Botticelli, Sandro. The Birth of Venus. 1485.

Tanning, Dorothea. Children’s Games. 1942. Comparative Study Weylandt, Arnold. Bauchwitz. Mysteriosen Catakomben. 1890.

By Chevalle Weigman-Cotter
This study is designed to explore the differences and similarities between three unique artists in terms of both their analytic and formal qualities. I’ve chosen one
piece to represent each artist: Sandro Botticelli’s The Birth of Venus, Dorothea Tanning’s Children’s Games, and Weylandt & Bauchwitz’s Die Mysteriosen
Catakomben, respectfully.

My reasoning for choosing these artists is the way in which, on surface level, they appear incredibly different from each other visually and conceptually, with
Botticelli being an Italian Renaissance painter, Tanning an American Surrealist painter, and Weylandt & Bauchwitz German magic poster designers. However, I
want to highlight the artistic choices they actually share, as well as how influences from all three artists can be used together to portray a theme that is extremely
special to me: Expression of dark or disturbing subject matter through attractive visuals.
Evaluating Cultural Context & Significance

Sandro Botticelli
Botticelli is considered to be one of the greatest Renaissance
painters of all time. Born in Florence, Italy in 1445, he began
painting despite initially being apprenticed to a goldsmith. With
support from his father, he received lessons from renowned
Florentine painter Filippo Lippi, who played an important role in
helping him further develop his painting skills. Lippi’s teachings
had a direct influence on Botticelli’s use of linear perspective,
intricate compositions, flowing forms and pale hues.

The Renaissance represented the surging interest in classical art,

literature, and science throughout Europe. For painters such as
Botticelli, this was a perfect opportunity to establish themselves as
artists by means of creating religious or mythical pieces. His
uniquely graceful style during this period of artistic rediscovery
quickly helped him in becoming a well-respected artist whose
Botticelli, Sandro. The Birth of Venus. 1485. work would be praised centuries past his time.

The Birth of Venus is one of the most well-known works of Botticelli, as well as the entire Early Renaissance period in general. It is one of multiple paintings
commissioned by the Medici family, who were extremely wealthy known patrons of the arts. It was created using materials that were only just gaining respect in
the art world: tempera on canvas. At its time, The Birth of Venus sparked controversy due to its depiction of Venus as a fully nude figure, whereas the majority of
nude figures were covered up to remain conservative in the Middle Ages. However, this version of Venus is now recognized as appreciative of her beauty in her
most vulnerable, simplest form.
Evaluating Cultural Context & Significance
Dorothea Tanning Weylandt & Bauchwitz
Tanning worked to establish herself as an American Weylandt and Bauchwitz were active German poster designers during
painter in the early 1940s, during which the United States approximately 1880-1915. There is minimal documentation regarding the two
entered the second world war. In 1941, she became artists, however, they are suggested to have run a graphic institute together in
acquainted with art dealer Julien Levy and his friends who Berlin. Works created by Weylandt individually reveal his full name to be
were refugees from Nazi occupied France. They soon Arnold Weylandt, but there are no accessible records for identifying
introduced her to the Surrealism movement, which Bauchwitz.
quickly inspired her to explore Surrealism in her own - Weylandt and Bauchwitz were designers during the height of the circus scene
artwork. in Germany. The majority of their works served as prominent advertisements
One of Tanning’s most iconic pieces to come from this era for circus acts in Berlin. As graphic artists in the late 1800s, they did not have
was Children’s Games. Although 1942 was a year of great access to the same digital art mediums and technology used today. Instead,
tension considering the brutality of the war, this painting their posters were drawn completely by
reflects more particularly on her childhood. Tanning was hand and reproduced as lithographs. These
born and raised in a strictly Lutheran home in Galesburg, factors have caused their artwork to become
Illinois, which she described as “nothing but the increasingly more valuable over time and are
wallpaper” in her autobiography. She recalled feeling heavily cherished as traditional vintage
trapped during her adolescent years, unsure of what to posters. Despite the artists creating these
make out of the physical changes of puberty and the early posters to be disposable advertisements,
Tanning, Dorothea. Children’s Games. 1942.
formation of her sexuality In this painting, she references collectors work to preserve the condition of
the wallpaper that bored her as a child, but uses it for something much more explorative as an adult. any remaining ones. One of their most
For Tanning, the hints of eroticism in this painting were inspired by the personal curiosity and reproduced, iconic posters is Die
vulnerability she felt as young girl, but her representation of such ideas in many of her works have Mysteriösen Catakomben, which translates
grown progressively more controversial with age. Her interest in depicting the form of young girls from German to The Mysterious Catacombs.
has been praised for normalizing the female body at all stages and she is considered by many to be a Weylandt, Arnold. Bauchwitz. Die Perhaps this piece has developed cult
feminist artist. However, paintings like Children’s Games have been criticized for being exploitative Mysteriosen Catakomben. 1890. admiration due to its darker depiction of a
and perverse, many referring to her as a “radical Surrealist.” magic trick known as Pepper’s Ghost.
Comparing Cultural Context & Significance
Botticelli and Tanning share cultural Tanning, Weylandt, and Bauchwitz share
significance by means of: cultural significance by means of:
- Controversy regarding sexuality. - Separation from the popular fine
Botticelli was subject to criticism for
artists of their time. In pieces like
painting a fully nude female figure and
Tanning was accused of sexualizing Children’s Games, Tanning expresses
children by painting bare parts of young herself using unusual imagery that
girls’ bodies. could be seen as offputting regardless of
how they are received by the public.
- Portrayal of vulnerability. Botticelli Weylandt and Bauchwitz’s designed
aimed to use nudity in order to showcase
posters that appeared more illustrative
Venus in an exposed, vulnerable state.
Tanning used children in her painting to than realistic. Their style included more
express her curiosity, naivety, and cartoon-like features that wouldn’t
Botticelli, Sandro. The Birth of Venus. 1485.
vulnerability from her childhood. classify as fine art.

