Primavera, c.1482 Sandro Botticelli (1445-1510)

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We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Sandro Botticelli also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 15-17 weeks to complete the process.

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We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
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Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Primavera is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

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The Primavera is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is housed in Uffizi Gallery of Florence.

In 1551, Vasari wrote that picture which according to him announced the arrival of spring (Primavera in Italian) was in the Medici villa in Castello, near villa de Petraia. In 1477, the estate was acquired by Lorenzo di Pierfrancesco de' Medici, who was a second cousin of Lorenzo the Magnificent. This is why it was long assumed that the Primavera, as the painting continues to be called, was painted for the fourteen-year-old Lorenzo di Pierfrancesco when the villa was bought. An inventory dating from 1499, which was not discovered until 1975, lists the property of Lorenzo di Pierfrancesco and his brother Giovanni and states that in the 15th century the Primavera had been displayed in Florence's city palace. The painting decorated an anteroom attached to Lorenzo di Pierfrancesco's chambers.

Such large-format paintings were not unusual in the private residences of affluent families. The Primavera is, however, significantly illustrative of Renaissance classicistic iconography and form, depicting classical gods almost naked and life-size and a complex philosophical symbolism requiring deep knowledge of Renaissance literature and syncretism to interpret. While some of the figures were inspired by ancient sculptures, these were not direct copies but translated into Botticelli's own, idiosyncratic formal language: slender, highly-idealized figures whose bodies at times seem slightly too attenuated and presage the elegant, courtly style of 16th-century Mannerism.

Venus is standing in the centre of the picture, set slightly back from the other figures. Above her, Cupid is aiming one of his arrows of love at the Charites (Three Graces), who are elegantly dancing a rondel. The Grace on the right side has the face of Caterina Sforza, also painted by Botticelli in a famous portrait in the Lindenau Museum as Catherine of Alexandria. The garden of Venus, the goddess of love, is guarded on the left by Mercury, who stretches out his hand to touch the clouds. Mercury, who is lightly clad in a red cloak covered with flames, is wearing a helmet and carrying a sword, clearly characterizing him as the guardian of the garden. The messenger of the gods is also identified by means of his winged shoes and the caduceus staff which he used to drive two snakes apart and make peace; Botticelli has depicted the snakes as winged dragons. From the right, Zephyrus, the god of the winds, is forcefully pushing his way in, in pursuit of the nymph Chloris. Next to her walks Flora, the goddess of spring, who is scattering flowers.

Various interpretations of the scene exist. For instance, the Primavera was also read as a political image: Love (Amor) would be Rome ("Roma" in Italian); the three Graces Pisa, Naples and Genoa; Mercury Milan; Flora Florence; May Mantua; Cloris and Zephyr Venice and Bolzano (or Arezzo and Forli).

Leaving aside the suppositions there remains the profoundly humanistic nature of the painting, a reflection of contemporary cultural influences and an expression of many contemporary texts.

One source for this scene is Ovid's Fasti, a poetic calendar describing Roman festivals. For the month of May, Flora tells how she was once the nymph Chloris, and breathes out flowers as she does so. Aroused to a fiery passion by her beauty, Zephyr, the god of the wind, follows her and forcefully takes her as his wife. Regretting his violence, he transforms her into Flora, his gift gives her a beautiful garden in which eternal spring reigns. Botticelli is depicting two separate moments in Ovid's narrative, the erotic pursuit of Chloris by Zephyr and her subsequent transformation into Flora. This is why the clothes of the two women, who also do not appear to notice each other, are being blown in different directions. Flora is standing next to Venus and scattering roses, the flowers of the goddess of love. In his philosophical didactic poem De Rerum Natura the classical writer Lucretius celebrated both goddesses in a single spring scene. As the passage also contains other figures in Botticelli's group, it is probably one of the main sources for the painting: "Spring-time and Venus come, And Venus' boy, the winged harbinger, steps on before and hard on Zephyr's foot-prints Mother Flora, Sprinkling the ways before them, filleth all With colours and with odours excellent."