Art historians have suggested that one of the plausible interpretations of Botticelli's painting Primavera is that it is a visual representation of Lorenzo de Medici's personal motto -'the times reborn'. This particular interpretation stemmed from the current political climate in Florence where the Medici were the most powerful 'citizens' and keen to demonstrate their status as beneficial to the city. In other words, Florence will prosper as long as the Medici remain in in power.
Artistic Inspiration of the Medici Court as the Centre of Humanism and Scholarship
Another strand of this interpretation leads to the intellectual circle of humanist scholars and artists fostered at the Medici court and The University of Florence re-established by Lorenzo de Medici.
Botticelli, as one of the artists supported by the Medici, was in contact with the new ideas of contemporary scholarship. The series of paintings he produced at the Medici court was inspired by the classical texts, the rediscovered source of ancient learning that nourished Renaissance culture.
Relationship Between Patron and Artist
Being in Florence at this time provided Botticelli with new creative opportunities but at the same time, these new ideas were adapted to serve the glorification of his patrons: the figure of Pallas in the Pallas and Centaur wears a dress embellished with the pattern of three intertwined rings - one of the Medici emblems. The symbolism of peace and wisdom in this paintig, and of spring and rebirth in Primavera would have been flattering and desirable for the Medici in their campaign to assert their status.
Why Arts Flourished in Florence
In the 15th century Florence, the visual arts were closely tied up with the political system where many of the city officials would have also held a guild membership, and with the fact that Florence was a wealthy centre of the European trade and banking. Florence became therefore a city where the arts could flourish. Its financial prosperity and guild system integrated into the civic administration meant prestigious commissions and constant government patronage.
Arts as the Medici Propaganda
The Medici as the wealthiest and most influential family in Florence systematically built their power in the city and used the arts to enhance their political and financial hegemony. However, their efforts had to remain within the confines of the rules of the democratic city republic governed by citizens and also had to retain respectful attitude to the authority of the Church.
The iconographic programme executed by Fra Angelico at the Florentine church and convent of San Marco, was devised in order to conform to the requirements of the patrons, the Medici clan but at the same time Fra Angelico's appropriation of the New Testament scenes for the Medici family served as a justification for the Medici wealth as they also acted as benefactors of the city. The scheme had its subtle ways of acting as a statement of their status and power.
Portrayal of the Medici as Pious Rulers
In some of the scenes, The Adoration of the Magi and Christ Entombed the Medici adopted for themselves the image of the Magi. It has been suggested that one of the figures in the fresco is an actual likeness of Cosimo de Medici, thereby having himself portrayed as a pious patron.
The art production in Florence was an interplay of politics, religion and civic identity.
The Medici and their associations with arts exemplifies how both works of art and artists were informed by the character of the locality itself. The Medici's relationship with the visual arts shows how this resulted in the final appearance of a work of art.
Source:
- Carol M. Richardson, Locating Renaissance Art, Yale University Press, 2007
Zuzana Minarikova - I live in London and work in publishing in Bloomsbury which is an exciting part of London, full of museums, galleries, bookshops and ...
