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Rating: 
Summary: Excellent introductory guide to a Western totem.
Review: Three elements distinguish Barbara Deimling's outstanding introductory study of Botticelli, one of the High Kings of Western culture: 1. Her account of the artist's work, with detailed analyses of Botticelli's densely allegorical paintings (not just in his world-renowned mythological scenes 'Primavera' and 'Birth of Venus', but his more numerous religious works also); the influence on him of literature, from classical poetry to the Bible and theology to Dante (some of the famous sketches for whose 'Divine Comedy' are included here); and the development of his celebrated style, from the sumptouosness of his mid-period, with its graceful, idealised human figures and concern with architectural perspective, to the austere late works, marking a rejection of Renaissance 'realism', and a return to the stylisation and exagerration of the Gothic period, and a new emotional charge, particularly in some harrowing crucifixion and lamentation scenes. 2. The use of Botticelli as a model for the teaching of art history. Deimling is not content to treat Botticelli as a lone genius who transcended his time, and concentrating solely on his pictures' form and content. By placing Botticelli firmly in the historical realities of 15th century Florence (its economic worldliness giving onto religious hysteria and acopalyptic moods near its end), Deimling shows that every one of his paintings bears the imprint, not only of the period's aesthetic innovations, but of the patrons who commissioned him. Aesthetic choices - such as the use of gold-leaf paint - is decided not by inner imperative, but the desire of a patron to show off his wealth and status, or a merchants' guild to advertise their wares. Colours, motifs, even figures in the paintings, represent the important figures of the day, and the symbolism of their professions and families. The surprise is not that Botticelli was a unique genius, but that he managed to create works inspiring spiritual awe in such a mundane, compromised context. 3. The usual high Taschen quality of plates, admirably reproducing Botticelli's colours, especially the glowing reds that streak his work. Many Botticelli paintings are too big and long to be adequately reproduced, but there is an intelligent use of details to give the reader some idea of his art. If I have one complaint, it is the downplaying of Botticelli's humour and eroticism, but what do you want in 96 pages?
Rating:
Summary: Excellent introductory guide to a Western totem.
Review: Three elements distinguish Barbara Deimling's outstanding introductory study of Botticelli, one of the High Kings of Western culture: 1. Her account of the artist's work, with detailed analyses of Botticelli's densely allegorical paintings (not just in his world-renowned mythological scenes 'Primavera' and 'Birth of Venus', but his more numerous religious works also); the influence on him of literature, from classical poetry to the Bible and theology to Dante (some of the famous sketches for whose 'Divine Comedy' are included here); and the development of his celebrated style, from the sumptouosness of his mid-period, with its graceful, idealised human figures and concern with architectural perspective, to the austere late works, marking a rejection of Renaissance 'realism', and a return to the stylisation and exagerration of the Gothic period, and a new emotional charge, particularly in some harrowing crucifixion and lamentation scenes. 2. The use of Botticelli as a model for the teaching of art history. Deimling is not content to treat Botticelli as a lone genius who transcended his time, and concentrating solely on his pictures' form and content. By placing Botticelli firmly in the historical realities of 15th century Florence (its economic worldliness giving onto religious hysteria and acopalyptic moods near its end), Deimling shows that every one of his paintings bears the imprint, not only of the period's aesthetic innovations, but of the patrons who commissioned him. Aesthetic choices - such as the use of gold-leaf paint - is decided not by inner imperative, but the desire of a patron to show off his wealth and status, or a merchants' guild to advertise their wares. Colours, motifs, even figures in the paintings, represent the important figures of the day, and the symbolism of their professions and families. The surprise is not that Botticelli was a unique genius, but that he managed to create works inspiring spiritual awe in such a mundane, compromised context. 3. The usual high Taschen quality of plates, admirably reproducing Botticelli's colours, especially the glowing reds that streak his work. Many Botticelli paintings are too big and long to be adequately reproduced, but there is an intelligent use of details to give the reader some idea of his art. If I have one complaint, it is the downplaying of Botticelli's humour and eroticism, but what do you want in 96 pages?
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