Botticelli, Weylandt, and Bauchwitz share cultural significance by means of:

- Entrepreneurship. The Birth of Venus was one of many works of Botticelli’s
commissioned by the wealthy Medici family. Weylandt and Bauchwitz’s posters
were allegedly designed by their graphic institute, meaning that Die Mysteriösen
Catakomben was most nearly commissioned to support the German circus
industry.

- Methods and mediums that were later replaced by others. The use of tempera on
canvas, like in Botticelli’s work, was standard of Renaissance painting in the 1400s,
but this standard became oil on canvas during the 1500s. Weylandt and Bauchwitz
used traditional lithography to create and reproduce their posters, though this
method of printing later became less preferable compared to offset printing.
Weylandt, Arnold. Bauchwitz.
Tanning, Dorothea. Children’s Mysteriosen Catakomben. 1890.
Games. 1942.
Contrasting Cultural Context & Significance
Botticelli, Tanning, Weylandt, and Bauchwitz all differ in cultural Botticelli, Weylandt, and Bauchwitz differ from
significance by means of: Tanning in cultural significance by means of:
- Less modernized mediums. Tempura, used by
- Their time period. Botticelli’s work was most prominent in the late
1480s, when work portraying religious or mythological figures was Botticelli, and hand drawn lithographs and
extremely popular. Tanning’s work was most prominent during the prints, used by Weylandt and Bauchwitz may
1940s, a time in which less traditional styles of art were being be considered outdated mediums compared to
explored. Weylandt and Bauchwitz were most active somewhere digital art and printmaking, as well as oil
between the late 1800s and early 1900s, during the peak of the circus Botticelli, Sandro. The Birth of Venus. 1485.
industry. paints, which were used by Tanning.
- Their country of origin. Botticelli resided in Florence, Italy. Tanning
came from The U.S., Illinois specifically, while Weylandt and Tanning, Weylandt, and Bauchwitz differ from Botticelli in
Bauchwitz resided in Berlin, Germany. cultural significance by means of:
- Their movements. The Birth of Venus is considered to be one of the
- Traditionalism. Botticelli’s work represents more classical art. His
most famous pieces of the Renaissance art movement. Tanning’s
paintings were inspired by other Surrealist artists, and she ultimately work was done as part of the Renaissance movement, which was of
became a pioneer of the movement. Weylandt and Bauchwitz’s work great commercial success, and is perhaps one of the most well
can only described as works from the era of early graphic arts, or the known eras of classical painting. Tanning, Weylandt and Bauchwitz
specific niche German magic poster design community. would not be considered classical, as Surrealism art is considered
- Their audience. Botticelli created his religious and mythological
less conventional and magic posters were created with the purpose
paintings to appease his rich commissioners as well as to showcase his
appreciation for such figures to the general public. Tanning created of advertising rather than exemplifying classical art of the 1800s.
her surrealist pieces to express herself personally, without a particular
audience, though her work was mostly presented to the general public Tanning, Dorothea.
and her critics. Weylandt and Bauchwitz’s posters served as Children’s Games. 1942.
Weylandt, Arnold. Bauchwitz. Mysteriosen Catakomben. 1890.
advertisements to be viewed by everyday people in the Berlin area.

Botticelli and Tanning differ from Weylandt and Bauchwitz in cultural significance by means of:
- Indulging in fantasy. Paintings like The Birth of Venus portray mythological characters as beautiful and sacred with scenery that makes them feel
ethereal. Tanning uses blatantly fictional scenes for her paintings, with Children’s Games using unrealistic and odd imagery to portray her own idea
of fantasy as a young girl. Die Mysteriösen Catakomben, on the other hand, is meant to portray the real magic trick Pepper’s Ghost.
Comparing and Contrasting Cultural Context & Significance
Against CS Art

Weigman-Cotter, Chevalle. Tanning, Dorothea. Weigman-Cotter, Chevalle. Botticelli, Sandro. The Birth of Venus. 1485. Weigman-Cotter, Chevalle. Weylandt, Arnold. Bauchwitz.
Untitled. 2023 IT’S KILLING YOU. 2023 Mysteriosen Catakomben. 1890.
Untitled. 2023 Children’s Games. 1942.

