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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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