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393:"): "though Mars the War Lord rules war’s savage works, yet often he throws himself into your arms, faint with love’s deathless wound, and there, with arching neck bent back, looks up and sighs, and feeds a lustful eye on you and, pillowed, dangles his life’s breath from your lips. Then, as he falls back on your sacred body, Lady, lean over and let sweet utterance pour from your holy lips—a plea of peace for Rome."
449:. Giuliano di Piero de' Medici's candidacy as a model for Mars is somewhat problematic as he was assassinated in 1478, which is 5 years prior to the earliest date of the painting creation (1483). Simonetta Vespucci has been suggested as the model or inspiration for a great number of Botticelli's beauties, whose features by no means all have a close resemblance to each other.
303:, without disagreeing with that interpretation, thought the newly fashionable Botticelli overrated and "harboured an irrational dislike for the picture", writing that "The face and attitude of that unseductive Venus... opposite her snoring lover, seems to symbolize the indignities which women have to endure from insolent and sottish boys with only youth to recommend them."
663:. The similarities include the two figures reclining, with Mars asleep and Venus awake, and a group of infant attendants who play with Mars' armour, in a setting of bushes opening to a landscape. They contrast in atmosphere and most other aspects, and Piero has included an infant Cupid, a wide landscape and some of the animals that he loved to paint. For
418:, and may cause fainting or drowsiness as its effects wear off. Others question how this plant, normally considered a native only of North America, might have reached Italy by the 1480s, and dismiss the idea. However, in 2017 the National Gallery website endorsed the identification as a "thorn apple".
523:
122 describes how the hero found Venus "seated on the edge of her couch, just then released from the embrace of Mars, who lay on his back in her lap, still feeding his eyes on her face". However, the description, with Mars in Venus' lap, gazing up at her, is a poor fit to the painting. Poliziano was
80:
The painting was probably intended to commemorate a wedding, set into panelling or a piece of furniture to adorn the bedroom of the bride and groom, possibly as part of a set of works. This is suggested by the wide format and the close view of the figures. It is widely seen as representation of an
242:
Ronald
Lightbown describes Mars as "Botticelli's most perfect male nude", though there are not really a large number of these; he was less interested in perfecting the anatomy of his figures than many of his Florentine contemporaries, but seems to have paid special attention to it here. The Venus
107:
dates it to "probably around 1483", while art historians
Leopold and Helen Ettlinger date the painting to "the latter half of the 1480s". All dates depend on analysis of the style, as the painting has not been convincingly tied to a specific date or event, such as a wedding. It likely comes a few
275:
The usual view of scholars is that the painting was commissioned to celebrate a marriage, and is a relatively uncomplicated representation of sensual pleasure, with an added meaning of love conquering or outlasting war. This was a commonplace in
Renaissance thinking, which might be elaborated in
188:
shell in his ear in an effort, so far unsuccessful, to wake him. The clear implication is that the couple have been making love; the male habit of falling asleep after sex was a regular subject for ribald jokes in the context of weddings in
Renaissance Italy. The lance and conch can be read as
361:
This is taken both as evidence of
Botticelli's collaboration with Humanist advisors with the full classical education that he lacked, and his keenness to recreate the lost wonders of ancient painting, a theme in the interpretation of several of his secular works, most clearly in the
312:
who torment sleepers, provoking "sexual terrors in the dreams of those bound in a state of sensual error and confusion." He concludes that "The idea of love here invested in Venus seems to be revealed, not in a positive celebration of the spirit animating natural life shown in the
221:
for the
Ognissanti church in 1480, probably in addition to other commissions. Their coat of arms included wasps, as their name means "little wasps" in Italian, and the wasps' nest, in a hollow in the tree in the top right corner, is exactly in the place in the panel where the
552:
Although today
Botticelli is the most celebrated Florentine painter of second half of the 15th century, his reputation only reached this level in the late 19th century when his emphasis on line and contour chimed with the contemporary sensibility. Between 1857 and 1878, the
587:
on 6–8 June 1874, for £1,050 (Lot 88). This is the only recorded sale on the open market of one of
Botticelli's large mythological paintings, the others having all reached the collection of the Medici Grand-Dukes of Florence by an early date, and then passed to the
425:, credited by the Greeks with medicinal powers, as well as offering protection against evil spirits and enhancing sexual excitement. Bellingham proposes several layers of identification for the figures, generating different meanings. These include the couple as
455:(d. 1929) first proposed the pair as the models in this painting; in his interpretation, Mars is tired after jousting, and Venus appears to him in a dream, as his prize. Giuliano had chosen Simonetta as his "lady" in a famous
964:
Dempsey; Lightbown, 169–170 covers the same ground, reaching a different conclusion. Bellingham, 368–369, is more supportive, though favouring a multiplicity of meanings. Dempsey's original suggestion was in his
497:
using the beautiful young wife of a political ally over-literally, generating a legend of an actual affair between the two. It is unlikely that any such affair took place; Giuliano's actual mistress,
583:
This painting was bought in
Florence by the English collector and dealer Alexander Barker between 1864 and 1869, and then bought by the National Gallery at the auction of Barker's collection at
2021:
1885:
215:, is that the wasps represent the Vespucci family that may have commissioned the painting. They had been neighbours of Botticelli since his childhood, and had commissioned his
505:). Both Giuliano and Simonetta had been dead for several years when this painting was made: Simonetta died in 1476 at 22, and Giuliano had been assassinated in 1478 in the
1560:
1819:
211:
In the foreground, a swarm of wasps hovers around Mars' head, possibly as a symbol that love is often accompanied by pain. Another explanation, first suggested by
1939:
1863:
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In 2010, the plant held by the satyr in the bottom right corner of the painting was tentatively identified by the art historian David
Bellingham as the fruit of
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1567:
296:, "outstanding in strength among the planets, because he makes men stronger, but Venus masters him ...she seems to master Mars, but Mars never masters Venus".