Similarities Similarities Similarities

-Representation of -Interests. While Botticelli’s work -Interests. Both pieces
behavioral patterns. focuses on a more specific Greek are heavily, if not
Both pieces showcase mythological tale, both pieces are entirely focused on
childhood innocence influenced by the artist’s interests in communication
and vulnerability the gracefulness associated with the design..
-Values. Highlights characters mythological stories -Influences. Both
Differences the importance of Differences -Values. Both artists value the
Differences
works include
Differences designs with Differences
curiosity in childhood, Differences (My importance of showcasing
(My Work) focusing particularly (Tanning’s) vulnerability in their subjects (e.i., (Botticelli’s) (My Work) inspiration from (Weylandt and
Work)
-Experience on young girls -Experience -Experience
nudity or impacts of trauma) illustrative Bauchwitz’s)
-Values artwork
reflected. reflected. reflected. -Story reflected. Focuses on the -Values
expressed.
Focuses Focuses on the effects of Focuses on impacts of trauma. context of the Greek mythological expressed.
Communicates values
on impacts of childhood repressed sexuality in -Time period. Reflects on tale of Venus’s birth Communicates values
of the natural world
trauma. adolescence. experience of trauma from 21st -Time period. Reflects on the story of the German circus
over technology
-Time period. Reflects on -Time period. Reflects on century from a 15th century perspective industry
-Time period. Based
experience from 21st experience from 20th -Setting. Artwork reflects on the -Setting. Artwork reflects the story -Time period. Based on
on experience from
century, post World War century in the midst of experience with a cultural with a cultural perspective from the 19th-20th century,
the 21st century digital
II America. World War II America. perspective from the United States the art scene of Florence, Italy. pre-digital age.
age
of America.
Conceptual & Material Significance
Concept Concept Concept
- Inspired ancient poet - Displays three young girls: two of which are - Features a man stepping out of a coffin who has gradually
Homer, who wrote that tearing apart a layer of wallpaper in a seemingly transformed into a skeleton by the hands of a magician. It is likely
Venus, the goddess of love, endless hallway, revealing what can only be that the illustration is inspired by a real-life stage performance. The
beauty and procreation, described as “fleshy protrusions” behind it. One magic trick portrayed in this artwork is known as “Pepper’s
was born out of foam and of the two girl’s skin is exposed on her backside, Ghost,” which is the act of holographically
rode on a seashell to the Botticelli, Sandro. The Birth of Venus. 1485. her hair connected to a section of hair connected producing a false image of a ghost next to an
island of Cytheria. Botticelli depicts this scene in to the fleshy areas, and a third girl lays flat on the actor or magician. This piece was used as a
his painting, placing Venus in the center with the floor outside of the frame.
poster, and was designed to advertise German
addition of Greek god Zephyrus holding the - Includes mildly sexual undertones that are
magic shows and the traveling
nymph Chloris to the left of her. Then, on the right combined with the innocence of young women Weylandt, Arnold. Bauchwitz.
Mysteriosen Catakomben. 1890.
hand side, goddess of Spring Pomona waits for and was created with the intention of
Venus on the shore, holding a mantle. unsettlingly portraying female adolescence, or circus of its time. It can be inferred that the title Die Mysteriösen
- Portrays Venus as angelic and graceful to the eeriness of transitioning out of Catakomben is in reference to the name of the actual show being
emphasize her beauty. Her beauty is also meant to prepubescence. advertised.
be highlighted in her vulnerability, as she is - Scenery derives from the corridors of Tannning’s - Design is playfully creepy in order to appropriately represent the
painted nude and attempts to cover herself in childhood home, which is a symbol of her youth magic show while also being suitable for advertising.
humility. and naivety. Material
- Renaissance paintings with mythological themes Material
were common at the time this piece was created, - The poster was initially hand drawn and colored using ink, and
but the full-fledged nudity of the female figure then was reproduced using lithography. This was the standard
- The use of oil on canvas was
was not, and this portrayal of Venus was far ahead method of printmaking at the time for advertisements such as this
extremely popular for artists by
of its time. one, and was considered one of the most effective for mass
the 1940s, especially within the Tanning, Dorothea.
Material Children’s Games. 1942. reproduction.
Surrealist movement. The
- Painted using tempura paint on canvas. Tempura was - smoothness and blendability of oil paints on
a common painting medium during the Renaissance stretched canvas help to make surreal - It is unknown what exact type of paper the posters were printed
period, but The Birth of Venus was one of the first to be paintings appear more “transcending” while onto, but it was most likely on the thinner, more delicate side due
painted on canvas, as the majority of paintings were also allowing artists like Tanning to add layers to the fact that the posters were meant to be disposable, as well as
done on wood panels. Canvas was a cheaper option and textures that cater to their own painting the fact that any remaining posters are now carefully taken care of
and became more popular after this time. style. to preserve their quality
Comparing Conceptual & Material Significance
Botticelli and Tanning share conceptual and Tanning, Weylandt, and Bauchwitz share
material significance by means of: conceptual and material significance by means of:

- Emphasis on female innocence and - Dark visuals. Although Weylandt and

vulnerability. They both manage to do this Bauchwitz’s visuals may be a bit more
by incorporating or implying nudity and lighthearted, both pieces contain
sexuality revolving around young women. imagery that would be considered
- Paint on canvas as a medium. Although objectively ominous or scary, like the
their exact types of paint differ, both skeleton in Die Mysteriösen
Botticelli and Tanning used canvas for their Catakomben or the flesh behind the
paintings, which was beneficial for them in wallpaper in Children’s Games.
terms of cost as well as efficient painting.

Botticelli, Weylandt, and Bauchwitz share conceptual and material

significance by means of:

