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Sandro Botticelli
La Anunciacion
mk166
1489
Tempera on board of wood
150x156cm
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Sandro Botticelli
The Madonna and the Nino with angeles
mk166
1481-1485
Tempera on board of wood, tondo 118cm of diametor,
Uffizi, Florence
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Sandro Botticelli
The Madonna and the Nino with angeles
mk166
1487
Tempera on board of wood 143,5cm of diametro Uffizi Florence
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Sandro Botticelli
The birth of Venus
mk166
Between1484 and 1486 Board of wood
180x280cm Uffizi, Florence
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Sandro Botticelli
The Madonna of the premonition
mk166
Poldi Pezzoli Milan
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Sandro Botticelli
Drawer excellent feather
MK169
ca. 1478 panel painting 203x315cm Uffizi, Florence
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Sandro Botticelli
The Adoration of the Kings
mk170
1473-1474
Tempera on poplar
diameter 130.8cm
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Sandro Botticelli
Portrait of a young man
mk170
1480-1485
Tempera and oil on wood
37.5x28.3cm
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Sandro Botticelli
Venus and Mars
mk170
Circa 1485
Tempera and oil on poplar
69.2x173.4cm
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Sandro Botticelli
Detail of Venus and Mars
mk170
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Sandro Botticelli
Mystic Nativity
mk170
dated 1500
Oil on canvas
108.6x74.9cm
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Sandro Botticelli
incidents in the life of Saint Zenobius
mk170
circa 1500
Tempera on wood
66.7x149.2cm
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Sandro Botticelli
Miracles of Saint Zenobius
mk170
Circa 1500
Tempera on wood
66.7x149.2cm
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Sandro Botticelli
Primavera
mk176
c.1478
6.8x10.4in
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Sandro Botticelli
The Birth of Venus
mk176
c.1482
Oil on canvas
5.9x9.2in
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Sandro Botticelli
workshop picture out of the series the story of the Anastasius degli Onesti
mk186
around 1483 Madrids, Museo del Prado
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Sandro Botticelli
The novel of the Anastasius degli Onesti the wedding banquet
mk186
1483
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Sandro Botticelli
Minerva and the Kentaur
mk178
around 1485
Tempera on wood
207x148cm
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Sandro Botticelli
The Annunciation
nn09
c.1489-90
Tempera on wood
150x156cm
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Sandro Botticelli
Mystic Nativity
nn09
c.1500
Tempera on canvas
108.5x75cm
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| Sandro Botticelli
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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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