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to obtain the factors that make the Virgin who she is; the virginal, noble figure that is highly revered by all who follow the Bible in a
Christian setting. While at first glance, this may appear as a feminist statement about humanist female authors and scholars at the time, it can be analyzed as a backhanded compliment, disregarding the movement towards female literacy and using this "rhetoric of impossibility." Botticelli further intensifies the Virgin's position as a woman writer, juxtaposing her roles as a mother and as an author. The Madonna is simultaneously portrayed as a maternal figure, softly tending to the
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across their noses, cheeks, and mouths. This phase in
Botticelli's art was also characterized by the combination of features typically found in court paintings, as well as qualities learned from his study of Classical works. Botticelli juxtaposes the Classical grace of these quasi-courtly paintings with the garb of then-contemporary Florentines.
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and her springtime return to earth. With the introduction of
Christianity, this symbolism evolved to represent immortality and resurrection. In addition, because of its many seeds, the pomegranate can also symbolize fertility. The pomegranate is often used in Renaissance art to represent the fullness
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was believed to be an oration by Mary, rather than a written document. This depiction of the Virgin as a writer, however, employs what may be a "rhetoric of impossibility." There is a concept that the literacy and ability to compose writing in women is a "miracle," as no other woman has the ability
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It is widely agreed that
Botticelli went through three distinct artistic phases, marked by the subjects of his work rather than any shift in artistic style. During the first of these three phases, he maintained a very moderate, average emotional state throughout the content of his paintings, aptly
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child, and as an author, exemplifying the aforementioned "rhetoric of impossibility." Botticelli's work highlights a clash in depicting the woman writer as a phenomenon, while simultaneously embracing a growing conversation of chance. This is frequently communicated through the vernacular and is
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Each of them were incredibly maternal in nature, the soft motherly love of the Virgin accentuated by the tenderness between herself and the Christ child. Botticelli famously painted his female figures, especially his
Madonnas, with incredibly pale, porcelain-like faces, with light pink blushing
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of Jesus' suffering and resurrection. Some experts have noted the cardiac anatomic accuracy of the pomegranate, which may further emphasize this suffering experienced by Jesus in his corporeal form. This accuracy can also be seen in the
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is representative of an anatomically accurate human heart. Pomegranates have been used symbolically throughout artistic eras, beginning in pagan mythology where it symbolized
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in New York. In the Louvre's copy, the leftmost angel, crowning the Virgin, is erased, leaving room for a large spread of wings for the highest angel in the trio to the left.
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205:. The figures are placed in front of a bright and serene landscape, and the framing creates a division between Heaven and earth. To the left, three angels crowd around the
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The history of the painting is not known, but the Uffizi acquired it from a private collection in 1784. It may have come from one of the many monasteries suppressed by the
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with her right hand, with a pomegranate in her left, as two angels crown her with the Christ child on her lap. It is now in the galleries of the
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Lazzeri, Davide; Al-Mousawi, Ahmed; Nicoli, Fabio (April 2019). "Sandro
Botticelli's Madonna of the Pomegranate: the hidden cardiac anatomy".
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this
Madonna is seen holding a pomegranate in her left hand. Although there are no definitive arguments regarding the pomegranate seen in the
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is depicted as a reader rather than a writer. In this painting, Botticelli made the decision to depict her as a writer. Following common
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guides her hand, looking up to the clear blue sky, or perhaps to his mother, softly returning his gaze. In her left hand she holds a
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Lazzeri, Davide, Ahmed Al-Mousawi, and Fabio Nicoli. "Sandro
Botticelli's Madonna of the Pomegranate: The Hidden Cardiac Anatomy."
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Vasari's Lives of the
Artists: Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, Titian.
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Schibanoff, Susan (1994). "Botticelli's
Madonna del Magnificat: Constructing the Woman Writer in Early Humanist Italy".
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Vasari's Lives of the Artists: Giotto, Masaccio, Fr Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, Titian
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regarded as the "Medici phase". During this phase, Botticelli painted several Madonnas, including another large-scale
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Schibanoff, Susan. "Botticelli's Madonna Del Magnificat: Constructing the Woman Writer in Early Humanist Italy."
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Le Gallerie degli Uffizi. "Virgin and Child, and Angels (Madonna of the Magnificat)", accessed 16 November 2020.
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are two very beautiful female heads in profile by this master, one is said to be the portrait of an inamorata of
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523:"Botticelli's Madonna del Magnificat: Constructing the Woman Writer in Early Humanist Italy"
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directed at female audiences, aiming to portray the woman writer as a more common figure.
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428:"Virgin and Child, and Angels (Madonna of the Magnificat) | Artworks | Uffizi Galleries"
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However, there are no reliable sources that definitively recognize this portrait as the
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https://www.uffizi.it/en/artworks/virgin-and-child-and-angels-madonna-of-the-magnificat
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rhetoric, this shift from reading to writing raises more questions. Traditionally, the
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crowned by two of five angels, a sheer veil covering her flowing blonde hair and a
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Many art historians have debated that Mary is thought to be a portrait of
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although the placement is below Christ's heart, whereas the placement of
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118 cm × 119 cm (46 in × 47 in)
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PMLA : Publications of the Modern Language Association of America
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Vasari, Giorgio; Foster, Jonathan; Aronberg Lavin, Marilyn (2005).
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on the right-hand page of a book; on the left page is part of the
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there has been discussion that the pomegranate seen in the other
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The Lives of the Most Excellent Painters, Sculptors, and Artists
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scarf around her shoulders. She is writing the opening of the
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Venus and the Three Graces Presenting Gifts to a Young Woman
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Vasari, Giorgio, Jonathan Foster, Marilyn Aronberg Lavin.