- Their concepts are removed from their personal lives. They both tell
stories that aren’t inspired from their real-life experiences, but rather
magic or mythology that originated from the ideas of someone else.
- Traditional mediums for their time. Botticelli’s usage of tempura paint
was considered very appropriate for the Renaissance period, while
lithography was an extremely popular method of printmaking in the late
1800s, up until more efficient tactics were discovered.
Contrasting Conceptual & Material Significance
Tanning, Weylandt, and Bauchwitz differ from
Botticelli, Weylandt, and Bauchwitz differ
Botticelli in conceptual and material significance
from Tanning in conceptual and material
by means of:
- Mysterious imagery. The image of the
significance by means of:
somewhat exposed little girls tearing up the
wallpaper, fixated on the wads of flesh Tanning, Dorothea. Weylandt, Arnold. Bauchwitz.
- Romanticizing their subjects. Botticelli
Botticelli, Sandro. The Birth of Venus. 1485.
behind it, is quite random and makes room
Children’s Games. 1942. Mysteriosen Catakomben. 1890.
portrays venus in a way that is graceful
for many questions about the concept Botticelli, Tanning, Weylandt, and Bauchwitz all differ in and ethereal, and Weylandt and
behind Children’s Games. Die Mysteriösen conceptual and material significance by means of: Bauchwitz portray Pepper’s Ghost as an
Catakomben purposefully lacks context, incredible, must-see magic trick. Tanning
only illustrating the end of a magic trick to - The stories and ideas they are trying to convey. While The does not romanticize the young girls
reel their audience in to go and visit the Birth of Venus was painted as a tribute to the goddess of shown in her work, but more so
circus. The Birth of Venus is relatively love and fertility, Children’s Games was painted as acknowledges them and their symbolism.
straightforward, coming directly from commentary on puberty and sexual development, as well as - Easily accessible mediums/techniques.
stories of Greek mythology. her personal experience with such matters. Die Mysteriösen Botticelli painted on canvas, which was
- Visible brushstrokes. Although Tanning Catakomben is a visual description of the magic trick considered a cheap alternative to wooden
used oil paint and Weylandt and Bauchwitz Pepper’s Ghost. panels, and Weylandt and Bauchwitz used
used ink, their brushstrokes both leave a - Mediums. Botticelli painted with tempura, Tanning painted lithography because during their time, it
unique texture on their artwork, whether it with oil paints, and Weylandt and Bauchwitz used ink to was the most effective way reproduce their
be for the strands of hair in Children’s produce lithographs. design on as many times as possible.
Games, or the dark shadows in Die
Mysteriösen Catakomben. Botticelli, on the Botticelli and Tanning differ from Weylandt and Bauchwitz in conceptual and material significance by means of:
other hand, made a concious effort to blend
every individual brushstroke to the point - Themes. Botticelli and Tanning both focus heavily on things such as female beauty and vulnerability, while Weylandt
where they are hardly distinguishable. and Bauchwitz’s poster is an extremely forward advertisement without any particular universal theme.
- Artwork type. The Birth of Venus and Children’s Games are both traditional paintings, while Die Mysteriösen
Catakomben is a design printed onto a poster.
Comparing and Contrasting Material & Concept Significance
Against CS Art

Weigman-Cotter, Chevalle. Botticelli, Sandro. The Birth of Venus. 1485. Weylandt, Arnold.
Weigman-Cotter, Chevalle. Tanning, Dorothea. Weigman-Cotter, Chevalle.
Untitled. 2023 Bauchwitz. Mysteriosen
Untitled. 2023 Children’s Games. 1942. IT’S KILLING YOU. 2023
Catakomben. 1890.

