Quotes & Sayings About Botticelli

People drink and do drugs for a reason. Cause it makes them feel good - until it doesn't anymore. — Michael Botticelli

The terms that Sforza Cesarini offered Rossini, 400 Roman Scudi, were not ungenerous, though it must have been galling for Rossini to see the Figaro, Luigi Zamboni, getting almost twice as much, and the Almaviva, Manuel Garcia, being offered three times the amount. Of the first-night cast, only the 'altro buffo', Bartolomeo Botticelli, who played Bartolo, and the 'seconda donna', Elisabetta Lowselet, who played Berta, were paid less than the composer. — Richard Osborne

Even her hair, she thought, running her fingers impatiently through the damp golden brown ringlets that curled romantically around her face. A Botticelli angel, a boy in college once called her, begging her to let it grow. Right! That was all she needed: wild curls cascading down her back like a doomed Shakespearian virgin, or a rock star. — Naomi Ragen

As an artist, I identify with Sandro Botticelli. We know him as the man who painted Primavera and The Birth Of Venus. The goddesses and ancient subjects he chose represented virtues which were meant to inspire people. Then he went through a dark phase when he was listening to the sermons of Savonarola, who preached against the worldly pleasures of the Renaissance. But Botticelli's works live on, inspiring people to this day. Five hundred years after his death, he still has thousands of fans! — Mary Pope Osborne

FACT: The Priory of Sion - a European secret society founded in 1099 - is a real organization. In 1975 Paris's Bibliothque Nationale discovered parchments known as Les Dossiers Secrets, identifying numerous members of the Priory of Sion, including Sir Isaac Newton, Botticelli, Victor Hugo, and Leonardo da Vinci. — Dan Brown

Venus Transiens

Tell me,
Was Venus more beautiful
Than you are,
When she topped
The crinkled waves,
Drifting shoreward
On her plaited shell?
Was Botticelli's vision
Fairer than mine;
And were the painted rosebuds
He tossed his lady
Of better worth
Than the words I blow about you
To cover your too great loveliness
As with a gauze
Of misted silver?

For me,
You stand poised
In the blue and buoyant air,
Cinctured by bright winds,
Treading the sunlight.
And the waves which precede you
Ripple and stir
The sands at my feet. — Amy Lowell

It was with an unusual intensity of pleasure, a pleasure destined to have a lasting effect on him, that Swann remarked Odette's resemblance to the Zipporah of that Alessandro de Mariano to whom more people willingly give his popular surname, Botticelli, now that it suggests not so much the actual work of the Master as that false and banal conception of it which has of late obtained common currency. — Marcel Proust

Addiction is a brain disease. This is not a moral failing. This is not about bad people who are choosing to continue to use drugs because they lack willpower. — Michael Botticelli

I've had so many influences and sources of inspiration as an illustrator that it is impossible to name just one. I loved Aubrey Beardsley when I was a student, and then Edmund Dulac and other Golden Age illustrators made a big impact, as well as Victorian painters like Richard Dadd and Edward Burne-Jones. My long-term heroes though are Albretch Durer, Brueghel, Hieronymous Bosch, Jan Van Eyck, Leonardo, Botticelli, Rembrandt, Turner and Degas. What most of them have in common is brilliant draughtsmanship and a strong linear or graphic quality. Most are also printmakers. The one I keep going back to and who fascinates me the most is JMW Turner, the greatest watercolourist. — Alan Lee

I always have the idea in mind that when Botticelli was an old man nobody cared about him because he was out of fashion. Imagine, Botticelli was out of fashion! — Norbert Bisky

It was worse than murder. It was twisted, wretched perversion, as though someone had bludgeoned another person to death with a Botticelli, turned something of beauty to an act of utter destruction. — Jim Butcher

And his mother, especially as Botticelli had painted her and Auge carved her, seemed like a perfectly nice goddess. — Jo Walton

Well, for that matter, I was also a good friend of Leonardo da Vinci, Botticelli, Francis Bacon, Albert Einstein, and John, Paul, George, and Ringo." He pauses, seeing the blank look on my face and groaning when he says, "Christ, Ever, the Beatles!" He shakes his head and laughs. "God, you make me feel old. — Alyson Noel

His breath halted as he stared at her. Why hadn't he seen it before? The woman in his carriage, the one who'd emerged from his carriage like a Botticelli Venus, was beautiful.
Not in the way Cassandra had been beautiful, with glittering eyes and full, red lips. Cassandra's blond beauty might have faded in time, become handsomeness instead.
This woman's beauty was simple; well-defined cheekbones, a high forehead, slender nose, and stubborn chin. As the years passed she might grow even more attractive.
He suspected that her laugh would captivate, just as her tears would act like a razor to whomever brought them forth. Her smile had already charmed him, and now her silence incited his curiosity. Not about who she was and why she was here, but about more.
Who was the woman behind the smile? — Karen Ranney