639:. In Botticelli (1. Aufl.). Parkstone-International, 2005.
510:. Modern Language Association: 190–206 – via JSTOR.
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Paintings of the Madonna and Child by Sandro Botticelli
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Virgin and Child with the Young Saint John the Baptist
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A Young Man Being Introduced to the Seven Liberal Arts
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during the circumcision of his son, John the Baptist.
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Virgin and Child with the Infant St. John the Baptist
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seemingly in deep conversation amongst one another.
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350:(Madonna degla Melagrana), c.1487, tempera on panel
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is another canticle taken from the Gospel of Luke (
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1166:Portrait of a Man with a Medal of Cosimo the Elder
585:. Kiribati: Oxford University Press. p. 137.
644:Interactive Cardiovascular and Thoracic Surgery
601:Interactive CardioVascular and Thoracic Surgery
563:Dempsey, Charles (2003). "Botticelli, Sandro".
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1255:Paintings by Sandro Botticelli in the Uffizi
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632:. Kiribati: Oxford University Press, 1961.
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1204:Portrait of a Young Man holding a Roundel
635:Gebhart, Emile, & Victoria Charles.
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849:The Discovery of the Body of Holofernes
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976:Scenes from the Life of Saint Zenobius
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955:The Last Communion of Saint Jerome
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486:. Courier Corporation. p. 47.
405:List of works by Sandro Botticelli
117:Virgin and Child with Five Angels.
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1053:Virgin and Child with Two Angels
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947:Lamentation over the Dead Christ
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856:The Return of Judith to Bethulia
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287:In the Guardaroba of the Signor
115:. It is also referred to as the
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909:Punishment of the Sons of Korah
251:), and was the song uttered by
1061:Virgin and Child with an Angel
1031:Madonna in Glory with Seraphim
1001:Virgin and Child with an Angel
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1151:Portrait of Smeralda Brandini
16:Painting by Sandro Botticelli
931:Saint Augustine in His Study
885:Saint Augustine in His Study
395:sits right above his heart.
659:109, no. 2 (1994): 190–206.
461:. Parkstone International.
372:Madonna of the Pomegranate,
155:Morgan Library & Museum
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1090:Madonna of the Pomegranate
1038:Madonna of the Rose Garden
666:Courier Corporation, 2005.
521:Schibanoff, Susan (1994).
393:Madonna of the Pomegranate
389:Madonna of the Magnificat,
376:Madonna of the Magnificat,
362:Madonna of the Pomegranate
347:Madonna of the Pomegranate
311:Madonna as a female writer
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646:28, no. 4 (2019): 619–21.
581:Ferguson, George (1961).
305:Madonna of the Magnificat
216:a canticle also known as
90:Madonna of the Magnificat
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24:Madonna of the Magnificat
842:Sant'Ambrogio Altarpiece
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193:. As Mary writes in the
147:Archduke Pietro Leopoldo
457:Gebhart, Emile (2010).
232:, who is pregnant with
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888:(Florence: Ognissanti)
751:Pallas and the Centaur
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245:The Song of Zechariah,
173:The work portrays the
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169:The tondo in its frame
99:Madonna del Magnificat
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962:The Mystical Nativity
939:Pala delle Convertite
916:Cestello Annunciation
897:Temptations of Christ
863:Adoration of the Magi
815:The Story of Lucretia
808:The Story of Virginia
778:Illustrations to the
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337:Botticelli's Madonnas
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1024:Madonna delle Grazie
1009:Madonna della Loggia
315:Conventionally, the
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1083:Madonna of the Book
293:Giuliano de' Medici
260:Lucrezia Tornabuoni
109:Italian Renaissance
1224:(2016 documentary)
1222:Botticelli Inferno
1183:(Washington, D.C.)
983:The Man of Sorrows
969:Mystic Crucifixion
934:(Florence: Uffizi)
772:Calumny of Apelles
765:The Birth of Venus
628:Ferguson, George.
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220:is taken from the
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1016:Madonna and Child
713:Sandro Botticelli
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1188:Young Woman
437:14 November
289:Duke Cosimo
214:Magnificat,
207:Magnificat,
203:pomegranate
195:Magnificat,
175:Virgin Mary
161:Description
1244:Categories
1199:(Florence)
1004:(Florence)
866:(Florence)
637:Botticelli
616:References
459:Botticelli
384:Persephone
370:Much like
325:Magnificat
262:, wife of
239:Benedictus
190:Benedictus
184:Magnificat
126:Magnificat
64:Dimensions
1196:Young Man
1180:Young Man
1158:Young Man
1143:Portraits
1019:(Avignon)
942:(Trinity)
834:Religious
744:Primavera
737:Fortitude
547:0030-8129
432:uffizi.it
253:Zechariah
230:Elizabeth
1161:(London)
1111:New York
1064:(Boston)
1048:(Naples)
993:Madonnas
926:(Munich)
399:See also
321:Humanist
272:Giuliano
135:Florence
111:painter
80:Florence
72:Location
1214:Related
1106:Glascow
950:(Milan)
729:Secular
317:Madonna
297:Lorenzo
268:Lorenzo
249:1:68-79
226:1:46-55
141:History
119:In the
95:Italian
59:Tempera
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465:
330:Christ
151:Louvre
131:Uffizi
76:Uffizi
56:Medium
38:Artist
411:Notes
380:tondo
357:tondo
133:, in
121:tondo
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906:and
625:2003
543:ISSN
527:PMLA
504:PMLA
463:ISBN
439:2020
274:.In
270:and
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51:1481
48:Year
535:doi
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359:,
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