Similarities Similarities Similarities

-Concept: Early -Concept: Communication
-Concept: Romanticizing the
childhood and design project. Language
presence of a female character.
adolescence. Both pieces and visuals share a
Allows the beauty of said
reflect on the message with the public.
characters in each piece to be
subconscious of young -Material: Poster.
emphasized and impact the
girls. The medium is
context surrounding them.
Differences -Material: Oil paint on Differences simple and easily
canvas. Allows for Differences (My -Material: Canvas. The canvas Differences Differences reproduced, and Differences
(My Work) smoother blending and (Tanning’s) allows the traditional, handcrafted (Weylandt and
Work) (My Work) ideal for
style of each painting to be shown. (Botticelli’s)
-Concept: appearance with the communication
-Concept: Puberty -Concept: Trauma. -Concept: The Bauchwitz’s)
Trauma. The ability to build texture. and sexuality. This The piece symbolizes
-Concept: Depicts the birth of dangers of
design.
Concept: Promoting a
piece showcases Venus. Visually tells the story technology and
helps portray female the impacts of trauma on the magic show. Invites people
trauma recovery from the of the Greek mythological social media. The piece
adolescence in a more body and mind. to experience part of the
perspective of the survivor. tale. focuses on their toxicity
unsettling way. -Material: Oil paint. The usage of oil German circus scene.
-Material: Oil paint in -Material: Tempura paint. and resulting mental harm. Material: Colored with
-Material: Oil paint in paint allows for smooth blending that
greater quantities. Allows This medium holds -Material: Digital. The use ofink and reproduced with
lesser quantities. Allows the compliments dark and mysterious
the smooth texture of the significance for its common modern technology to create lithography. These were
texture of the canvas to show nature of the piece
oil paint to shine across usage during the Renaissance the artwork creates
through and create a “grittier” extremely efficient
the canvas and create a art movement. a sense of irony.
depiction of the concept. techniques for their time.
more “lucid” tone.
Function & Purpose
Children’s Games The Birth of Venus
Die Mysteriösen
Function: Expressive and Shocking Function: Decorative and Mythological Catakomben
- The painting was commissioned by the extremely Function:
wealthy Medici family, though it is not known which Descriptive and
exact member it was done for. It was to be hung inside Practical
the home of of Lorenzo di Pierfrancesco de’ Medici. It
was very common for rich Florentine patrons of the
arts to request pieces from the most highly-praised
artists in the 1400s.
- Directly linked to the mythological story of Venus’s
birth, in which venus travels across a shore on sea
- The painting expresses Dorothea Tanning’s retrospective feelings foam upon being born into the world.
about her childhood sexual development and transition out of - Visually describes Pepper’s Ghost as a magic
adolescence. It encapsulates her feelings of curiosity as well as the Purpose trick, as well as the specific German magic event
dark appeal in the taboo nature of such subjects. and/or circus, hence the name Die Mysteriösen
- Surreal imagery to confuse and shock viewers. From the implied - It complimented the many valuable, high quality Catakomben. It appears to capture the peak of
pieces of art displayed in the Medici home, as well as
nudity of the adolescent girls, to the flesh behind the wallpaper, the magic trick, with a participant shown to be
the lavishness of the home in general.
the hair growing out of it, to the seemingly content position that - Gave the opportunity for a wealthy art patron to transformed into a skeleton.
the little girls are in. financially support an artist such as Botticelli - Was designed to be printed onto magic posters
- Showcases Botticelli’s own visual interpretation of the which were advertised across Berlin. The
Greek mythology, in which he emphasizes the beauty marketing aspect of the artwork can be
Purpose of Venus and graceful nature of her upbringing as
viewed in his mind. considered practical use.
- It serves as an outlet for Tanning’s thoughts of curiosity and
uncertainty as a child, which she was unable to discuss openly Purpose
when she was younger. The somewhat disturbing nature of the
painting may be influenced by how the thoughts manifested over - The sensational and exciting design gives the
time. public an idea of what the magic trick looks like
- The confusion evoked by the piece may help some viewers put and draws them into potentially visiting the
themselves in the same shoes as Tanning. It also prompts viewers circus.
to sit in the discomfort and fully immerse themselves in the - The posters promote the event and get the word
piece. about the circus scene out.
Comparing Function and Purpose
Botticelli and Tanning Botticelli, Weylandt and Bauchwitz
- The function expresses the - The function markets the work of the artists.
interpretation of a specific scene. The Botticelli created the Birth of Venus as a
Birth of Venus expresses Botticelli’s commissioned piece, and Weylandt and Bauchwitz
wondrous idea of what Venus’s birth can be inferred to have designed Die Mysteriösen
would actually look like, and Children’s Catakomben for work at their graphic institute.
Games serves as a retrospective - The purpose brings out positive feelings about the
commentary on the obliviousness subject of the piece. The Birth of Venus focuses on
associated with Tanning’s adolescent how Venus’s presence amazes the characters
years. surrounding her, and Die Mysteriösen Catakomben
- The purpose helps the audience visually Botticelli, Sandro. captures the excitement associated with going out to
comprehend the artist’s interpretation. The Birth of Venus. see a magic show.
1485.
The graceful mythological depiction
shown in The Birth of Venus shows Tanning, Weylandt and Bauchwitz
Botticelli’s audience the beauty of Venus - The function uses bold and dark imagery to convey
envisioned by him. The darker visual Tanning, Dorothea. meaning. Children’s Games uses surreal and
commentary of Tanning’s life as a young Children’s Games. somewhat disturbing visuals in order to showcase
girl in Children’s Games helps her Weylandt, Arnold. 1942. Tanning’s conflicted adolescent feelings. Weylandt
Bauchwitz. Die Mysteriosen
audience understand her perspective on Catakomben. 1890. and Bauchwitz specifically use a magic trick that
the matter more clearly. creates an illusion of a human skeleton to emphasize
the thrill of the magic event that makes it so exciting.
Botticelli, Tanning, Weylandt and Bauchwitz - The purpose piques the audience’s curiosity and
- The function captures a particular moment in time. The Birth of Venus depicts the story of the Greek goddess Venus’s birth, which draws attention to the subject. The shocking nature
was written about roughly between 3,000 to 1,100 BC and then visually retold by Botticelli. Children’s Games is a glimpse into of Children’s Games prompts Tanning’s audience to
Tanning’s imagination from the time she was a small child through adolescence. Die Mysteriösen Catakomben is a representation of place themselves in the shoes of her younger self, and
the German circus scene in the 1800s, and also advertises a specific performance. perhaps reflect on their own experiences with
- The purpose highlights the atmosphere and feelings associated with that specific moment in time. The Birth of Venus emphasizes sexuality and adolescence. Die Mysteriösen
feelings of awe, as well as the fantastical setting of the sea from which Venus was born. Children’s Games conveys Tanning’s personal, Catakomben is bold and direct enough to encourage
childhood perspective on sexuality and growing up. Die Mysteriösen Catakomben emphasizes the liveliness of the circus scene from Berlin civilians to come and view the magic event
its time. advertised in the poster.
Contrasting Function and Purpose
Botticelli and Tanning Botticelli, Weylandt and Bauchwitz
- The function differs in the personal - The function differs in how the work was to be
inspiration behind the work. The used upon creation. The Birth of Venus was
commissioned and then held within the home of
Birth of Venus was inspired by
the rich Medicis, and Die Mysteriösen Catakomben
original Greek mythological
was designed, reproduced, and posted throughout
writing, while Children’s Games Berlin.
was inspired by Tanning’s own - The purpose differs in the types of marketing goals
feelings and experiences as a young for the artists. The Birth of Venus represents
girl. Botticelli’s ability to emphasize his specialty in
- The purpose differs in the feelings Botticelli, Sandro. Renaissance and mythological art, but Die
The Birth of Venus. Mysteriösen Catakomben was created to promote a
meant to be evoked from the work. 1485.
German magic show, as well as Weylandt and
While The Birth of Venus was
Bauchwitz’s design business.
created to evoke feelings of
appreciation and fascination by the
grace of Venus, Children’s Games
Tanning, Dorothea. Tanning, Weylandt and Bauchwitz
Children’s Games.
was made to provoke its audience, Weylandt, Arnold. 1942. - The function differs in the tones of the pieces.
Bauchwitz. Die Mysteriosen While Children’s Games has a more eerie and
making them feel uncomfortable or Catakomben. 1890.
confused. disturbing tone, Die Mysteriösen Catakomben
has a mysterious, yet lighthearted tone.
Botticelli, Tanning, Weylandt and Bauchwitz - The purpose differs in the intensity of the
- The function differs in type of interpretation. The Birth of Venus is Botticelli’s interpretation of Venus’s birth told in impression left on the audience. The sensitive
Greek mythology, while Children’s Games is Tanning’s interpretation of her life as a developing adolescent female, and nature of Tanning’s piece leaves the audience
Die Mysteriösen Catakomben is simply an interpretation of magic performances as well as the Pepper’s Ghost trick. to think deeply about how sexuality and
- The purpose differs in the stories being told. Botticelli tells the story of Venus being born out of sea foam and human development are interpreted by youth,
traveling over water, while Tanning tells the story of her naivety, curiosity, and vulnerability (particularly in terms of and the work of Weylandt and Bauchwitz
puberty and sexuality) as a growing girl. Weylandt and Bauchwitz tell the story of a traditional magic trick by simply prompts viewers to think about or visit
revealing its ending. a local magic show and/or circus.
Comparing and Contrasting Function and Purpose Against CS
Art

Weylandt, Arnold.
Weigman-Cotter, Chevalle. Tanning, Dorothea. Weigman-Cotter, Chevalle. Weigman-Cotter, Chevalle. Bauchwitz. Mysteriosen
Botticelli, Sandro. The Birth of Venus. 1485.
Untitled. 2023 Children’s Games. 1942. Untitled. 2023 IT’S KILLING YOU. 2023 Catakomben. 1890.

