And one more feature appears in the last drawings of a series: Beatrice, this embodiment of beauty, is ugly and Dante is nearly two heads higher! There is no doubt that this large-scale distinction of Botticelli sought to transfer the big importance of an image of Beatrice and, maybe, that feeling of her superiority and own pettiness which felt at her presence of Dante. The problem of a ratio of beauty physical and spiritual constantly rose before Botticelli, and he tried to solve it, having given to pagan fine body of the Venus thoughtful Madonna's face. Beatrice's face is not beautiful, but at her amazingly beautiful, big and tremblingly spiritualized hands and any special gusty grace of movements. Who knows, maybe, to this revaluation of categories of physical and spiritual beauty played a role of the sermon of Savonarola hating any corporal beauty as an embodiment pagan, sinful.
I chose a subject about Sandro Oticelli because it is the most interesting to me the personality, its value in art is huge and in the paper I will tell you about the great genius Bomuchellu and his contribution to the world art
Extraordinary sharply for the time Botticelli felt irreconcilable contradictions of life — a contradiction social and contradictions of the own creative person — and it left a bright mark on its works.) Uneasy, emotionally distinguished and subjective, but at the same time infinitely human, Botticelli's art was one of the most peculiar manifestations of the Renaissance humanity. The rationalistic inner world of people of the Renaissance of Botticelli updated and enriched the poetic images.
"Spring" of Botticelli — one of the first in the European painting works of purely secular contents, a picture in which the humanistic culture of the Renaissance with her hobby for antiquity for the first time found such direct, though very peculiar reflection.