judith, has seduced the male for the purpose of “neutralizing” him. The war-like energy of Mars is seen stemming from the woman while the man is overcome with desires for pleasure associated with Venus. She is initiator of the action—he is receiver of the effects of her aggression. He is overcome and stripped of power; she is completely alert and fully garbed. The presence of the plant, Datura stramonium, is not in the painting to imply the use of a hallucinogenic drug for heightening sexual pleasure; it is there as a clue to her intention: to deliver a lethal overdose of this weed in the nightshade family of plants.

Is there any way to corroborate this conclusion?

It is known that the Renaissance period was a time during which the black art of poisoning flourished. The use of poisons by female as well as male members of some of the same wealthy families that commissioned large numbers of artworks is well documented—the Medici family for example. Some say a Medici commissioned this painting. In any case, it would have been a perfect way to hide the secret formula in plain sight. Perhaps it also served as a secret confession—or boast. (See the Image File # 22.)

Значение деталей картины

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