Similarities Similarities Similarities

-Function: Expressive. -Function: Practical.
-Function: Conceptual. Both The piece is a poster
Both works are
works include a story or sense meant to be publicly
vulnerable and express
of context beyond what is seen displayed.
feelings of naivety from
in within the painting. -Purpose: To address
childhood.
-Purpose: To tell a story. Both a public audience.
-Purpose: To be a
works communicate a story, Both designs are
Differences personal outlet. Both Differences
works serve to reflect Differences (My whether it be part of a Greek Differences Differences meant to be Differences
(My Work) on deeply personal (Tanning’s) mythological tale, or a interpreted by a (Weylandt and
Work) traumatic experience. (Botticelli’s) (My Work)
-Function: For experiences. -Function: Shocking. general public
-Function: Expressive. -Function: Decorative. The -Function: Bauchwitz’s)
catharsis. This The piece explores demographic.
My work is meant to express work was commissioned to Conceptual. -Function:
piece helped me to puberty and sexuality in emotions from a particularly The imagery of Descriptive. The
compliment the Medici family
explore my own feelings young women, an personal trauma response. the piece is a metaphor for work visually
home.
about trauma recovery. unsettling topic for some. -Purpose: To be a personal outlet. the harm caused by describes an event at a
-Purpose: For status. The
-Purpose: To represent part -Purpose: To question. This piece provided an technology and the internet. magic show.
possession of a well-crafted
of the human condition. The The work questions the opportunity for me convey and -Purpose: To question. The -Purpose: To
piece of art by the infamous
work explores the meaning ways in which Tanning’s process elements of my trauma. work questions the ethics advertise. The work
Botticelli emphasized the
of trauma recovery and the sexuality and general of technology and social promotes the likeness
Medicis’ wealth.
concept of the “inner child” curiosity was suppressed media. of the magic show.
as a child.
Analysis of Formal Qualities
Dorothea Tanning Weylandt & Bauchwitz
- Texture. Tanning’s unique oil painting style creates a - Line. Although it may not be noticeable at first glance, Weylandt and Bauchwitz use
texture that is both rough and smooth at the same time. line extensively in their poster design. For instance, every single object uses contour
Although there are not any brush strokes that appear rigid lines to define its shape, from the figure of the magician to the skeletal body of the
participant, the coffin, or to the door in the background. Shading is also conveyed
or scratchy, it appears as though Tanning built up her
using a range of thin lines, including vertical, horizontal, and diagonal. All of the
layers of paint very lightly and gradually, which makes the
details that add dimension to the piece are done so with the very careful placement
texture of the actual canvas more visible, therefore of lines, which can only really be seen upon zooming into the poster.
implying that would have a rough fabric-like surface that - Contrast. There is a strong sense of contrast in this piece particularly due to the
is softened by the paint absorbed onto the canvas. differing colors and values used for the design. There is certainly a lot of contrast
- Movement. Children’s Games includes a sense of between the black shadows and the white coloring of the magician and
movement created by both the lines and edges present in participant’s body, the black and white-yellowish checkerboard flooring, and the
the piece. The movement appears to be a zooming motion red title thickly outlined in black.

