The Story of Lucretia (Botticelli)

The Tragedy (Death, Suicide) of Lucretia
The Botticelli Lucretia
Central scene
Artist	Sandro Botticelli
Year	1496–1504
Type	Tempera and oil on wood
Dimensions	83.8 cm × 176.8 cm (33.0 in × 69.6 in)
Location	Isabella Stewart Gardner Museum, Boston

The Tragedy of Lucretia is a tempera and oil painting on a wood cassone or spalliera panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. Known less formally as the Botticelli Lucretia, it is housed in the Isabella Stewart Gardner Museum of Boston, Massachusetts, having been owned by Isabella Stewart Gardner in her lifetime.

Right-hand scene. While her husband is away, the virtuous Lucretia is raped by Sextus Tarquinius, the king's son. After summoning her husband and others she reveals all and stabs herself. Here she has just done so and is dead.

The picture of Lucretia's tragedy

The picture is a syncretion of scenes from different legendary themes in different time periods that Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is given center foreground. It is the beginning of the revolution that created the Roman republic. The legend is that Lucretia, a noblewoman, was raped by the son of the last king of Rome, Sextus Tarquinius. As a result, Lucius Junius Brutus took an oath to expel the Tarquinii from Rome and never to allow anyone else to reign. In the centre of the picture Lucretia's corpse is on public display as a heroine. Brutus stands over her exhorting the populace to revolt and recruiting a revolutionary army of young men. There is much sword-waving. The dagger with which Lucretia killed herself is in evidence protruding from her breast. The statue at the top of the column behind Brutus in the foreground is David and Goliath's head,^[1] which is not very suitable for vengeance, but does fit the political situation. David and Goliath were a symbol of revolt against tyranny in the Republic of Florence. Lucretia had called for vengeance, but Brutus had called for the ouster of monarchy, and the purpose of the assembly was to implement it.

The legendary funeral oration takes place in the Forum Romanum, but Botticelli makes no effort to represent that well-known place. The setting is a small town, which can be seen trailing into the countryside in the background; some speculate it may have been Collatia, but that place was hardly the scene of a national revolution. None of the buildings are classical Roman and even the triumphal arch in the background commemorating the triumph of the republic is unlike any other. Hilliard T. Goldfarb, author of The Isabella Stewart Gardner Museum: A Companion Guide and History, instead suggests that it is a dramatic stage scene in which the players gesticulate theatrically, and also about Botticelli's intent to convey "a clear political message."^[2] One does not. however, hire one of the greatest artists of the time to adorn the inside of a wedding chest or the back of a chair, even in a mansion, with clear political messages; presumably, the panel was meant for public display of some sort. Botticelli ten years later was to die in obscure and unappreciated poverty; nevertheless, he was recognized even then as a great master.

The scene on the right porch is the death of Lucretia. The frieze over the porch depicts Horatius Cocles, a warrior who defended Rome against the intervention of Lars Porsenna and the ousted last king of Rome, Lucius Tarquinius Superbus. The scene on the left porch is the threatening of Lucretia by Sextus to extort her compliance. He rips away her cloak, offering to plunge his sword into her. The frieze over it depicts Judith and Holofernes, a tyrant decapitated by her after offers of seduction in the Old Testament.

The use of architecture in this picture is parallel to that of Filippino Lippi, a pupil of Sandro's, the son of Sandro's teacher.

References

↑ Berbera, Maria (2002). "Some Renaissance Representations of Marcus Curtius". In Enenkel, K. A. E.; de Jong, Jan L.; Landtsheer, Jeanine; et al. Recreating Ancient History: Episodes from the Greek and Roman Past in the Arts and Literature of the Early Modern Period. Brill. p. 159. ISBN 0-391-04129-0.
↑ Goldfarb, Hilliard T. (1995). The Isabella Stewart Gardner Museum. Boston, New Haven: Isabella Stewart Gardner Museum, Yale University Press. pp. 68–70. ISBN 0-300-06341-5.

External links

Look up spalliere in Wiktionary, the free dictionary.

"The Tragedy of Lucretia, Sandro Botticelli". Isabella Stewart Gardner Museum.
Saltzman, Cynthia (August 12, 2008). "Botticelli Comes Ashore". smithsonian.com. Retrieved 11 August 2009.
Weisgall, Deborah (February 2, 1997). "An Elegant Flower In a Modest Garden". Timespeople. Retrieved 12 August 2009.

Botticelli

Works	Madonna and Child with an Angel Madonna and Child with an Angel Madonna della Loggia The Virgin and Child with Two Angels and the Young St. John the Baptist The Annunciation The Virgin and Child, St. John and an Angel Madonna and Child Adoration of the Magi Portrait of a Young Man Madonna in Glory with Seraphim Madonna of the Sea Madonna of the Rosegarden (Madonna del Roseto) Madonna and Child and Two Angels Portrait of Smeralda Brandini Fortitude Madonna and Child with Six Saints (Sant'Ambrogio Altarpiece) Virgin and Child with an Angel The Return of Judith to Bethulia The Discovery of the Murder of Holofernes Adoration of the Magi Portrait of a Young Woman Adoration of the Magi St. Sebastian Portrait of a Man with a Medal of Cosimo the Elder Portrait of Giuliano de' Medici Madonna and Child Catherine of Alexandria Nativity Portrait of Giuliano de' Medici The Birth of Christ Madonna and Child with Eight Angels St. Augustine Madonna of the Magnificat (Madonna del Magnificat) Madonna of the Book (Madonna del Libro) Portrait of a Young Woman Portrait of a Young Woman Annunciation St. Sixtus II Adoration of the Magi Primavera Pallas and the Centaur Venus and Mars Portrait of a Young Man Portrait of a Young Man The Story of Nastagio degli Onesti Venus and the Three Graces Presenting Gifts to a Young Woman A Young Man Being Introduced to the Seven Liberal Arts The Virgin and Child Enthroned (Bardi Altarpiece) The Birth of Venus Annunciation Madonna Adoring the Child with Five Angels Madonna of the Pomegranate (Madonna della Melagrana) The Virgin and Child with Four Angels and Six Saints (Pala di San Barnaba) Vision of St. Augustine Christ in the Sepulchre Salome with the Head of St. John the Baptist Extraction of St. Ignatius' Heart Cestello Annunciation The Virgin Adoring the Child Lamentation over the Dead Christ Portrait of a Man San Marco Altarpiece St. Augustine in His Cell Madonna and Child and the Young St John the Baptist Portrait of Lorenzo di Ser Piero Lorenzi Virgin and Child with the Infant St. John the Baptist Holy Trinity (Pala delle Convertite) The Virgin and Child with Three Angels (Madonna del Padiglione) Calumny of Apelles Lamentation over the Dead Christ with Saints Last Communion of St. Jerome Portrait of Dante The Story of Virginia The Story of Lucretia Crucifixion Christ Crowned with Thorns Transfiguration, St Jerome, St Augustine Judith Leaving the Tent of Holofernes Agony in the Garden The Mystical Nativity Baptism of St. Zenobius and His Appointment as Bishop Three Miracles of St. Zenobius Three Miracles of St. Zenobius Last Miracle and the Death of St. Zenobius

This article is issued from Wikipedia - version of the Wednesday, April 27, 2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.