It appears that Venus has Beatrice's face. Once again, I'm not interested in a historical analysis of the models for the painting. I'm simply asking you to note the visible similarities between the figures. They represent two muses, two ideal types, one theological and one secular. Beatrice is the lover of the soul; Venus is the lover of the body. Botticelli's La Bella has both faces - one of sacrificial love or agape, and one of sexual love or eros. — Sylvain Reynard

In other words, Botticelli's ideal women look like women and not boys. They're soft and curvaceous. Healthy and rounded. Women of the size figured in this painting were considered beautiful for centuries, if not millennia. They were the aesthetic ideal during my lifetime and long after."
He brought his mouth to her neck before whispering, "My ideal hasn't changed. — Sylvain Reynard

Over a quarter of a century ago she and Vernon had made a household for almost a year, in a tiny rooftop flat on the rue de Seine. There were always damp towels on the floor then, and cataracts of her underwear tumbling from drawers she never closed, a big ironing board that was never folded away, and in the one overfilled wardrobe dresses , crushed and shouldering sideways like commuters on the metro. Magazines, makeup, bank statements, bead necklaces, flowers, knickers, ashtrays, invitations, tampons, LPs, airplane tickets, high heeled shoes- not a single surface was left uncovered by something of Molly's, so that when Vernon was meant to be working at home, he took to writing in a cafe along the street. And yet each morning she arose fresh from the shell of this girly squalor, like a Botticelli Venus, to present herself, not naked, of course, but sleekly groomed, at the offices of Paris Vogue. — Ian McEwan

Botticelli would have made a very good fashion photographer. He did eight heads instead of seven heads in a body, which is fashion illustration. — David Bailey

Die young, stay pretty. Blondie, right? We think of it as a modern phenomenon, the whole youth thing, but really, consider all those great portraits, some of them centuries old. Those goddesses of Botticelli and Rubens, Goya's Maja, Madame X. Consider Manet's Olympia, which shocked at the time, he having painted his mistress with the same voluptuous adulation generally reserved for the aristocratic good girls who posed for depictions of goddesses. Hardly anyone knows anymore, and no one cares, that Olympia was Manet's whore; although there's every reason to imagine that, in life, she was foolish and vulgar and not entirely hygienic (Paris in the 1860s being what it was). She's immortal now, she's a great historic beauty, having been scrubbed clean by the attention of a great artist. And okay, we can't help but notice that Manet did not choose to paint her twenty years later, when time had started doing its work. The world has always worshipped nascence. Goddamn the world. — Michael Cunningham

I wear myself out trying to render the orange trees so that they're not stiff but like those I saw by Botticelli in Florence. It's a dream that won't come true. — Berthe Morisot

Florence is perhaps best known for being the seat of Renaissance art, and rightly so: A greatest-hits collection of artists passed through its streets - Michelangelo, Leonardo, Botticelli, and Brunelleschi among them. — Hanya Yanagihara

Blunt force didn't knock out the drug epidemic. 21 million Americans are addicted to drugs or alcohol. And half of all federal inmates are in for drug crimes. — Michael Botticelli

I would say that I probably had an unhealthy love affair with drinking. I grew up as this kind of insecure kid, you know, kind of making my way. And drinking took all of that away. — Michael Botticelli

If I, in some small way can help people to see that there is this huge, incredible life on the other side of addiction, you know, I will feel accomplished in my job. — Michael Botticelli

We can't arrest and incarcerate addiction out of people. Not only do I think it's really inhumane, but it's ineffective and it cost us billions upon billions of dollars to keep doing this. — Michael Botticelli

After all, what can a first impression tell us about someone we've just met for a minute in the lobby of a hotel? For that matter, what can a first impression tell us about anyone? Why, no more than a chord can tell us about Beethoven, or a brushstroke about Botticelli. By their very nature, human beings are so capricious, so complex, so delightfully contradictory, that they deserve not only our consideration, but our reconsideration - and our unwavering determination to withhold our opinion until we have engaged with them in every possible setting at every possible hour. — Amor Towles

At the Uffizi, I experienced a moment that was touching, painful, and almost embarrassing. We stopped in front of the famous Botticelli painting, The Birth of Venus. I gazed wistfully at her incomparably lovely, yet, as Vasari described, oddly distorted form emerging from the waves in a seashell, her long red-golden tresses blown by Zephyrs. No woman ever had so elongated a neck or such sinuous limbs. Botticelli contorted, and some might say deformed, the human shape to give us a glimpse of the sublime. — Gary Inbinder

I'm one of 23 million Americans in recovery who have gone on to live productive lives. — Michael Botticelli

I think it's overly simplistic to say that any one single strategy is going to really change the focus and change the trajectory of drug use. — Michael Botticelli

She wanted to be someone's muse - to be worshipped and adored, body and soul. She wanted to play Beatrice to a dashing and noble Dante and to inhabit Paradise with him forever. And to live a life that would rival the beauty of Botticelli's illustrations. — Sylvain Reynard

