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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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