Discover the Theory Behind 15th Century Italian Artist’s Primavera
Jean Gillies weaved a rich theory of Sandro Botticelli at BookExpo America 2016.
“Gillies is scholarly genius. She has carefully and brilliantly put together an outstanding analysis of the Primavera. Readers are able to capture the ideas of the 15th century by observing its artistic undertones,”
Since the late 1900s, scholars, critics, and historians have been studying the significance behind Primavera, a masterpiece by Sandro Botticelli. In Jean Gillies’s new book, Botticelli’s Primavera: The Young Lorenzo’s Transformation, revelations are brought to light.
Sandro Botticelli was long forgotten after his death. It was only in the 19th century that he gained admirers for his art techniques. Now Gillies spotlights the influence of astrology, philosophy, religion, and alchemy erudite Marsilio Ficino. It is revealed through Ficino’s letters how impassioned he was about guiding the very precocious Botticelli.
“Gillies is scholarly genius. She has carefully and brilliantly put together an outstanding analysis of the Primavera. Readers are able to capture the ideas of the 15th century by observing its artistic undertones,” stated an enthused reader.
Jean Gillies showcased her book during BookExpo America 2016 from May 11, 2016 to May 13, 2016 at McCormick Place, Chicago.
Botticelli’s Primavera: The Young Lorenzo’s Transformation
Written by Jean Gillies
Kindle | $3.03
Paperback | $19.95
Book copies are available at www.amazon.com, www.barnesandnoble.com, and all leading online book retailers. Copies are also available at your local booksellers.
About the Author
Professor Jean Gillies acquired her PhD in art history at Northwestern University in Evanston, Illinois and was a teacher there for twenty-nine years. While teaching Painting of the Italian Renaissance, Jean became fascinated by historians’ challenges in Botticelli’s art.
She blended together her own course, Images of Women in Art, which led her to study Roman statues of the goddess Isis. Later, she discovered that the central figure is not Venus, but Isis. Proof of this is in the medallion and costume, later conflated in 15th-century Florence with the goddess Athena by Ficino himself.
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