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Oil Paintings
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BOTTICELLI, Sandro
Italian Early Renaissance Painter, 1445-1510
Alessandro di Mariano di Vanni Filipepi, better known as Sandro Botticelli or Il Botticello ("The Little Barrel"; March 1, 1445 ?C May 17, 1510) was an Italian painter of the Florentine school during the Early Renaissance (Quattrocento). Less than a hundred years later, this movement, under the patronage of Lorenzo de' Medici, was characterized by Giorgio Vasari as a "golden age", a thought, suitably enough, he expressed at the head of his Vita of Botticelli. His posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting, and The Birth of Venus and Primavera rank now among the most familiar masterpieces of Florentine art.
Details of Botticelli's life are sparse, but we know that he became an apprentice when he was about fourteen years old, which would indicate that he received a fuller education than did other Renaissance artists. Vasari reported that he was initially trained as a goldsmith by his brother Antonio. Probably by 1462 he was apprenticed to Fra Filippo Lippi; many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio's painting, it was from Lippi that Botticelli learned a more intimate and detailed manner. As recently discovered, during this time, Botticelli could have traveled to Hungary, participating in the creation of a fresco in Esztergom, ordered in the workshop of Fra Filippo Lippi by Vitez J??nos, then archbishop of Hungary.
By 1470 Botticelli had his own workshop. Even at this early date his work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modeled forms. |
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BOTTICELLI, Sandro
varen
mk248 grace, kolrit ovbdraperad kladnad bade botti lart sig av fra filippo lippi bottis tidiga tevkningsbegavning bade formidligen uppmuntrats av broderna pollaiuolo, vabeten som guldsmeder ocb gravor kravde en mycket avancerad bantverkickligbet.
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BOTTICELLI, Sandro
den mysrisks fodelsen
mk248 inskriptionen, som banvisar bade till apokalypsen ocb italiens priblem ar bade pa grekiskika ocb latin. botticelli botti bar anvant en mycket gammal teknik som for stor madonnan ocb barnet bilden kraver en atergang rill medeltidens moral.
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BOTTICELLI, Sandro
Illustration to the Divine Comedy
1480s Silverpoint on parchment, completed in pen and ink, coloured with tempera Biblioteca Vaticana, Rome Artist: BOTTICELLI, Sandro Title: Illustration to the Divine Comedy (Inferno) Date: 1451-1500 Italian , graphics : other
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BOTTICELLI, Sandro
Illustration to the Divine Comedy
1480s Silverpoint on parchment, completed in pen and ink, coloured with tempera Biblioteca Vaticana, Rome Artist: BOTTICELLI, Sandro Title: Illustration to the Divine Comedy (Inferno) Date: 1451-1500 Italian , graphics : other
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BOTTICELLI, Sandro
Paradise
Canto VI 1490s Silverpoint on parchment, completed in pen and ink, 320 x 470 mm Staatliche Museen, Berlin Artist: BOTTICELLI, Sandro Title: Paradise, Canto VI Date: 1451-1500 Italian , graphics : other
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BOTTICELLI, Sandro
Paradise
Canto XXX 1490s Drawing on parchment, 320 x 470 mm Staatliche Museen, Berlin In the Empyrean, the upper heaven, Dante and Beatrice are carried upwards in a river of light, from which fly sparkles which Botticelli depicts as little putti. They disappear in the meadows of flowers along the banks on either side. The one on the right had not been retraced with ink and was a preliminary drawing carried out in silver point. Artist: BOTTICELLI, Sandro Painting Title: Paradise, Canto XXX , 1451-1500 Painting Style: Italian , graphics Type: other
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BOTTICELLI, Sandro
Portrait of a Young Man
1469 Tempera on panel, 51 x 33,7 cm Galleria Palatina (Palazzo Pitti), Florence Botticelli painted this portrait in a three quarter view like a silhouette against a pale blue sky. The young man, who is looking very slightly down towards the observer, is wearing a red jerkin and the characteristic headgear of the Florentine Quattrocento, the mazzocchio. The hat band which is casually draped across his shoulder provides an artistic frame for the young man's face. The sitter of the portrait is probably Gianlorenzo de' Medici, and it could very well be Botticelli's first commissioned work, and from the hair and the clothes, the portrait must date from no later than 1469. Artist: BOTTICELLI, Sandro Painting Title: Portrait of a Young Man , 1451-1500 Painting Style: Italian , , portrait
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BOTTICELLI, Sandro
Portrait of a Lady
1470-75 Tempera on panel, 65,7 x 41 cm Victoria and Albert Museum, London If the inscription on the window jamb, possibly dating from the 16th century, is to be believed, this is a portrait of Smeralda Brandini, who was a member of a respected Florentine family. A sign of her rank and respectable status is the handkerchief which she is holding in the hand placed across her body. Artist: BOTTICELLI, Sandro Painting Title: Portrait of a Lady , 1451-1500 Painting Style: Italian , , portrait
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BOTTICELLI, Sandro
Holy Trinity
1491-93 Tempera on panel Courtauld Institute Galleries, London The archangel Raphael is leading the young Tobias by the hand. He is holding a small box, and Tobias is carrying a fish in a noose. The fish is Tobias' attribute. He was advised by the angel to use its gallbladder to restore his blind father's sight; the miraculous gallbladder was kept in the box. Artist: BOTTICELLI, Sandro Painting Title: Holy Trinity (detail) , 1451-1500 Painting Style: Italian , , religious
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BOTTICELLI, Sandro
Portrait of a Young Woman
