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Detail of Flora as the Hour of Spring, from the Primavera (allegory of Spring)

Detail of Flora as the Hour of Spring, from the Primavera (allegory of Spring)


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Detail of Flora as the Hour of Spring, from the Primavera (allegory of Spring)

BEN44377 Detail of Flora as the Hour of Spring, from the Primavera (allegory of Spring), c1477-1482 (tempera on panel) (detail of 558) by Botticelli, Sandro (Alessandro di Mariano di Vanni Filipepi) (1444/5-1510); 203x214 cm; Galleria degli Uffizi, Florence, Tuscany, Italy; Photo eRaffaello Bencini; Italian, out of copyright

Media ID 23709910

© Raffaello Bencini / Bridgeman Images

Botticelli Sandro 1445 1510 Personification Sandro Boticcelli Sandro Boticelli Sandro Botticcelli


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EDITORS COMMENTS
This print captures a mesmerizing detail of Sandro Botticelli's masterpiece, "Flora as the Hour of Spring, from the Primavera (allegory of Spring)". Painted between 1477 and 1482, this tempera on panel artwork is housed in the prestigious Galleria degli Uffizi in Florence, Italy. In this particular section of the painting, we are introduced to Flora, a goddess symbolizing spring and fertility. She stands gracefully amidst a lush backdrop of vibrant flowers. Her ethereal beauty is enhanced by her flowing gown adorned with delicate floral patterns. Botticelli's meticulous attention to detail is evident in every brushstroke. The intricate petals and leaves seem almost tangible, inviting us into a world where nature thrives and blooms. Through his artistry, he personifies the essence of spring itself. As one of the most renowned painters during the Renaissance period, Botticelli's work continues to captivate audiences centuries later. His ability to convey emotion through color and form is truly remarkable. This print allows us to appreciate not only Botticelli's artistic genius but also Raffaello Bencini's skillful photography. It serves as a reminder that great art transcends time and medium - whether it be paint on canvas or an expertly captured image - its power remains undiminished.

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