{"id":3810,"date":"2019-05-08T00:00:59","date_gmt":"2019-05-08T04:00:59","guid":{"rendered":"https:\/\/www.bu.edu\/sequitur\/?p=3810"},"modified":"2019-05-08T11:21:18","modified_gmt":"2019-05-08T15:21:18","slug":"laceste-botticelli","status":"publish","type":"post","link":"https:\/\/www.bu.edu\/sequitur\/2019\/05\/08\/laceste-botticelli\/","title":{"rendered":"Botticelli: Heroines + Heroes"},"content":{"rendered":"
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Installation view of Botticelli: Heroines and Heroes<\/em>. Image courtesy of Isabella Stewart Gardner Museum.<\/figcaption><\/figure>\n

Isabella Stewart Gardner Museum, Boston <\/b>
\n<\/b>February 14 – May 19, 2019<\/b><\/p>\n

The Isabella Stewart Gardner Museum\u2019s exhibition, Botticelli: Heroines + Heroes<\/em>, brings together paintings by the Renaissance master Sandro Botticelli (c. 1445-1510), showing how Roman and early Christian figures were depicted as role models in his own time. Paintings and drawings created by the artist in the last decade of his life appear alongside drawings by the graphic novelist Karl Stevens that provide contemporary commentary on the paintings\u2019 subjects. Displayed against fuchsia and grey walls, the Renaissance artworks are contrasted in both style and color to Stevens\u2019 black and white graphics.<\/p>\n

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Figure 1. Sandro Botticelli, The Story of Lucretia<\/em>, 1499-1500, tempera and oil on panel, 83.8 x 176.8 cm, Isabella Stewart Gardner Museum. Image courtesy of Isabella Stewart Gardner Museum<\/figcaption><\/figure>\n
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Figure 2. Sandro Botticelli, The Story of Virginia<\/em>, c. 1500, tempera and gold on panel, 83.3 x 164.9 cm, Accademia Carrara, Bergamo. Image courtesy of Isabella Stewart Gardner Museum.<\/figcaption><\/figure>\n

The highlight of the exhibition is the reunion of two paintings: the Gardner Museum\u2019s own The Story of Lucretia<\/em> (Fig. 1) and The Story of Virginia<\/em> (Fig. 2), on loan from the Accademia Carrara, Bergamo. The first gallery of the exhibition is dedicated to the acquisition of Lucretia<\/em>, carried out by Isabella Stewart Gardner herself in 1894 and includes early museum records and correspondences regarding the purchase.[1]<\/span><\/a> A twelve-panel comic by Stevens (Fig. 3) re-envisions the narrative of the acquisition, providing context and humor through its dramatic dialogue between Gardner and art historian Bernard Berenson.<\/span><\/p>\n

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Figure 3. Karl Stevens, Mrs. Jack Buys a Botticelli<\/em>, 2018, ink on paper \u00d3 Karl Stevens 2018. Image courtesy of Isabella Stewart Gardner Museum.<\/figcaption><\/figure>\n

The second gallery has an octagonal structure at its center, recalling the iconic Baptistery of St. Giovanni in Florence, the city where Lucretia and Virginia probably originated.[2]<\/span><\/a> Within the geometric space, the two works are paired side-by-side, facing three paintings with scenes from the life of Saint Zenobius. One of the exhibition\u2019s greatest strengths is its treatment of the theme of male aggression and violence against women, a subject with poignant relevance today. Lucretia and Virginia are Roman heroines celebrated for their mortal sacrifices that preserved their female virtue and familial honor.[3]<\/span><\/a><\/span> Botticelli\u2019s paintings depict traumatic scenes leading up to the women\u2019s deaths by suicide and murder. Steven\u2019s drawings augment these themes by providing a sense of female perspective and anxiety, captured, for example, in the man lunging towards Lucretia and in the large and powerful hands reaching for Virginia (Figs. 4-5). However, the thematic impact of heroinism in the face of adversity is downplayed by the display of Lucretia and Virginia directly across from images of Saint Zenobius. Paired with Stevens\u2019 drawings of Florentine landmarks that lack critical commentary on the Zenobius imagery, paintings of the male saint celebrate his life and miracles in comparison to the women\u2019s martyrdoms. An opportunity to emphasize the stark visual differences of male and female heroisms seems missed.<\/span><\/p>\n

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Figure 4. Karl Stevens, Lucretia<\/em>, 2018, ink on paper \u00d3 Karl Stevens 2018. Image courtesy of Isabella Stewart Gardner Museum.<\/figcaption><\/figure>\n
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Figure 5. Karl Stevens, Virginia I<\/em>, 2018, ink on paper \u00d3 Karl Stevens 2018. Image courtesy of Isabella Stewart Gardner Museum.<\/figcaption><\/figure>\n

Botticelli: Heroines + Heroes<\/em> asks visitors to rethink the meanings of Botticelli\u2019s paintings, whether as parts of a museum collection or as commentary on changing (or unchanging) attitudes towards the treatment of women. Despite its somewhat disconnected themes\u2014heroism, the museum\u2019s Botticelli acquisition, and the violent experiences of women\u2014the combination of artworks alongside Stevens\u2019 drawings provides visitors with a visual array of Botticelli\u2019s later works and juxtaposes issues surrounding women’s experiences today with images from the past.<\/p>\n

Jillianne Laceste<\/span><\/h3>\n

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____________________<\/span><\/p>\n

[1]<\/span><\/a>\u00a0Nathaniel Silver, ed. Botticelli: Heroines + Heroes<\/em> (Boston: Isabella Stewart Gardner Museum; London: Paul Holberton Publishing, 2019), 101.
\n[2]<\/span><\/a>\u00a0The two paintings were \u201cprobably commissioned by or for Giovanni di Guidantonio Vespucci (1476-1534) on the occasion of his wedding to Namicina di Benedetto di Tanai de\u2019 Nerli, Palazzo Vespucci, Florence.\u201d Botticelli: Heroines + Heroes<\/em>, 101.
\n[3]<\/span><\/a>\u00a0Botticelli: Heroines + Heroes, 96.<\/span><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Isabella Stewart Gardner Museum, Boston February 14 – May 19, 2019 The Isabella Stewart Gardner Museum\u2019s exhibition, Botticelli: Heroines + Heroes, brings together paintings by the Renaissance master Sandro Botticelli (c. 1445-1510), showing how Roman and early Christian figures were depicted as role models in his own time. Paintings and drawings created by the artist […]<\/p>\n","protected":false},"author":15609,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[4],"tags":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/posts\/3810"}],"collection":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/users\/15609"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/comments?post=3810"}],"version-history":[{"count":6,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/posts\/3810\/revisions"}],"predecessor-version":[{"id":3944,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/posts\/3810\/revisions\/3944"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/media?parent=3810"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/categories?post=3810"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/tags?post=3810"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}