【旷世杰作的秘密】桑德罗·波提切利《春》8
http://t1.g.hjfile.cn/listen/201212/201212181237103727886.mp3I think that we have to see Botticelli as a form of artistic entrepreneur. He was someone who seized a particularly fortunate moment, a moment when people were wanting to own different kinds of things, and Botticelli plunged into this particularly dynamic market. As a market leader as a force, he was an opportunist, in a way, and a very gifted one.To create the Primavera, the entrepreneurial Botticelli had to break new ground artistically, and throw off the restrictive rules of Christian art – rules that he himself usually observed.
In the 1470s and 80s in Florence, there was a massive demand for religious imagery. Most Florentines, even those of quite modest backgrounds, had some form of religious image in the home.
Crucifixions were a common subject, but most popular were Virgin and child images, accounting for around a half of all art produced. And the pagan Primavera couldn't help but echo these ever-present icons.我们可以将波提切利视为一名艺术企业家，当时人心思变，他掌握了这个时机，并一头栽进这个动力十足的市场，成为一股领导市场的力量。他可说是个独居才华的投机分子。
为了创作“春”，极具创业精神的波提切利必须在艺术上突破既有格局，挣脱以往被他奉为土的基督教艺术的限制。
1470及80年代的佛罗伦斯对宗教艺术作品的需求甚殷，多数的佛罗伦斯人家中都有某些宗教艺术作品， 连出身卑微也不例外。
基督受难师很常见的主题，但最受欢迎的师圣母与圣婴的肖像，半数艺术作品都以此为题。连充满异教徒风格的“春”都隐隐呼应着这些宗教作品。
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