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043			_ae-it---
050	0	0	_aNX552.A1 _bD46 1992
082	0	4	_a709.4509024
100	1		_aDempsey, Charles, _eauthor. _91043863
245	1	4	_aThe portrayal of love : _bBotticelli's Primavera and humanist culture at the time of Lorenzo the Magnificent / _cby Charles Dempsey.
264		1	_aPrinceton, N.J. : _bPrinceton University Press, _c[1992]
264		4	_c©1992
300			_axiv, 173 pages : _billustrations (some colour) ; _c26 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references and index.
505	0		_aPoetry as painting : the classical Materia of Botticelli's invention for the Primavera -- Poetry as public myth : the Priomavera and vernacular expression -- Poetry as history : Lucrezia Donati, Luigi Pulci's Da poi 'l Lauro, and some poems by Lorenzo de'Medici -- Poetry as historical fiction : Lorenzo de'Medici, Simonetta Cattaneo, and Lucrezia Donati -- Reading the poem -- --
505	0	0	_tList of Illustrations -- _tAcknowledgments -- _tIntroduction -- _g1. _tPoetry as Painting: The Classical Materia of Botticelli's Invention for the Primavera -- _g2. _tPoetry as Public Myth: The Primavera and Vernacular Expression -- _g3. _tPoetry as History: Lucrezia Donati, Luigi Pulci's Da poi che 'l Lauro, and Some Poems by Lorenzo de'Medici -- _g4. _tPoetry as Historical Fiction: Lorenzo de'Medici, Simonetta Cattaneo, and Lucrezia Donati -- _g5. _tReading the Poem -- _tIndex.
520			_aWidely acknowledged as a prime manifestation of Florentine humanist culture under Lorenzo de' Medici, Botticelli's Primavera cannot be fully interpreted without considering the poetics that expressed the Laurentian cultural program and, in turn, the Renaissance itself. In this analysis Charles Dempsey examines the poetry written by Lorenzo and his literary clients in order to give definition to the cultural context in which the Primavera was created. A celebration of Love, the painting is shown to incorporate both public and private imaginative realms while embracing the ideal and the actual experiences of the present. The Primavera, depicting Venus as the spirit of Love and springtime, is simultaneously old-fashioned and modern, rooted in International-Style vernacular conventions and evincing a nascent classical vocabulary. After describing the profoundly humanist classical foundation to the invention of the Primavera, Dempsey identifies its genre with rustic song, then relates the painting to the conventions of vernacular love poetry. A close reading of the painting in relation to works by Lorenzo, Politian, Pulci, and other poets working to elevate vernacular expression by infusing native Tuscan with Latin forms suggests how the idea of Love portrayed by Botticelli in the figure of Venus incorporates not only the ancient springtime renovatio mundi but also the actual cultural renovation - the Renaissance - imagined and sponsored by Lorenzo the Magnificent.
588			_aMachine converted from AACR2 source record.
600	1	0	_aBotticelli, Sandro, _d1444 or 1445-1510. _tSpring. _9975204
600	1	0	_aBotticelli, Sandro, _d1444 or 1445-1510 _9311634
650		0	_aArts, Italian _9314165
650		0	_aArts, Renaissance _zItaly _9622364
650		0	_aLove in art _9372536
650		0	_aUt pictura poesis (Aesthetics) _9325449
907			_a.b10723171 _b23-03-18 _c27-10-15
942			_cB
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