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ideal view of sensuous love. It seems likely that Botticelli worked out the concept for the painting, with its learned allusions, with an advisor such as
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1962:
1932:
1954:
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As with many other of Botticelli's secular paintings, leading figures from Florentine high society have been proposed as the models for the figures.
1058:
659:, c. 1505), a younger Florentine painter who had probably seen the Botticelli. The painting probably dates to around 1500-05, and later belonged to
1946:
1721:
73:, god of war, in an allegory of beauty and valour. The youthful and voluptuous couple recline in a forest setting, surrounded by playful baby
1917:
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to demonstrate the difference in the mid-Victorian period between the very high prices realized by contemporary art, and the modest ones for
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Between 10 May and 10 September 2024, in celebration of the 200th anniversary of the National Gallery, the painting will be shown at the
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The NG has used "V&M" since at least Davies' catalogue; Lightbown, the Ettlingers and Dempsey use "M&V". See below for dating
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One dissenting interpretation is from Charles Dempsey, who finds a more sinister meaning in the picture, with the little satyrs as
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Ettlingers, 141–144; Lightbown, 168; Bellingham, 365–366. The passage in Lucian is given in translation by Bellingham, 364–365
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playing with Alexander's armour during the ceremony, two carrying his lance and one who has crawled inside his breastplate.
667:, the Piero is an "enchantingly primitivistic pastoral" where Botticelli's version is a "solemnly classicizing allegory".
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has been proposed as the athletic model for Mars and, almost inevitably, it has been suggested that Venus has the face of
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were the first to analyse the painting in these terms. The couple's relationship could also be considered in terms of
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483:("Verses" or "The Joust"), giving a detailed account, including a description of Giuliano's banner with an image of
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but as an empty sensual fantasy that disarms and torments the slumbering spirit of a once virile martial valour.
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Though there are other paintings of Venus and Mars, Botticelli's work is often compared and contrasted with the
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or thorn apple. This plant, often referred to as "poor man's acid", has properties likened to a mixture of
208:), or perhaps both plants. There is a limited view of the meadow beyond, leading to a distant walled city.
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Ettlingers, 138; The Secret Life of Paintings, p.43, Richard Foater & Pamela Tudor-Craig; Davies, 101
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Stanze de messer Angelo Poliziano cominciate per la giostra del magnifico Giuliano di Pietro de Medici
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For a complicated but inconclusive argument suggesting a date after about 1482, see Lightbown, 170
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697:"Sandro Botticelli | Venus and Mars | NG915 | National Gallery, London"
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Bellingham suggests that the growing plant in the bottom right corner is a species of
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463:("Lorenzo il Magnifico"), the effective ruler of Florence to celebrate a treaty with
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associated with Venus and Mars to the historical Alexander and his bride. Lucian's
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255:, Harmony was the daughter of their union. Other late classical sources regarded
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540:'s prowess in a jousting tournament. The ultimate source for Poliziano's poem is
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in the Vatican is carved with a similar Mars and Venus reclining, accompanied by
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Ettlingers, 118–119, 164–168; Lightbown, 61–65; Hartt, 331; Bellingham, 359–362
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as another rests inside his breastplate under his arm. A fourth blows a small
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Venus watches Mars sleep while two infant satyrs play, carrying his helmet (a
2010:
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592:. The National Gallery bought 13 works at the sale, where the Director, Sir
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1379:
The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960
328:, a poet in Greek of the 2nd-century AD, of a famous painting, now lost, by
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The painting is thought originally to have been set into panelling as a
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Many later commentators have probably taken this scripted display of
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The position of the main figures reflects the description of them by
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in Renaissance Florence", National Gallery talk by Caroline Campbell
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Bellingham, 255; Legouix, 108; Davies, 100–101; Reitlinger, 99, 127
491:
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138:
307:
29:
1260:, Oxford Art Online. Oxford University Press. Web. 15 May 2017.
