Research Paper on:
Analyzing How Sandro Botticelli Transformed the Beauty of His Idealism into a Reality Dark and Somber

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this era is especially evident in the canvases of Sandro Botticelli. Although he died a virtually forgotten pauper, the name Botticelli has since become synonymous with the Italian Renaissance.  His works mark an important turning point in fifteenth-century painting, particularly in terms of space and perspective. They illustrate how form can be displayed as either knowledge or  as a part of nature, as well as how religion and ethics can affect artistic interpretation (Skira and Argan 17). Early on, it is apparent that Botticelli was interested  in "the specific pursuit of beauty" (Skira and Argan 17) in both his life and his art. In his essay, "The Baby or the Botticelli," philosopher William Gass wrote,  "In a world which does not provide beauty for its own sake, but where the loveliness of flowers, landscapes, faces, trees and sky are adventitious and accidental, it is the  artists task to add to the worlds objects and ideas those delineations, carvings, tales, fables and symphonic spells which ought to be there; to make things whose end is contemplation  and appreciation; to give birth to beings whose qualities harm no one, yet reward even the most casual notice, and which therefore deserve to become the focus of a truly  disinterested affection" (Kuspit The Psychoanalytic Construction of Beauty). This eloquently expresses the motivation of Botticelli, as his paintings are idealistic representations of a beautiful and objective reality. They  are powerful in their use of color, shading and symbolism. But around 1490, Botticellis painting style underwent a dramatic transformation.  The events that took place in his life, along with the political unrest in Italy at the time, dictated a considerably darker vision. The beauty that had been encapsulated