#simonetta vespucci

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Piero di Cosimo

Italian, 1462-1522

Portrait of Simonetta Vespucci, 1490 (detail)

[aschenblumen]

Sandro Botticelli, Ritratto di giovane donna (Simonetta Vespucci). Temple sobre tabla, 82 cm × 54 cm, c. 1480.

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MEDICI: MASTERS OF FLORENCE (2016–2019) 2.02 Standing Alone

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Favorite non-royal woman: Simonetta Vespucci

I've always thought she was an interesting figure within history simply because we know next to nothing about her other than she was beautiful, yet her name is attached to dozens of famous paintings despite the fact that it's unlikely she was used as a model for any of them.

[perioddramapolls]

Period dramas dresses tournament: Orange dresses Round 1- Group C: Isabel de Castilla, El ministerio del tiempo (gifset) vs Simonetta Vespucci, Medici: the magnificent (gifset)

Propaganda for Isabel's dress:

Another pic 🧡🧡🧡

[roselynvictoria]

Simonetta Vespucci by Piero di Cosimo

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[incantevoleacida]

[estudandoarte]

Portrait of Simonetta Vespucci 

Sandro Botticelli, 1480

[arizuume]

A study of one of Botticelli’s paintings 🤔🤔🤔

[domitiaa]

Was Simonetta Vespucci really Botticelli's muse?

I know my answer will shock millions of people, but I absolutely have to disagree.

Unfortunately we have no source that certifies that Simonetta Vespucci was portrayed by Sandro Botticelli. In the fifteenth century each artist had his own repertoire of female and male figures, for this reason Botticelli's women are ALL THE SAME and this tells us that they are absolutely not portraits.

The fact is that it is a rather old idea, largely outdated in critical literature for over a century, but with an origin, it is painful to say, noble. This is the doctoral thesis of one of the greatest art historians: Aby Warburg. Warburg was a true pioneer, almost single-handedly creating an entire new field of study. We owe to him, among other things, the first serious consideration of Neoplatonism for the understanding of the Florentine Renaissance: without Warburg no Panofsky, Gombrich etc. Now, dealing with the topic he obviously studied the literature of the time regarding Simonetta, presented as an ideal of perfect Beauty and embodiment of a Platonic ideal. And this is absolutely true. What he added, and we cannot blame him in an era of pioneering studies (we are in 1892!), was that that ideal Beauty could be found in the works of Botticelli and that therefore Primavera and Venus had to depict Simonetta. Warburg had no source to support it, but it seemed to complement his vision so well that he supported it anyway. Even then it was immediately criticized, because it was not methodologically sustainable, and it was precisely its best followers who excluded it in the studies of the following decades. Among art historians the idea has effectively been abandoned, at least due to lack of evidence, for decades and decades. But it survives by repetition in texts of another nature and above all in popular imagination (with the addition of other completely invented details, such as Botticelli in love wanting to be buried at Simonetta's feet etc.)

To conclude, the historicity of Simonetta's character is undoubted. Although sources about her are scarce, we know that she was celebrated by poets such as Angelo Poliziano and the Medici brothers themselves. But her true face remains a mystery!

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Simonetta Vespucci by Sandro Botticelli, 1475-1480.

[perioddramapolls]

Period dramas dresses tournament: Orange dresses Round 2- Group C: Giulia Farnese, The Borgias (gifset) vs Simonetta Vespucci, Medici: the magnificent (gifset)

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