1199:, in Gordon, Dillian, National Gallery Catalogues (new series):
196:, traditionally associated with Venus and marriage, or possibly
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is not known, but the National Gallery's dated the painting to "
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337:
325:
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2022:
Paintings by Sandro Botticelli in the National Gallery, London
1327:, (2nd ed.) 1987, Thames & Hudson (U.S. Harry N. Abrams),
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Venus and the Three Graces Presenting Gifts to a Young Woman
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Bellingham, David, "Aphrodite Deconstructed: Botticelli's
471:. This lavish public show was commemorated in the poem by
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Davies, 100; Dempsey; Wind, Chapter V; Hartt, 331, quoted
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The price reached in 1874 is one of the examples used by
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Reitlinger, Chapter 4 generally and specifically 99, 358
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Ettlingers, 141–144; Lightbown, 168; Bellingham, 365–366
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The work is agreed by all to draw on the description by
445:, a great beauty of the time, married to the cousin of
1893:
Virgin and Child with the Young Saint John the Baptist
1568:
A Young Man Being Introduced to the Seven Liberal Arts
639:, who died that year, was sold privately for £10,000.
1886:
Virgin and Child with the Infant St. John the Baptist
1246:, National Gallery Catalogues, 1961, reprinted 1986,
1044:"High Art: Were Botticelli's Venus And Mars Stoned?"
235:, or part of furniture such as a bed, the back of a
133:). It is the only one of these paintings not in the
1933:Portrait of a Man with a Medal of Cosimo the Elder
1341:, 1997 revised edition, National Gallery, London,
1290:Piero Di Cosimo: Fiction, Invention, and Fantasìa
1017:trad. Copley, W. W. Norton & Company. iBooks.
928:Legouix, 108; Davies, 99–100; Lightbown, 164, 170
773:Ettlingers, 138, and pages on the other paintings
2008:
721:
719:
557:, London, acquired five of his works, including
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784:"National Treasures: Botticelli in Cambridge"
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1554:The Story of Nastagio Degli Onesti, part one
1028:Botticelli's Venus and Mars 'high on drugs'
1864:Madonna Adoring the Child with Five Angels
1471:
1457:
734:Hartt, 331; Lightbown, 163–164; Davies, 99
1971:Portrait of a Young Man holding a Roundel
340:. The ancient painting probably adapted
120:(both about 1482) and around the time of
1256:Dempsey, Charles, "Botticelli, Sandro",
1244:Catalogue of the Earlier Italian Schools
996:Bellingham, 365; but see Ettlingers, 141
563:
511:
459:in 1475, organized by his older brother
395:
266:
167:
159:
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1616:The Discovery of the Body of Holofernes
1201:The Fifteenth Century Italian Paintings
800:Usually so called, but possibly infant
501:, was well known (and their son became
172:Mars, with the wasp's nest on the right
2009:
1743:Scenes from the Life of Saint Zenobius
1046:, National Public Radio, June 12, 2010
843:
841:
604:, who was keen to buy. The unfinished
475:, the Medici court poet, known as the
1478:
1452:
1401:Commentary on the Symposium: De Amore
1217:in the National Gallery, London", in
239:, a wooden sofa, or a similar piece.
1381:, Barrie and Rockliffe, London, 1961
1339:The National Gallery Companion Guide
1156:Avery-Quash, xxxiii; Reitlinger, 127
1110:Or other versions of the full title
755:Lightbown, 164, 166; Ettlingers, 138
612:was bought for £2,415, and a fresco
1371:. London: Thames & Hudson, 1977
1310:, 2004 (rev'd ed.), Chaucer Press,
1056:Picture of the month, June 2017, NG
1008:, beginning of first book, l.32 sqq
838:
835:Bellingham, 361–362; Lightbown, 164
487:, which was painted by Botticelli.
