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Sandro Botticelli
St. Augustine in the study
mk261 Florence, about 1490-1494 years wooden egg tempera 41 x 27 cm
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Sandro Botticelli
Woman as
mk281 Oil on canvas Year 1480-1485
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Sandro Botticelli
Minerva and the Orc
mk281
Year 1480-1482
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Sandro Botticelli
C Dr to North Korea
mk281
Year 1470-1472
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Sandro Botticelli
The Birth of Venus
mk281
1485
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Sandro Botticelli
Medici portrait of the man card
mk281
Year 1474-1475
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Sandro Botticelli
Man as
mk281
In 58.7 x 39.4cm 1474-1475
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Sandro Botticelli
Medici as
mk281
1478
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Sandro Botticelli
Light blue background as the men
mk281
Year 1475-1480
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Sandro Botticelli
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Sandro Botticelli
Son with six saints of Notre Dame
mk281
Year 1487-1489
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Sandro Botticelli
C Dr to North Korea
mk281
1470
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Sandro Botticelli
Judith Villa return
mk281
Year 1469-1470
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Sandro Botticelli
Courage
mk281
1470
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Sandro Botticelli
Ferney body
mk281
Year 1469-1470
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Sandro Botticelli
Our Lady of Angels with the two sub
mk281
Year 1470-1472
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Sandro Botticelli
Our Lady of sub
mk281
1470
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Sandro Botticelli
San Sebastian
mk281
1474
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Sandro Botticelli
St. Mark's decoration
mk281
1438
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Sandro Botticelli
Son with the people of Our Lady of Latter-day Saints
mk281
Year 1470-1472
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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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