【旷世杰作的秘密】桑德罗·波提切利《春》5
http://t1.g.hjfile.cn/listen/201212/201212110104301491879.mp3From Fra Filippo he would have learned a couple of skills that became particularly important for Botticelli you've seen in his own works. One was a depiction of movement, especially in female figures, the type that we know best from the Grace in the Primavera. There were fluttering draperies. You could see that in the work of Fra Filippo. They are a little bit less graceful perhaps. The draperies are a bit thicker, but they are the grandmothers, as it were, or the mothers of the Graces that you see in the Primavera.By his mid-20s, Botticelli was already establishing himself as the master painter of Florence. Soon, his supreme skill earned him a call to Rome, to paint some of the frescoes in the newly-constructed Sistine Chapel. They were naturally religious works. But in places, they prefigured the secular Primavera.他跟菲利波学了一些日后成为他独门技术的技巧，其中之一时对动作的描绘，尤其是女体，最好的例子就是“春”中美慧三女神身上飘动的罗衫，菲利波在绘画时也用了此种技巧，也许不像是波提切利那么优雅，他笔下的布料较为厚重，但也说是“春”之画风的鼻祖。
波提切利20多岁的时候已成为佛罗论斯著名的画家，他很快就因优异的绘画技巧受诏前往罗马，为新进完工的西四汀教堂绘制壁画，这些自然是宗教作品，但在某些地方似乎预示着他的世俗杰作“春”。
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