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Sandro Botticelli
Clayton s story
mk281 83.5 x 180cm 1504 years
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Sandro Botticelli
And John son of Notre Dame
mk281 134 x 92cm 1495-1500 year
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Sandro Botticelli
Nobilo early St. Maas
mk281 66.5 x 149.5 cm 1500-1505 year
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Sandro Botticelli
Nobilo St. Maas three miracles
mk281 65 x 139.5 cm 1500-1505 year
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Sandro Botticelli
Nobilo St. Maas three miracles
mk281 67.4 x 151cm 1500-1505 year
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Sandro Botticelli
Madonna and Child with an Angel
1465-67 Tempera on panel, 87 x 60 cm Spedale degli Innocenti, Florence It is possible that this somewhat awkward painting of the Madonna was produced while Botticelli was still working in the workshop of his teacher, Filippo Lippi. The initial inspiration for the painting came from the latter's famous Madonna in the Uffizi. Botticelli replaced the landscape with an arched architecture which frames the heads of the mother and child and emphasizes the two main figures as the centre of the devotional scene
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Sandro Botticelli
Holy Trinity
1491-93 Tempera on panel, 215 x192 cm Courtauld Institute Galleries, London The altarpiece shows the Holy Trinity with Mary Magdalene, St John the Baptist and Tobias and the Angel The Holy Trinity appears as a vision between the penitent saints Magdalene and John in a bleak desert landscape. The Baptist is inviting the observer to worship the Trinity, and Mary Magdalene is turning to face it full of emotion. The exhausted figure of the penitent, a late work of Donatello's, had a decisive influence on Botticelli's Magdalene. The penitent sinner was the patron saint of the nuns' monastery of the Magdalenes, and this pala or altarpiece was ordered for their church. The figures of Tobias and the angel are very small compared to the others. They might be a reference to the donors of the altar, the guild of doctors and apothecaries: archangel Raphael was their patron saint
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Sandro Botticelli
Study of two standing figures
1475 Metal point on primed paper, white highlights, 165 x 100 mm Mus?e des Beaux-Arts, Lille This study is one of the few remaining drawings directly related to a painting by Botticelli. The artist, who to judge by the style may have been Botticelli's student Filippino Lippi, was testing the posture and stance of the two young men who can be seen at the front left in the Adoration of the Magi. There are differences in the head and hand positions of the figure at the rear, so that it is likely that this work was produced as part of the preparations for that group of figures
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Sandro Botticelli
venus fodelse
ca, 1485.
galleria degli uffizi, florens
se
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Sandro Botticelli
Madonna del Magnificat
Date Deutsch: um 1483-1485
English: c. 1483-1485
cyf
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Sandro Botticelli
Portrat eines jungen Mannes
Date Deutsch: um 1483
English: c. 1483
Medium Deutsch: Tempera auf Holz
Dimensions Deutsch: 37,5 X 28,2 cm
cyf
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Sandro Botticelli
Holy Trinity
Date between 1491(1491) and 1493(1493)
Medium tempera and Oil on panel
Dimensions Height: 215 cm (84.6 in). Width: 192 cm (75.6 in).
cjr
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Sandro Botticelli
Virgin and child with two angels
Date c. 1468-1469
Medium tempera on Oil
cjr
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Sandro Botticelli
Madonna dell'Eucarestia
oil on canvas
cjr
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Sandro Botticelli
La Vierge et l'Enfant entoures de cinq anges
c. 1470(1470)
Medium tempera on panel
Dimensions 58 x 40 cm (22.8 x 15.7 in)
cjr
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Sandro Botticelli
The Story of Lucretia
between 1496(1496) and 1504
cyf
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Sandro Botticelli
The Story of Lucretia
between 1496(1496) and 1504(1504)
Medium tempera and oil on panel
cyf
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Sandro Botticelli
The Story of Lucretia
between 1496(1496) and 1504(1504)
Medium tempera and oil on panel
Dimensions Height: 84 cm (33.1 in). Width: 180 cm (70.9 in).
cyf
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Sandro Botticelli
Virgin and child with two angels
1468-1469
Medium tempera on oil
cyf
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Sandro Botticelli
Saint Augustine
1480
Type Fresco
Dimensions 152 cm x 112 cm (60 in x 44 in)
cyf
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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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