Sandro Botticelli

Italian Early Renaissance Painter, 1445-1510 Italian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s


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Sandro Botticelli Coronation of the Virgin,with Sts john the Evangelist,Augustine,jerome and Eligius or San Marco Altarpiece (mk36) oil


Coronation of the Virgin,with Sts john the Evangelist,Augustine,jerome and Eligius or San Marco Altarpiece (mk36)
Painting ID::  25115
Coronation of the Virgin,with Sts john the Evangelist,Augustine,jerome and Eligius or San Marco Altarpiece (mk36)
1488-1490 Florence,Galleria degli Uffizi
1488-1490 Florence,Galleria_degli_Uffizi
   
   
     

Sandro Botticelli Trinity with Mary Magdalene,St john the Baptist,Tobias  and the Angel (mk36) oil


Trinity with Mary Magdalene,St john the Baptist,Tobias and the Angel (mk36)
Painting ID::  25116
Trinity with Mary Magdalene,St john the Baptist,Tobias and the Angel (mk36)
1490-1495 detail with Tobias and the angel London,Courtauld Institute.
   
   
     

Sandro Botticelli Fra Bartolomeo,Portrait of Girolame Savonarola (mk36) oil


Fra Bartolomeo,Portrait of Girolame Savonarola (mk36)
Painting ID::  25117
Fra Bartolomeo,Portrait of Girolame Savonarola (mk36)
1498-1499 Florence,Musee di San Marco
1498-1499 Florence,Musee_di_San_Marco
   
   
     

Sandro Botticelli Trinity with Mary Magdalene,St John the Baptist,Tobias and the Angel (mk36) oil


Trinity with Mary Magdalene,St John the Baptist,Tobias and the Angel (mk36)
Painting ID::  25118
Trinity with Mary Magdalene,St John the Baptist,Tobias and the Angel (mk36)
1490-1495 London,Coutauld Institute.
1490-1495 London,Coutauld_Institute.
   
   
     

Sandro Botticelli Lament fro Christ Dead,with st jerome,St Paul and St Peter (mk36) oil


Lament fro Christ Dead,with st jerome,St Paul and St Peter (mk36)
Painting ID::  25119
Lament fro Christ Dead,with st jerome,St Paul and St Peter (mk36)
c.1495 Munich,Alte Pinakothek.
c.1495 Munich,Alte_Pinakothek.
   
   
     

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     Sandro Botticelli
     Italian Early Renaissance Painter, 1445-1510 Italian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s

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