Humanism, which was alive and strong in the 1480s at the court of Lorenzo d'Medici, was, of course, the need for this type of scene. As a result of all of this, Venus's flesh almost appears to be composed of marble, emphasizing the sculpturesque aspect of her figure. This enhanced the contrast between her bodily features and the background, as well as the color of her milky skin. Botticelli drew a dark line around the curves of Venus's torso when painting her.
Botticelli modeled this image after an Aphrodite statue, such as the Aphrodite of Cnidos, in which the goddess is seen attempting to hide in a modest gesture. With a few exceptions in special circumstances, depicting nude women was not common in the Middle Ages. The nudity of Venus is obviously important in this painting.
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He created Venus an idealized face that is astonishingly free of imperfections, and he shaded her face nicely to distinguish a lighter and a darker side. Botticelli was fascinated by the way women wore their long hair in the late fifteenth century, therefore he paid close attention to her hair and hairstyle. She leans in an odd contrapposto-like pose with a small inclination of the head. Venus appears somewhat off-center and isolated against the background, with no other figures overlapping her. In some ways, the Primavera's composition is comparable to this one. From Zephyrus' lips, the cloak billows in the wind. With her robe in hand, a figure known as Pomona, or the goddess of Spring, waits for Venus on the shore. On the left, Zephyrus is seen carrying the nymph Chloris (also known as "Aura") while blowing the wind to assist Venus. Venus is prominently shown in the center of the painting, emerging from the foam as she rides to land. Venus was said to have arrived on the island of Cythera on a seashell and seafoam following her birth, according to legend. The idea of the Birth of Venus was inspired by the ancient poet Homer's writings.
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