Simonetta Vespucci
This article was published in December, 2007 under the following
title.
Simonetta Vespucci: The Face That Launched A
Thousand Prints
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Cleopatra Piero di
Cosimo c. 1480, oil on panel,
57 x 42 cm
Musée Condé, Chantilly |
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The visage of a ravishing, young woman appears again and again in
the art of Sandro
Botticelli, Early Italian
Renaissance painter. It is a face that is almost as familiar to
art lovers all over the world as that of Leonardo da Vinci's
Mona Lisa. Botticelli's model for his most famous art work,
The Birth of Venus, was the beautiful Simonetta Vespucci.
Once nominated "The Queen of Beauty" at a Florentine jousting
tournament, it was Simonetta's face that Botticelli painted on an
art banner that was carried into battle by the tournament winner,
Giuliano de' Medici, a man
soon to become her lover. Inscribed beneath her image, Botticelli
described her as "the unparalleled one."
Shortly after her arrival in Florence, Simonetta became known as
"La Bella Simonetta," attracting the attention of poets and artists
like Botticelli. They vied to honor her with their artistic
creations. At the age of fifteen, Simonetta married a cousin of
Amerigo Vespucci, the famous Italian explorer for whom America was
named. It was through the Vespucci family connection that Simonetta
first met Botticelli and the Medici family, prominent political
figures and art patrons. Giuliano de' Medici was the younger
brother of Lorenzo de' Medici, a wealthy aristocrat who was
referred to by his admirers as "Il Magnifico" or Lorenzo the
Magnificent for his generosity and lavish lifestyle.
Little information exists about Simonetta’s early life. Some
scholars believe she was born in Genoa, while others say she came
from Portovenere, a town in Liguria and the supposed birthplace of
the goddess Venus. Not only was she Botticelli’s Venus, but she was
also painted as Cleopatra by the eccentric Florentine Piero di Cosimo
who depicted Simonetta with snakes entwined about her neck.
Simonetta, "the unparalleled one," personified ideal
beauty.
The personification of ideal beauty was an important concept to
Italian Renaissance
artists like Botticelli who thought that outward beauty reflected
inner beauty or virtue (spiritual beauty). Simonetta died young in
1476 at the age of twenty-two from tuberculosis, but Botticelli
continued to feature her image in his art for the next three
decades. Most of Botticelli's female art images were portraits of
Simonetta, her face even appearing several times within some
compositions. At some time before his death thirty-four years
later, Botticelli requested to be buried at Simonetta's feet. His
request was granted and both are interred in the Vespucci parish
church of Chiesa d'Ognissanti in Florence, Italy.
Brenda Harness, Art Historian
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Brenda Harness is a practicing artist, art historian, and former
university teacher writing about a variety of topics pertaining to
art and art history. Visit her at Fine Art Touch.
For more information on Italian Renaissance Art and book
recommendations, click here.
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