Signs of spring
Anthony Grafton, 10 June 1993
Exactly a hundred years ago, Aby Warburg took a short walk on what proved to be a long pier. In his doctoral disseration on Sandro Botticelli’s Birth of Venus and Spring, he used fewer than fifty packed pages to analyse the two paintings. He treated them as a set because Vasari had seen them both at Duke Cosmio’s villa, Castello, and described them together. Two points in particular worried Warburg, one stylistic and one substantive. Why had Botticelli, a painter whose natural bent lay in the portrayal of still, dreamy figures, here used ‘bewegtes Beiwerk’, fluttering hair and clothing, to give a sense of violent motion and emotions? And why had Botticelli decided to depict original combinations of myths drawn from Classical sources, like the Homeric Hymns and Ovid’s Metamorphoses, on so grand a scale?
