arranged forBirth of Venus(1.). Botticellis Greek goddess influenced revival of the Nude in Italian art among patrons desirous of enjoying her attributes. Sanction ofVenusiconographies was achieved by assuring the Church that the goddess of love and her ethereal beauty engendered veneration equal to religious passion(2.).
1.Birth of Venusc.1488, Botticellis second non-secular metaphoric theme was based on Greek mythology and classic Greek concept:the nobility of man.The monumental success ofBirth of Venuslaunched 400 years ofVenuscompetition in European art. 2.Dominique IngresThe Source(1840-45), most th beautifulVenusof the 19century, is a descendent of BotticellisVenus. The last of the tradition,The Sourcewas eclipsed by Eduard ManetsOlympiain1863 when his model was recognized as theNude Olympia.The painting provoked outrage and condemnation from critics for challenging the sanctity of allegorical nudity in an amoral work. Although the dispute seems irrelevant in the modern world, ManetsOlympiaended theVenuscompetition. BotticellisPrimaveraandBirth of Venus motivatedinterest in the iconographic potential of mythological subjects as an intellectual diversion. The concept incited a rush of commissions by patrons eager to exploit the classics for non-secularinvenzione(1.).dEste, patroness wife Isabella of the Duke of Mantua(2.), was among the first to personalize her collection with an allegorical depiction of the struggle between the humanist virtues of poetry and art versus the evils of avarice and vice. Unwilling to compromise her interpretation of classic sources, Isabella aborted a contract with Perugino and commissioned two works by Correggio(1489-1534),The Allegory of Virtue(3.) andTheAllegory of Vice(4.)for herstudiolo.
1.invenzione:Italian for iconography. 2.Duke of Mantua, Francesco Gonzaga (1466-1519); Isabella dEstesstudiolo(1474-1539).(The Paintings in the Studiolo of Isabella dEste at Mantua, Egon Verheyen,