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Sandro Botticelli
Our Lady of sub
mk281
1468
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Sandro Botticelli
Our Lady of Angels with the two sub
mk281
1468
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Sandro Botticelli
Writing characters of St. Sting
mk281
Year 1490-1494
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Sandro Botticelli
Son of Our Lady of teaching reading
mk281
Year 1479-1480
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Sandro Botticelli
Saint Hickes chart Si th
mk281 210 x 80cm
1481
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Sandro Botticelli
Saint Hickes chart Si two th
mk281 210 x 80cm
1481
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Sandro Botticelli
St. Stephen I
mk281 210 x 80cm
1481
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Sandro Botticelli
St. Lucie Hughes I
mk281 210 x 80cm
1481
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Sandro Botticelli
Saint Corney Lees
mk281 210 x 80cm
1481
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Sandro Botticelli
St. Soter
mk281 210 x 80cm
1481
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Sandro Botticelli
Our Lady of John son and salute
mk281
Year 1491-1493
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Sandro Botticelli
Our Lady of the eight sub angel
mk281
Year 1481-1483
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Sandro Botticelli
Our Lady of the eight sub-angel
mk281
1487
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Sandro Botticelli
Our Lady of the eight sub-angel
mk281
Year 1493-1495
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Sandro Botticelli
Our Lady of sub
mk281
Year 1480-1482
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Sandro Botticelli
Our Lady of Angels with five sub
mk281
1468
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Sandro Botticelli
Our Lady of the Son and the sleeping
mk281
1494
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Sandro Botticelli
Christ died
mk281 107 x 71cm 1495-1496 year
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Sandro Botticelli
C Dr to North Korea
mk281 107.5 x 173cm 1500-1505 year
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Sandro Botticelli
The Story of Virginia
mk281 83.3 x 165.5 cm 1504 years
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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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