13:
1722:The Last Communion of Saint Jerome
1389:Pagan Mysteries in the Renaissance
1349:(Yale University Press, 2016 ed.,
1325:History of Italian Renaissance Art
677:List of works by Sandro Botticelli
642:
432:
280:. As with the other mythologies,
14:
2048:
1433:
1421:University of Massachusetts Press
292:, in which Mars is, according to
262:
1820:Virgin and Child with Two Angels
1812:Virgin and Child with Two Angels
1714:Lamentation over the Dead Christ
1690:Lamentation over the Dead Christ
1623:The Return of Judith to Bethulia
1591:
1362:Sandro Botticelli: Life and Work
874:Lightbown, 18–19, 77; Hartt, 331
817:Langmuir, 26; Lightbown, 164–168
1940:Portrait of Giuliano de' Medici
1676:Punishment of the Sons of Korah
1409:The Works of Lucian of Samosata
1406:Fowler, H. W. and F. G. (eds.)
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226:of a patron was often painted.
192:The scene is set in a grove of
1828:Virgin and Child with an Angel
1798:Madonna in Glory with Seraphim
1768:Virgin and Child with an Angel
1417:The Stanze of Angelo Poliziano
1219:Brill's Companion to Aphrodite
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2032:Paintings of Mars (mythology)
1918:Portrait of Smeralda Brandini
1225:, Sadie Pickup, 2010, BRILL,
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547:
368:, which also uses Lucian. A
243:here, unlike in the artist's
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97:
28:, c 1485. Tempera and oil on
16:Painting by Sandro Botticelli
1698:Saint Augustine in His Study
1652:Saint Augustine in His Study
1128:, Metropolitan Museum of Art
1083:Bellingham, 368–369, 373–374
538:Giuliano di Piero de' Medici
439:Giuliano di Piero de' Medici
218:Saint Augustine in His Study
85:, the Medici house poet and
7:
1415:Quint, David. (tr.) (1979)
1403:, from Oration V, chapter 8
1391:, 1967 ed., Peregrine Books
1364:, Thames & Hudson, 1989
1034:, Nick Collins, 27 May 2010
826:Fermor, 46; Bellingham, 362
670:
602:Chancellor of the Exchequer
332:of the wedding ceremony of
10:
2053:
1857:Madonna of the Pomegranate
1805:Madonna of the Rose Garden
910:Hartt, 331; Lightbown, 164
701:www.nationalgallery.org.uk
164:Infant satyr and landscape
65:. It shows the Roman gods
1980:
1909:
1843:Madonna of the Magnificat
1759:
1600:
1589:
1495:
1486:
1270:with Helen S. Ettlinger,
746:; Dempsey also uses this.
528:scholars in the court of
259:as a child of the union.
1609:Sant'Ambrogio Altarpiece
1292:, 1993, Reaktion Books,
682:
400:Detail from bottom right
350:or description mentions
278:Renaissance Neoplatonism
69:, goddess of love, and
32:panel, 69 cm x 173 cm.
1900:Madonna del Padiglione
1655:(Florence: Ognissanti)
1518:Pallas and the Centaur
788:The Fitzwilliam Museum
657:Gemäldegalerie, Berlin
580:
577:Gemäldegalerie, Berlin
517:
401:
301:John Addington Symonds
272:
173:
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145:in London since 1874.
117:Pallas and the Centaur
37:
1729:The Mystical Nativity
1706:Pala delle Convertite
1683:Cestello Annunciation
1664:Temptations of Christ
1630:Adoration of the Magi
1582:The Story of Lucretia
1575:The Story of Virginia
1545:Illustrations to the
1262:subscription required
1026:Bellingham, 369–372;
649:Venus, Mars and Cupid
610:Piero della Francesca
596:, was accompanied by
573:Venus, Mars and Cupid
567:
515:
399:
299:The Victorian critic
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141:; it has been in the
55:of about 1485 by the
24:
1791:Madonna delle Grazie
1776:Madonna della Loggia
1440:"Sandro Botticelli:
1369:The National Gallery
1197:Avery-Quash, Susanna
391:The Nature of Things
87:Renaissance Humanist
2037:Paintings of satyrs
1996:Botticelli (crater)
1850:Madonna of the Book
1360:Lightbown, Ronald,
1276:Thames & Hudson
1101:Bellingham, 363–364
1092:Ettlingers, 163–164
1074:Bellingham, 372–373
883:Ettlingers, 138–139
334:Alexander the Great
103:" in 2017. Scholar
57:Italian Renaissance
2027:Paintings of Venus
1991:(2016 documentary)
1989:Botticelli Inferno
1950:(Washington, D.C.)