1475 Tempera on panel, 61 x 40 cm Galleria Palatina (Palazzo Pitti), Florence There are several assumptions concerning the identity of the young woman (Simonetta Vespucci, Clarice Orsini, Fioretta Gorini etc.). The picture was partly repainted. The sleeve of the robe covers the left hand in a very unnatural way. The lock of hair coming loose from her bun gives a more spontaneous feeling to this severe profile portrait. The half length figure is slightly to the left of the centre of the picture. Behind her is a dark window frame and it contrasts with the gentle flow other contours. The attribution of the work to Botticelli is disputed. Artist: BOTTICELLI, Sandro Painting Title: Portrait of a Young Woman , 1451-1500 Painting Style: Italian , , portrait
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BOTTICELLI, Sandro
Portrait of Giuliano de Medici
1475 Tempera on panel, 54 x 36 cm Accademia Carrara, Bergamo Three similar portraits of Giuliano still exist. In contrast to the version in Washington, the portraits that are now in Bergamo and Berlin were probably not created until after Giuliano's assassination during the Pazzi conspiracy in 1478, when copies would have been ordered by friends and relatives as commemorative portraits. Artist: BOTTICELLI, Sandro Painting Title: Portrait of Giuliano de' Medici , 1451-1500 Painting Style: Italian , , portrait
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BOTTICELLI, Sandro
Portrait of a Young Woman after
1480 Oil on panel, 47,5 x 35 cm Staatliche Museen, Berlin The authorship of Botticelli is debated. The identity of the sitter is not known, Simonetta Vespucci, Lucrezia Tornabuoni and Clarice Orsini are mentioned (but not proved) in the literature as probable sitter. Artist: BOTTICELLI, Sandro Painting Title: Portrait of a Young Woman , 1451-1500 Painting Style: Italian , , portrait
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BOTTICELLI, Sandro
The Abyss of Hell
1480s Coloured drawing on parchment, 320 x 470 mm Biblioteca Apostolica Vaticana, Rome Dante imagined Hell as being an abyss with nine circles, which in turn divided into various rings. Botticelli's cross-section view of the underworld is drawn so finely and precisely that it is possible to trace the individual stops made by Dante and Virgil on their descent to the centre of the earth. Artist: BOTTICELLI, Sandro Painting Title: The Abyss of Hell , 1451-1500 Painting Style: Italian , graphics Type: other
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BOTTICELLI, Sandro
Scenes from the Life of Moses
1481-82 Fresco Cappella Sistina, Vatican The central scene, in which Moses watering the sheep belonging to Jethro's daughters - one of them, Zipporah, later became his wife - is one of the most charming genre pictures in the entire cycle. According to the typologial interpretation, it is a reference to Christ, who looks after his Church. Artist: BOTTICELLI, Sandro Painting Title: Scenes from the Life of Moses (detail) , 1451-1500 Painting Style: Italian , , religious
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BOTTICELLI, Sandro
Scenes from the Life of Moses
1481-82 Fresco Cappella Sistina, Vatican The detail shows Moses taking off his shoes. Artist: BOTTICELLI, Sandro Painting Title: Scenes from the Life of Moses (detail) , 1451-1500 Painting Style: Italian , , religious
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BOTTICELLI, Sandro
Scenes from the Life of Moses
1481-82 Fresco Cappella Sistina, Vatican The detail shows a young girl and a soldier. Artist: BOTTICELLI, Sandro Painting Title: Scenes from the Life of Moses (detail) , 1451-1500 Painting Style: Italian , , religious
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BOTTICELLI, Sandro
St Sixtus II
1481 Fresco, 210 x 80 cm Cappella Sistina, Vatican In the register above the history paintings, there were originally 28 portraits of popes decorating Sixtus IV's 'cappella magna'. They are imaginary portraits, some of which are derived from Botticelli's designs. As can be seen in the figure of Sixtus II, a namesake of the pope who commissioned the work, they are full length figures placed in niches and painted, so as to be seen from far below, high up on the walls of the room. Artist: BOTTICELLI, Sandro Painting Title: St Sixtus II , 1451-1500 Painting Style: Italian , , religious
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| BOTTICELLI, Sandro
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Italian Early Renaissance Painter, 1445-1510
Alessandro di Mariano di Vanni Filipepi, better known as Sandro Botticelli or Il Botticello ("The Little Barrel"; March 1, 1445 ?C May 17, 1510) was an Italian painter of the Florentine school during the Early Renaissance (Quattrocento). Less than a hundred years later, this movement, under the patronage of Lorenzo de' Medici, was characterized by Giorgio Vasari as a "golden age", a thought, suitably enough, he expressed at the head of his Vita of Botticelli. His posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting, and The Birth of Venus and Primavera rank now among the most familiar masterpieces of Florentine art.
Details of Botticelli's life are sparse, but we know that he became an apprentice when he was about fourteen years old, which would indicate that he received a fuller education than did other Renaissance artists. Vasari reported that he was initially trained as a goldsmith by his brother Antonio. Probably by 1462 he was apprenticed to Fra Filippo Lippi; many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio's painting, it was from Lippi that Botticelli learned a more intimate and detailed manner. As recently discovered, during this time, Botticelli could have traveled to Hungary, participating in the creation of a fresco in Esztergom, ordered in the workshop of Fra Filippo Lippi by Vitez J??nos, then archbishop of Hungary.
By 1470 Botticelli had his own workshop. Even at this early date his work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modeled forms.
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