Between their rise in the thirteenth century and their sudden fall in the seventeenth, when the line abruptly ended, the Medicis produced three popes, two queens, and many Florentine rulers, and they supported the work of Galileo, Michelangelo, Leonardo, and Botticelli - a veritable parade of geniuses. — Hanya Yanagihara

You can't live on nothing." "I can live on sunlight falling across little bridges. I can live on the Botticelli-blue cornflower pattern on the out-billowing garments of the attendant to Aphrodite and the pattern of strawberry blossoms and the little daisies in the robe of Primavera. I can live on the doves flying (he says) in cohorts from the underside of the faded gilt of the balcony of Saint Mark's cathedral and the long corridors of the Pitti Palace. I can gorge myself on Rome and the naked Bacchus and the face like a blasted lightning-blasted white birch that is some sort of Fury. — H.D.

If Botticelli were alive today he'd be working for Vogue. — Peter Ustinov

His thoughts became as scattered and aimless as the rivulets sluicing down her lush curves. She was a goddess rising from the water. Like Botticelli's Birth of Venus, except with heavy silvery hair darkened by her bath that, unlike Venus, she didn't use to hide her feminine secrets. She stood with her chin held at an obstinate angle, her shoulders straight in an observance of good posture, those soft gray eyes staring at him with a mixture of resolution and expectation. — Kerrigan Byrne

Addiction is such an isolating incident in your life. You feel alone. And when you admit, when you come into a fellowship and people just surround you and say, "We will help you, that you're not alone, that we've been through it before, and you will get through it," just gives you such great hope. — Michael Botticelli

His intended probably wouldn't appreciate the comparison, but Thorn had the notion that she was like a rescued hound, one that would adoringly follow her new master in return for some kindness. That was absurd, given that she was as beautiful as a wild rose, with hair like a Botticelli angel. By all rights, she should be arrogantly aware of her dominion over men. But instead she had a desperate look about her eyes, as if she needed saving.
It was a fair trade, in his estimation. Her beauty in return for his protection. — Eloisa James

General theories are everywhere condemned; the doctrine of the Rights of Man is dismissed with the doctrine of the Fall of Man. Atheism itself is too theological for us to-day. Revolution itself is too much of a system; liberty itself is too much of a restraint. We will have no generalizations. Mr. Bernard Shaw has put the view in a perfect epigram: 'The golden rule is that there is no golden rule.' We are more and more to discuss details in art, politics, literature. A man's opinion on tramcars matters; his opinion on Botticelli matters; his opinion on all things does not matter. He may turn over and explore a million objects, but he must not find that strange object, the universe; for if he does he will have a religion, and be lost. Everything matters
except everything. — G.K. Chesterton

Giovanni's behavior had changed dramatically since he had opened that crate. He felt haunted. [After meeting the portrait of Botticelli's Bastard] — Stephen Maitland-Lewis

The hallmark of addiction is that it changes your brain chemistry. It actually affects that part of your brain that's responsible for judgment. — Michael Botticelli

The Louvre! The Louvre has me in its clutches. Every time I'm there rich blessings rain down upon me. I am coming to understand Titian more and more and learning to love him. And then there is Botticelli's sweet Madonna, with red roses behind her, standing against a blue-green sky. And Fiesole with his poignant little biblical stories, so simply told, often so glorious in their colors. — Paula Modersohn-Becker

Prescription drugs and heroin act in very similar ways on the brain. And, unfortunately, heroin, because of its widespread availability is a lot cheaper. — Michael Botticelli

Was it me that Botticelli imagined? — Brigitte Bardot

Even Proust - there's a famous passage where Odette opens the door with a cold, she's sulky, her hair is loose and undone, her skin is patchy, and Swann, who has never cared about her until that moment, falls in love with her because she looks like a Botticelli girl from a slightly damaged fresco. Which Proust himself only knew from a reproduction. He never saw the original, in the Sistine Chapel. But even so - the whole novel is in some ways about that moment. And the damage is part of the attraction, the painting's blotchy cheeks. Even through a copy Proust was able to re-dream that image, re-shape reality with it, pull something all his own from it into the world. Because - the line of beauty is the line of beauty. It doesn't matter if it's been through the Xerox machine a hundred times. — Donna Tartt

One of the drivers of heroin has been the misuse of pain medication. If we're gonna deal with heroin and heroin use in the United States, we really have to focus on reducing the magnitude of the prescription drug use issue. — Michael Botticelli

Or she would look at him with a sullen expression, once again he would see before him a face worthy of figuring in Botticelli's Life of Moses, he would place her in it, he would give her neck the necessary inclination; and when he had well and truly painted her in distemper, in the fifteenth century, on the wall of the Sistine Chapel, the idea that she had nevertheless remained here, by the piano, in the present moment, ready to be kissed and possessed, the idea of her materiality and her life would intoxicate him with such force that, his eyes distracted, his jaw tensed as though to devour her, he would swoop down upon that Botticelli virgin and begin pinching her cheeks. — Marcel Proust