1750:The Man of Sorrows
1736:Mystic Crucifixion
1701:(Florence: Uffizi)
1539:Calumny of Apelles
1532:The Birth of Venus
1399:Ficino, Marsilio,
1375:Reitlinger, Gerald
1367:Potterton, Homan.
1203:, Volume 1, 2003,
1123:Lightbown, 61–65;
1061:2018-08-05 at the
865:Lightbown, 165–168
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530:Lorenzo de' Medici
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461:Lorenzo de' Medici
443:Simonetta Vespucci
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365:Calumny of Apelles
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202:Lorenzo de' Medici
200:, associated with
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150:Fitzwilliam Museum
123:The Birth of Venus
92:The exact date of
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2004:
2003:
1783:Madonna and Child
1480:Sandro Botticelli
1395:Literary sources
1337:Langmuir, Erica,
1300:, 9780948462368,
1268:Leopold Ettlinger
1233:, 9789047444503,
808:, Bellingham, 367
625:Gerald Reitlinger
614:Return of Ulysses
598:Benjamin Disraeli
407:Datura stramonium
370:Roman sarcophagus
63:Sandro Botticelli
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1306:Legouix, Susan,
1288:Fermor, Sharon,
1278:(World of Art),
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189:sexual symbols.
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433:Possible models
386:de rerum natura
294:Marsilio Ficino
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633:The Otter Hunt
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319:Birth of Venus
282:Ernst Gombrich
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263:Interpretation
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245:Birth of Venus
213:Ernst Gombrich
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152:in Cambridge.
94:Venus and Mars
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48:Mars and Venus
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1223:Amy C. Smith
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1958:(Frankfurt)
1955:Young Woman
1419:. Amherst:
1385:Wind, Edgar
937:Wind, 87–96
856:Davies, 100
629:Old Masters
524:one of the
342:iconography
156:Description
131: 1486
101: 1485
2011:Categories
1966:(Florence)
1771:(Florence)
1633:(Florence)
1347:185709218X
1333:0500235104
1316:1904449212
1308:Botticelli
1298:0948462361
1284:0500201536
1272:Botticelli
1252:0901791296
1231:9047444507
1209:1857092937
1191:References
1183:Fermor, 46
585:Christie's
548:Provenance
532:, and his
492:Petrarchan
481:la Giostra
286:Edgar Wind
1963:Young Man
1947:Young Man
1925:Young Man
1910:Portraits
1786:(Avignon)
1709:(Trinity)
1601:Religious
1511:Primavera
1504:Fortitude
1126:La Giosta
1032:Telegraph
969:, 119–121
579:, c. 1505
544:I.32–34.
542:Lucretius
473:Poliziano
381:Lucretius
347:ekphrasis
315:Primavera
290:astrology
276:terms of
237:lettuccio
232:spalliera
111:Primavera
89:scholar.
83:Poliziano
1928:(London)
1878:New York
1831:(Boston)
1815:(Naples)
1760:Madonnas
1693:(Munich)
1274:, 1976,
1059:Archived
919:Wind, 86
671:See also
606:Nativity
536:recount
526:humanist
352:amoretti
139:Florence
36:, London
1981:Related
1873:Glascow
1717:(Milan)
1496:Secular
1221:, eds.
744:NG page
600:, then
416:alcohol
60:painter
51:) is a
1426:
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1331:
1314:
1296:
1282:
1250:
1229:
1207:
590:Uffizi
534:stanze
521:Stanze
477:Stanze
465:Venice
338:Roxana
330:Echion
326:Lucian
309:incubi
249:Vulcan
198:laurel
194:myrtle
180:) and
178:sallet
135:Uffizi
75:satyrs
30:poplar
806:fauns
683:Notes
469:Milan
457:joust
412:opium
374:putti
356:putti
271:Venus
257:Cupid
186:conch
182:lance
67:Venus
1673:and
1424:ISBN
1351:ISBN
1343:ISBN
1329:ISBN
1312:ISBN
1294:ISBN
1280:ISBN
1248:ISBN
1227:ISBN
1205:ISBN
802:Pans
467:and
423:aloe
414:and
336:and
317:and
284:and
114:and
71:Mars
45:(or
804:or
651:by
635:by
616:by
608:by
479:or
383:in
354:or
137:in
2013::
1667:,
1661::
1387:,
1377:;
1323:,
1242:,
1030:,
840:^
786:.
718:^
699:.
575:,
571:,
561:.
509:.
429:.
389:("
376:.
128:c.
98:c.
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1472:e
1465:t
1458:v
1357:)
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790:.
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655:(
204:(
126:(
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