coming up through the hallway, then swaying upwards

towards the torn wallpaper. The edges defining the There is also a contrast between the light values
surrounding the edges of the piece, particularly in the
one-point perspective depiction of the hallway initially
walls and parts of the door, and the heavy, darker
bring viewers’ eyes to the end of the hallway, to the
values in the center of the piece where the characters
beginning of the hallway (in relation to the piece), and then are shown. - - Balance. Die Mysteriösen Catakomben
the curved, almost gravitational-looking pull of the strategically uses symmetrical
Tanning, Dorothea. Children’s Games. 1942.
children towards the top half of the wall directs their balance, which makes it appear clear and direct. The
attention upwards. The upward movement is also achieved through the girls’ hair, which is characters in the poster partaking in the magic trick
pointed towards or even connected to the protrusions in the wallpaper. are spaced out evenly toward the center of the poster,
- Space. An off-kilter sense of space is created in that the characters and objects of the piece are with a large door behind them that is also centered, as
congregated in one area, with a significant amount of space implied in the background. While the well as the text, which is horizontally laid out almost
children and protrusions in the wallpaper are each shown close together in the foreground and completely across the top of the poster. This design
Weylandt, Arnold. Bauchwitz. Die
could be split in half and the composition of the halves
middle ground, the hallway extends deep into the background, giving the impression that there is Mysteriosen Catakomben. 1890.
would be generally consistent and symmetrical to one
a massive amount of space between the objects and the end of the hall. This variance in space is
Each of the objects includes equal amounts of weight that keep the eye from being
somewhat awkward but adds to the surreal nature of the piece. drawn to just one particular object.
Analysis of Formal Qualities
Sandro Botticelli
- Color. For this painting, Botticelli uses a color palette mainly consisting of pale
hues, including blues, greens, beiges, and pinks for the characters’
complexion, clothing, and the nature surrounding them. There are also small
amounts of darker hues that help make the pale ones more visible, particularly
dark browns and greens for either hair or the trees featured in the
background. While the color palette isn’t necessarily bright, white highlights
still establish a sense of brightness without taking away the ethereal
appearance of the pastel-like objects.
- Balance. The Birth of Venus has an extremely strong sense of symmetrical
balance, with characters reaching toward the center, nearly reflecting each
other and occupying very similar amounts of space. Of course, the figures
revolve around Venus, who is placed almost directly in the center of the entire
painting, fixed on top of a seashell that is horizontally centered as well. Each
half of the painting seems to carefully reflect itself.
- Unity. Everything in this painting has a purpose, from Venus’s placement on
the edge of the seashore, the Greek gods and goddesses coming to greet her, to
Botticelli, Sandro. The Birth of Venus. 1485. the land and nature in the background. These things each set up the scene
of Venus’s birth in a way that is clear and direct, with nothing visually out of place and instead having its own designated role in the story. The piece is filled with imagery in a way
that is balanced and feels complete when observing it.
- Space. The objects of the piece appear to be evenly spaced, each having a similar distance between itself and Venus, leaving room for the scenery of the background to be observed,
while not overcrowding each of the characters. There is also a small amount of space consistent along the edges of the entire painting that help to create somewhat of an outline
around each figure.
- Texture. Botticelli’s use of tempera on canvas creates an incredibly smooth-looking texture due to the many amounts of layers required to build up various shades, which gave the
appearance of being blended together because of his subtle brush strokes. The tempura paint provides an opaque and luminous appearance to the painting, which also alludes to an
implied soft texture for the piece.
Comparing Formal Qualities
- Texture. Both of these pieces have different textures that are in-part - Color. While they may differ slightly, Die
- Balance. The Birth of Venus has an incredible sense of
products of the type of paint used. While Botticelli used tempera to Mysteriösen Catakomben and Children’s Games
symmetrical balance, with Venus as the centerpiece,
create his painting, Tanning used oil paints. While oil paint is generally both share a relatively dark color palette, sharing
complemented by other gods and goddesses that reflect
easier to blend than tempera, Tanning purposefully made her painting a the colors black and red especially. The colors used
off of her and mirror each other. Die Mysteriösen
bit rougher and more blotchy, leaving the texture of the canvas visible, for both pieces also add to their ominous
Catakomben also establishes clear symmetrical balance by
while also implementing the natural softness associated with oil paint. appearances as well.
leaving equal amounts of space in every margin of the
On the other hand, Botticelli used the translucency of the tempera to - Line. Both of these pieces showcase extensive use
poster, showcasing the magic show performance in the
carefully maintain a soft, smooth texture that appears effortless despite of organic, flowing lines, whether it be through
center, revolving the backdrop around the center and
the opacity of tempera that can be difficult to control at times. brush strokes and oil paint, like in Children’s
spreading the text evenly across the top of the poster.
- Emphasis. In The Birth of Venus, Venus’s presence is clearly the main Games, or carved-out lines that are colored in
- Unity. In part due to their sense of balance, both Botticelli,
focus and is emphasized for the piece, and this is shown through the using oil, like in Die Mysteriösen Catakomben.
Weylandt, and Bauchwitz’s paintings demonstrate unity
symmetrical balance of her figure, which is near perfectly centered - Value. Die Mysteriösen Catakomben and
very well. Their compositions feel complete, with every
within the painting. Similarly, each of the other characters almost Children’s Games share a similar range in values.
object having its purpose and helping convey the message,
mirror each other as they surround Venus. As for Children’s Games, Although Children’s games does not include as
whether it be to explain Venus’s birth or persuade people
emphasis is placed on the children tearing open the wallpaper using the much contrast, it still incorporates a variety of
to visit the circus. Nothing appears unfinished or out of
implied space between them and the end of the long hallway. It suggests lights, darks, and midtones that are comparable
place, from the consistent dark or pale color palettes, the
that the actions of these children stick out in an otherwise large, empty to Die Mysteriösen Catakomben and are used to
mild range in values, rough or smooth texture, to the
space. not only complement each hue but also to add
overall composition.
- Repetition. Both The Birth of Venus and Children’s Games have dimension to the piece.
- Shape. Since these two pieces have generally realistic
consistent textures due to the repetition of either smooth painting style
appearing human characters, they feature many organic
(in Botticelli’s case) or a medium between smooth and rough (in
shapes as opposed to geometric ones. Venus’s figure is
Tanning’s case), which keeps the overall appearance of the piece simple
depicted to be smooth and round, with her hair naturally
and easy to observe technique.
flowing around in the breeze. The magician’s robe in Die
Mysteriösen Catakomben is wrapped loosely around him
and the text used for the title is carefully rounded across
the poster.

