Compare and Contrast Raphael's High Renaissance Fresco Galatea with Botticelli's Early Renaissance Painting Birth of Venus

At first glance Raphael's fresco Galatea and Botticelli's tempera painting Birth of Venus seem very similar although it is believed that they originate from two different stories. Both pantings are neoplatonic in nature as they urge viewers to contemplate the idea of divine love, an idea that both the stories revolve around that is where most of the similarities end; upon closer inspection the differences are quite obvious.

The first and most obvious distinction is is the pose of the central female form. Botticelli's venus is placed in an improbable stance resembling the classical contrapposto it gives her almost a weightless quality which is very typical of early Renaissance art as they closely resemble classical artworks and sculptures in being highly stylized or idealized representations of the human form. One can argue that began during Early Renaissance was perfected during High Renaissance. The move towards humanism is very apparent in Raphael's work. The figure serpentina is firmly grounded on the shell and there is an obvious sense of weight to the figure unlike that of venus by Botticelli.

Both artists have used the actions and placement of surrounding figures to guide the viewers eye towards the central figure, however although both paintings are dynamic in nature Raphael captures a greater sense of movement by overlapping the figures and employing the pyramidal composition which provides the painting with a sense of stability.

Galatea possesses a sense of depth due to the spectacular combination of perspective, chiaroscuro and sfumato. By combining these ideas Raphael creates a believable space. The chiaroscuro reveals the presence of a believable light source and the sfumato a feeling of the background disappearing into the horizon.