#1485

[dyktvideogamesfx]

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Do you know this SFX? #1485

I know where it's from

It sounds familiar

I've never heard this

Voting ended onMay 27

[doyoulikethischaracterdesign]

Sugar Riot from Final Fantasy XIV: Dawntrail

"ring-a-roses, palette full of pain and poison"

Do you like this character design?

Yes

No

It's Complicated

Voting ended onMar 15

[artschoolglasses]

Helmet for use in the Tournament Fought on Foot, German, 1485 (? and/or later partially replaced)

From the Philadelphia Museum of Art

[detailedart]

Details (#3) of The Birth of Venus (ca. 1485), by Botticelli

[akutagawa-daily]

Akutagawa daily 1485/★

[thesobsister]

Guy Marchant, from La danse macabre nouvelle (1485)

[artsandculture]

The Birth of Venus (1483-1485) 🎨 Sandro Botticelli 🏛️ Uffizi Gallery 📍 Florence, Italy

The painting was commissioned by Lorenzo di Pierfrancesco de’Medici, a cousin of Lorenzo the Magnificent. The theme was probably suggested by the humanist Poliziano. It depicts Venus born from the sea foam, blown by the west wind, Zephyr, and the nymph, Chloris, towards one of the Horai, who prepares to dress her with a flowered mantle.

This universal icon of Western painting was probably painted around 1484 for the villa of Castello owned by Lorenzo di Pierfrancesco de 'Medici. Giorgio Vasari saw the work there in the mid-sixteenth century – along with Botticelli’s other well-known Primavera – and described it precisely as "showing the Birth of Venus." The old idea that the two Botticelli masterpieces were created for the same occasion, in spite of their substantial technical and stylistic diversity, is no longer accepted. However, rather than a birth, what we see is the goddess landing on the shore of her homeland, the island of Cyprus, or on Kithera. The theme, which can be traced back to Homer and to Ovid’s Metamophoses, was also celebrated by the great humanist Agnolo Poliziano in the poetic verses of his Stanze. The Venus of the Uffizi is of the “Venus pudica” type, whose right breast is covered by her right hand and billowing long blond hair partially shrouds her body. The goddess stands upright on a shell as she is driven towards the shore by the breeze of Zephyrus, a wind god, who is holding the nymph, Chloris. On the right is the Hora of springtime, who waits to greet Venus ashore with a cloak covered in pink flowers.

The seascape, stunning for its metaphysical tone and almost unreal quality, is illuminated by a very soft, delicate light. Like Botticelli’s other masterpiece, Pallas and the Centaur, the Birth of Venus is painted on canvas - fairly unusual for its time - using a technique of thin tempera, based on the use of diluted egg yolk, which lends itself particularly well to give the painting that aspect of extraordinary transparency, which brings to mind the pictorial quality of a fresco. The figure recalls classical sculpture and is very similar to the famous Medici Venus found in the Uffizi, which the artist certainly knew. The real meaning of this dreamlike vision is still under scholarly debate and investigation but is undoubtedly linked with the Neo-Platonic philosophy, widely cultivated in the Medici court.

Like the Primavera, the Birth of Venus is also associated with the concept of Humanitas,or virtuous Humanity, a theory developed by Marsilio Ficino in a letter to the young Lorenzo. According to the interpretation by Ernst Gombrich, the work depicts the symbolic fusion of Spirit and Matter, the harmonious interaction of Idea and Nature. Nevertheless, the interpretations of this painting of extraordinary visual impact are numerous and diverse. The divine ethereal figure has been viewed as an allegorical representation of Humanitas upon her arrival to Florence, while the nymph holding out the cloak of flowers for the goddess may perhaps be identified as Flora, the same depicted in this masterpiece’s “twin”, the Primavera, where she may be seen instead as the personification of the city of Florence. From this work emerges clear evidence of Botticell’s strive to reach perfection of form that could rival with classical antiquity. It is for this reason that the humanist Ugolino Verino in his work Epigrammata, presented in 1485 to the King of Hungary, Matthias Corvinus, likened the Florentine painter to the legendary Apelles of Ancient Greece.

[max-the-many]

It took quite a while to get some samples, mostly cause I definately didn't wanna waste this opportunity.

The flood of emotions, of insight, of trust was just breathtaking, literally, when I touched this heap of slime that turned out to be three, touched out of an indiscribable urge the moment I saw it.

I cant discribe it, but I just knew at that moment what needed to be done, and I wanted it desperately.

So I went to town, looked around until I found the first one, sitting in a cafe. Without much of a thought I blatently crashed into him in a fake stumble, grabbing his head, lucky enough find a single hair in my hand after appologysing heavily.

The swcond one was a bit harder. After crashing into him inmidst the walkway I wasn't so lucky. So I followed. Hours. He was just too perfect!

Finally he entered a store. And as he went for the booths to try some clothes I took a chance, buying a wool one after he put it away, hoping to have some of him in there.

The third one though took a while to find. As I wanted him to match as good as the first two would. So I walked around the cuty, seeing men after man. Nobody was good enpugh. I wanted this to be perfect! The thought of having them was just too good! Although I didn't really know what would happen exactly.

Then, when I saw him behind the counter of a hardware store it felt almost like a dream. It had to be him! Almost comically dressed in a red and black plaid shirt he smiled at me as I entered the store.

"How can I help you?" he said and I craved to just ask for some of his louvious hair, peaking out between the top of his shirt.

In desperation I had an idea. So I thanked him, looking around by myself, preparing for my plan before I asked about some random tool, trying to get him out.

He smelled so good when I stood besodes him infront of the display! And then, when he reached out to grab the tool I asked for I did the same, faking to touch the hairy back of his hand by accident.

"Oh shit, what..." he stated when the sticky underside of my hand pulled on his hand.

"Urh... damn I thought I got rid of it! Sorry, but I already washed my hand a thousand times!" I lied before finding an excuse to leave. Of cause it was glue that I smeared on there exactly to get what I saw in my palm, smiling widely. The final sample to return to those... whatever they were...