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Sandro Botticelli Our Lady of sub mk281
1475
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Sandro Botticelli St. Augustine mk281
1480
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Sandro Botticelli Our Lady of sub mk281
1468
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Sandro Botticelli Our Lady of the Son and the Angels mk281
1470
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Sandro Botticelli The temptation of Christ mk281
Year 1481-1482
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Sandro Botticelli Jonas Story Chapter mk281
Year 1482-1483
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Sandro Botticelli Follow up sections of the story mk281
Year 1482-1483
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Sandro Botticelli Follow up sections of the story mk281
Year 1482-1483
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Sandro Botticelli The story of the wedding scene mk281
Year 1482-1483
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Sandro Botticelli Kola punishment mk281
Year 1481-1482
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Sandro Botticelli The temptation of mossy mk281
Year 1481-1482
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Sandro Botticelli Annunciation mk281
Year 1489-1490
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Sandro Botticelli Our Lady of Angels and the public mk281
Year 1490-1492
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Sandro Botticelli Our Lady of subgraph mk281
1485
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Sandro Botticelli For arbitrary mk281
Year 1491-1495
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Sandro Botticelli Sam appears mk281
1459
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Sandro Botticelli Christ died mk281
Year 1494-1495
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Sandro Botticelli Christ in the Mount of Olives mk281
1500
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Sandro Botticelli The birth of Christ mk281
1501
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Sandro Botticelli Our Lady of the Son and the Angels mk281
Year 1466-1467
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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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