Tanning, Dorothea.
Botticelli, Sandro. The Birth of Venus. 1485. Children’s Games. 1942. Weylandt, Arnold. Bauchwitz.
Mysteriosen Catakomben. 1890.
Contrasting Formal Qualities
- Color. While The Birth of Venus includes mostly pale - Value. Although the Birth of Venus includes an incredibly well-rounded - Balance. While Die Mysteriösen Catakomben
hues, like beiges, pinks, light greens and blues, as color palette, there is not necessarily a range in the value of the colors demonstrates a clear symmetrical balance between
well as some slightly darker earth tones, Children’s used, as they are all mostly of the same light value throughout the piece. every graphic shown in the poster, Children’s
games consists of mostly different variations of warm Die Mysteriösen Catakomben, on the other hand, includes a variety of Games falls under the more asymmetrical side,
and dark brown, as well as an almost lights and darks, using intense dark hues for contrast, pale ones for with the characters shoved over to the right side,
industrial-appearing color palette. highlights, and a plethora of mid-tones for every aspect in between. but also with the hallway carrying a nearly equal
- Texture. The Birth of Venus has an extremely clear, - Line. Although a sense of line is established in Botticelli’s The Birth of amount of weight.
smooth-looking texture, with the tempera so Venus due to the amount of clear, flowing figures, line does not play a - Movement. Die Mysteriösen Catakomben is a
thoroughly blended that it creates its own soft texture significant role in the shading and dimension of the piece and is rather poster that captures a specific moment of a magic
on top of the canvas. In Children’s Games, the oil an layout of each shape, whereas for Die Mysteriösen Catakomben, line trick, almost like a freeze-frame, and although it
paint is used quite loosely and it can be seen having is used not only to outline, but also to build up shadows, establish value, captures the excitement of the magic show, it has a
absorbed into the canvas, leaving the fabric more and add smaller details, like the faces or scenery in the background. stiff appearance that makes its purpose clearer.
visible and giving a slightly rougher texture. Color. The colors used for The Birth of Venus are generally quite light and Children’s Games, on the other hand, uses the
- Space. While the spacing of each character in The almost pastel-like, including hues of blue, green, beige, and pink to motion of the children’s hair, as well as them
Birth of Venus is quite equal, and a large amount of create an ethereal tone. Die Mysteriösen Catakomben has a relatively actively tearing apart their wallpaper, to convey a
space is taken by the objects of the foreground in strict color palette consisting of mostly black, red, and mossy shades of strong sense of movement and liveliness in the
general, the children shown in Tanning’s piece are green to cultivate a spooky, yet fun environment. painting, partially adding to its surreal nature.
implied to be in one particular spot in their large - Emphasis. The composition and design choices of
hallway, showing the distance between the children Die Mysteriösen Catakomben play a huge role in
and the end of the hall to be somewhat far and the direct emphasis of the advertisement to attend
leaving that space open for the viewer. the circus, as the image of the magic performance
is placed directly under the text marketing the
event. As for Children’s Games, emphasis on the
children’s actions is conveyed through aspects such
as the offputtingly warm color palette or the
movement of the children demonstrated in the
piece.
Botticelli, Sandro. The Birth of Venus. 1485. Tanning, Dorothea. Weylandt, Arnold. Bauchwitz.
Children’s Games. 1942. Mysteriosen Catakomben. 1890.
Comparing Formal Qualities Against CS Art

- Line. Both pieces

make use of
flowing, organic
outlines for
areas such as
hair and fabric.

Weigman-Cotter, Chevalle. Untitled. 2023

Tanning, Dorothea.
Weigman-Cotter, Chevalle. Children’s Games. 1942.
Untitled. 2023

- Subject. My piece and Tanning’s both Weigman-Cotter, Chevalle. IT’S Weylandt, Arnold. Bauchwitz.
share a common subject, that being KILLING YOU. 2023 Mysteriosen Catakomben. 1890.
children featured in our paintings. More - Format. Both Weylandt and Bauchwitz’s piece
specifically, each of the pieces include
and mine use the traditional Sachplakat poster
young girls.
Botticelli, Sandro. The Birth of Venus. 1485. layout consisting of a clear and direct image
- Expression. Both pieces highlight - Visual tone. Although my painting has a sense with text and a background.
aspects of their innocence by means of of lifelessness to go along with the theme of -
curious expression, with the girls being trauma, it also incorporates a sense of glory - Illustrative qualities. My piece, as well as
fixated on something within their and luminescence around the figure, much like Weylandt and Bauchwitz’s use fine lines to
environment. Botticelli’s glorification of the characters in The create strong visuals which are continuously
Birth of Venus to give a more ethereal
built up with color to provide dimension while
- Visuals. The appearance of flesh is used impression.
still embracing the 2D nature of illustration.
as an unsettling, but meaningful
component of both pieces. - Composition. My work and Botticelli’s share a -
similar composition in which one main figure - Subject. Both pieces highlight the use of
is posed in the center of the piece, staring people or characters to communicate a
outside of the frame. message.
Contrasting Formal Qualities Against CS Art
- Space. Botticelli’s
work includes less
negative space, and
is considered less
liminal than the
space shown in the
background of my
Weigman-Cotter, Chevalle. Untitled. 2023 work
Tanning, Dorothea.
Weigman-Cotter, Chevalle. Children’s Games. 1942.
Untitled. 2023
- Value. Although my piece and Tanning’s Weigman-Cotter, Chevalle. IT’S Weylandt, Arnold. Bauchwitz.
generally have a similar range in value, my work KILLING YOU. 2023 Mysteriosen Catakomben. 1890.
includes a larger amount of highlights and - Color. While both pieces utilize warm colors, Weylandt
bright tones, which can be seen especially in and Bauchwitz more heavily emphasize red hues,
the center of the composition. Botticelli, Sandro. The Birth of Venus. 1485. low-saturated oranges and yellows, and my piece
includes cool colors, like dark valued purples, and light
- Texture. While both pieces take advantage of - Contrast. Botticelli’s painting includes valued blue and lavender-like hues.
the blendability of oil paint, Tanning’s consistent colors and imagery that add to the
technique applies the paint in smaller cohesiveness of the piece, while mine includes - Texture. Weylandt and Bauchwitz’s traditional paper
quantities at a time to create a rougher texture one brightly lit subject against a harsh, black medium creates a visibly aged, slightly rougher texture
compared to the larger blotches of paint in background. for Weylandt and Bauchwitz. And my digital medium
mine that create a smooth, sleek texture. creates a visibly smooth and unscathed one for my
- Color. My work includes a somewhat different work.
- Space. Tanning’s piece includes minimal color palette than Botticelli’s, with more
negative space between its young, female variations of brown, grey, and black hues, - Composition. While both pieces utilize a similar
subjects and the edges of the painting, as compared to his yellow, green, and blue hues. format, my piece contains one straightforward image
opposed to my work, which includes large My piece also demonstrates much darker complimented by one piece of text, while Weylandt and
amounts of negative space to surround its values compared to the paleness of the colors Bauchwitz include a greater variety of imagery and text
subjects. used by Botticelli. in their composition.
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